نشریه هنرهای صناعی خراسان بزرگ
پیاپی 7 (پاییز 1403)

Following the introduction of the printing industry and the publication of the first book using this method in Tabriz (1877 AD), this cultural industry spread to other cities in Iran, too. The purpose of this research is to identify the starting and central point of this industry in Mashhad and subsequently examine its period of activity, published works, activists, and individuals involved. This study has been developed using a historical method and a descriptive-analytical approach, utilizing documents and lithographic books from the Astan Quds Razavi. Based on new information, the active printing house in the Astan Quds Razavi complex was the first center for book publication using lithography in Mashhad. During this printing house’s operation period (1877-1925 AD), published twenty-eight books with diverse themes and visual characteristics, by the collaboration of various printing masters, scribes, painters, editors, and translators. Most of these works were published with financial support from individuals outside the printing house or at the expense of the authors themselves, indicating a lack of attention from most custodians and senior officials of the shrine in supporting this cultural field of Astan Quds Razavi during the Qajar period.

Among a wide range of organs and components in a building, doors and windows elements are important in architecture due to their abundance and vital role. Like other elements, in addition to creating physical beauty, they are also useful in terms of function and are in line with Iranian culture and lifestyle, and have been shaped under the influence of climate, playing a significant role in the identity of the building. Therefore this paper seeks to answer this question: what are the technical and artistic features, differences, and similarities of wooden doors and windows of historical places in east of Iran? The purpose of this article is to analyze and compare the technical and artistic characteristics of wooden doors and windows of historical places in east of Iran. This paper, in terms of purpose, is practical and in terms of nature, it is descriptive and analytical, and collecting library and especially field information and sampling is purposeful and comparable. The findings show that the overall dimensions and sizes in all four sides of the buildings of these regions follow one pattern and the frames are based on climate, direction and atmosphere. The used techniques are Qavareh-bori (carving), Marquetry, Girih tiles and grid, reproduction, reflection, transitional and circular, as well as the shape, number of slates, frame and sash, respectively including: ellipse, half-ellipse-shaped, rectangular, Mihrabi (top cathedral), square, round and two, three, four, five and six slats and rectangular, square and octagon and hexagon, Polish, octagram. The frames come in a wide variety and abundance. The decorations were found in three types: wooden with Girih tiles, herbal, arabesque and colored glass in green, blue, yellow, red and orange colors; metal decorations on the door knocker – cypress-like, round, lion and dragon, simple, cross shape, wavy and simple with convexity, sun-shape, cypress-deformed and square key-operated cover, as well as circular wavy, barrel and long shaped cypress fastening. The doors and windows of the buildings are respectively in Birjand, Kerman, Mashhad and Zahedan (colored glass only) have the most diversity and abundance.

Attar's Mantiq al-Tayr is one of the influential literary texts in Persian and world literature, and many copies have been made of it, most of which are illustrated. One of these copies is Mantiq al-Tayr, preserved in the Metropolitan Museum, which dates back to the Timurid period and the Herat school. Due to the technical importance of the manuscript and Behzad's participation in it, as well as the high quality of the manuscript's illustration and the many mystical points included in the manuscript, we decided to examine it. In the present study, an attempt has been made to examine the relationship between the story of the manuscript "A son crying over his father's death" by Behzad and the text of "Manazil al-Sa'irin" by Abdullah Ansari, and its aim is to discover the hidden relationships between the theme of "Yaqzah" or awakening from Sage of Herat's point of view, with the entirety of the story of the manuscript and the way its characters function. Overall, by studying the manuscript, it was found that Attar, Behzad, and Sultan Ali have shown in the best possible way how to learn from the people of hell. Attar's poems refer to gathering provisions for the hereafter, and in this regard, Behzad, by showing a conversation between a grieving boy and a kind-hearted Sufi, emphasizes the necessity of doing good deeds before one's time passes, and all other elements (human and animal) in the painting also confirm this. Sultan Ali's phrase "The grave is a door through which all people enter" at the entrance to the cemetery is also very effective in completing the hidden message in the painting, namely, making the most of the remaining life. The present research has analyzed the painting qualitatively, with a descriptive-analytical approach, and using library resources (real and virtual).

Maqam music and handwoven, which are known as two prominent and unique arts in Torbat-Jam, have many content and form connections with each other. In this research, an attempt has been made to introduce and analyze the common motifs in the region's handwovens as well as introduce the forms and Maqams of the local music of Torbat Jam, with the aim of finding indicators of the relationship between these two arts, emphasizing the analysis of the internal characteristics of these arts and the connections and commonalities of these characteristics with each other and expressing the correspondence of these characteristics with the spirits of the people of the Torbat-Jam. This research seeks to find the answer to two basic questions; first, what are the characteristics of each of the arts mentioned in the title of the article in Jam? And second, what commonalities in form and content can be seen in the characteristics found? This research is qualitative and its data collection was done in the field and library, which was examined using a descriptive-analytical method. The results show that Torbat-Jam music is often pictorial and rhythmic in nature. The traditional motifs of Torbat-Jam are semantically mythical and symbolic and are completely geometric and summarized in appearance. Description and narrative, while being concise, are other characteristics of the traditional motifs of Torbat-Jam. Simplicity, rhythm, repetition, color, description and narrative, the frequent use of the bird element and positions such as Ashtarkhjo and Maqam Jal, are important examples of the common aspects of these two arts.

The Iranian carpet industry has a history as long as Iranian civilization and has been one of the selected Iranian arts during the historical and Islamic era. Although the only reputation of its importance and value goes back to the pre-Islamic era, the remaining examples of the Islamic era show the authenticity and importance of this art among Iranians. During the Islamic period, the art of carpet weaving was of interest and importance, and the glory and quality of Safavid carpets and their valuable position in the Qajar period were more prominent than in other periods. Plant motifs have been of particular importance in the Iranian Islamic civilization. They are manifested in different ways and can be traced in different arts. One of these manifestations is in the carpet design. The vase motif and its attachments, which are part of these motifs, are also represented in various arts, including architectural decoration, tile work, bookmaking, decorating and carpeting. But its prevalence in carpet design has been widespread, given its nature and importance. The main objectives of this study are to examine the characteristics of the vase motif, especially during the Safavid and Qajar periods. Based on this, the following questions comes up: - What are the form characteristics of the vase design and the pattern of this carpet design of the Safavid and Qajar periods? -What are the common and different criteria in terms of design and pattern for Safavid and Qajar vase carpets? This study analyzed and compared the structure of the form and the design of the vase in the vase carpets of the Safavid and Qajar periods and recognized the common and differential funds of this plan in the two mentioned periods and examined the changes. This research is descriptive, comparative, and analytical, and used a library-based data collection. Based on the results of the study, it was found that in general, the characteristics of the Safavid period vase carpets are influenced by the art of carpeting of this period, and the general framework of the Safavid period carpeting art has been preserved. During the Qajar period, the vase design continued with a variety of structures, forms and applications of various motifs. The adaptation and comparison of the vase designs of the Safavid and Qajar periods shows a greater variety in the design, form and complementary motifs of the middle of the Qajar vase carpets.

Sarakhs Plain was very important from the 4th millennium BC until the invasion of the Mongols, and it was considered a strategic and important region in the eastern part of Iran due to its connection with the Great Khorasan Road (prehistoric) and the Great Silk Road in the Parthian period. This plain is located almost in the center of Great Khorasan and the Silk Road that entered Iran from the current Sarakhs city. This research seeks to answer the question that what were the mutually influencing factors of the Sarakhs Plain and the Great Silk Road in the Parthian period and what components did they include? Sarakhs Plain was the eastern entrance of the gate and entrance to Iran on the way of the Great Silk Road of the Parthian period, which acted as a link between Central Asia, Northeast Iran and the Iranian Plateau, and included cultural, commercial and economic components with the southern regions of Turkmenistan (Merv and Nesa). The aim of this research is to understand the situation and the mutual effects of the Silk Road and the Sarakhs Plain during the Parthian period and the strategic geographical location of the region, and to provide a general framework of the cultural, economic, settlement and livelihood of the people of the Parthian period societies based on the environmental model variable. The results of this research, which is the product of a season of field surveys of the Sarakhs Plain, the collection and analysis of artifacts left from the Parthian period in the region, and the study of relevant historical geography texts, show that due to the passage and settlement along the Kashfrud, Tajan, and Harirud rivers, it is considered as one of the most important factors in the formation of the Sarakhs Plain and Parthian settlements. On the other hand, the Sarakhs Plain, due to its location on the connecting route of the Parthian capitals (Asak, Nesa, and Merv), has contributed to the prosperity of the aforementioned Shahrah (main road). The most important results of the present study include: settlements with wide and extensive areas, the increase in settlements during the Parthian period compared to previous periods, the provision of security, economic and political development of the Sarakhs Plain due to its location on the Great Silk Road, and as one of the important prosperous cities of the Parthian period due to its strategic location as a link and intermediary between Central Asia, northeastern Iran, and the Iranian Plateau.