نشریه هنرهای صناعی اسلامی
سال هشتم شماره 1 (پیاپی 12، بهار و تابستان 1403)

Ahmad Morshedloo is one of the most famous Iranian contemporary painters whose in his works, he has addressed social issues with a critical expression in a realistic manner. In Morshedloo's works, the human subject is represented, a subject that has resisted social action and is "non-subject". The dominant subject of Ahmad Morshedloo's paintings are human subjects, which occupy most of the space of the frame and are depicted in a muted, monochrome background. The human subjects in these works are lonely, sad and bored, and most of them hide their gaze. In this way, they look like people who are empty of life, ghostly and deformed, who have become passive in their social relations and in other words, " non-subjectivity ". The following article tries to analyze the visual discourse and the semiotic mechanisms of the "non-subject" subject in Ahmad Morshedloo's paintings by relying on the semio-discursive approach. Discursive semiotics is an approach in which meaning is received through examining signs in relation to each other and other discourse elements. The manner of this communication and interaction creates various discourse systems, which include actional system, tension system, and sensible system. Action discourse is focused on the principle of action, action and possession of a valuable object. sensible discourse is based on the principle of presence and sensory-perceptual and emotional relationship of sensible person with the world, with himself and with others. The tension discourse is based on the principle of fluid and spectrum relationship between two streams of "extensity" (cognitive world and outside of me) and "intensity" (emotional and inner world). The purpose of writing this article is to show, relying on the visual discourse of Morshedloo's paintings and its unique visual expression, using the semiotic analysis method, how the concept of " non-subject" was formed in the visual discourse of the works and the process of production and It has affected the reception of meaning. "non-subject" define a human subject who has lost the ability to evaluate and judge and cannot  take voluntary action. Research methodology is descriptive-analytical, and five works of Ahmad Morshedloo's paintings are analyzed in this article. To this end, the main objective of the present research is to answer the following questions: 1. what are the main semio-discursive components of “non-subject” in visual discourse? 2. What are the major semio-discursive functions of “non-subject” in the visual discursive system? The results showed that formation of discursive “non-subject” is as a result to negate components of action in the subject, and by creating a negative process through disrupting the order and creating chaos in modality verbs and through visual measures such as norm avoidance, repetition, and automaticity, faceless in subject, marginalization and threat of the subject by everyday objects are manifested in the works of Morshedloo. Also by using of the semio-discursive components of "non-subject", the tense and emotional atmosphere in the visual discourse of the paintings has peaked, and an emotional and modality subject has been formed with the characteristics of doubt and anxiety.

Zikr is an esoteric concept in Islamic culture and mysticism. Considering the importance of this concept, artists, because art is based on emergence and deals with face; In their works, they have translated this esoteric concept into a visual form. The current research, while examining the religious meaning of the term zikr in its various aspects, has paid attention to the visual arrangements of artists and architects in interpreting the inner meaning of zikr in a material and visual way in Islamic architecture. The use of verses and narrations and the names of God, the Prophet, and the Shia imams and the use of the principle of unity are the most important visual strategies in the development of Islamic identification based on the concept of zikr. In this regard, 10 examples of Islamic mentions in the form of inscriptions in the buildings of the first to the fifth centuries of Hijri, based on library studies and qualitative analytical methods, have been selected as samples. The use of azkar in its various forms has caused it to take on a religious and Islamic color and to absorb a person in its attraction, willingly or unwillingly. Paying attention to the spiritual and spiritual aspects in Islamic arts in general and architecture in particular, on the one hand, has led to the development of the spiritual identity of the work, an identity independent of the form and body, which even acts as an obstacle against the development of a single and coherent physical identity of the work. . And on the other hand, it has led to the development of special visual principles such as the principle of unity in the Islamic visual system.

The gateway between Indian and Iranian cultures is Baluchestan. The art flourishing in this land is due to its linguistic, cultural, and geographical location. Coin embroidery is a declining art in Sistan and Baluchistan. The art of these women is needlework or coin embroidery, which is an ancient art that has many aesthetic aspects. Symbols are an important part of the currency. Roles are driven primarily by nature and moral concepts. This research examines the art of coin embroidery in Sistan and Baluchistan, which aids in understanding the cultural and ancient dimensions of this region. This research aims to explain and categorize the structure and motifs of coin embroidery in Sistan and Baluchistan. What are the structures and patterns of coin embroidery art in Sistan and Baluchistan? This is the main question. The research's application is descriptive-analytical in terms of type. The library, viewing pictures, and interviews are the ways in which information is collected. The method of analysis is qualitative. The sampling method is selective, and seven samples from the past 50 years have been analyzed. This research shows that geometric motifs are considered the most important aesthetic element of the art of coin embroidery, but it shows that all geometric elements, including line, texture, shape, color, and rhythm, are made by symbolic abstraction, and this abstraction is related to the background of Baloch people's life. And this special aesthetic characteristic of the abstract art of coin embroidery can be considered a kind of identity document for the coin embroidery of Sistan and Baluchistan, which is transferred from the past to the present and the future generations. Baloch coin embroidery motifs have a direct relationship with the life, nature, and the vision of the people of that region, and considering motifs such as stars, suns, and numbers such as 3, 5, 9, 11, etc., it can be concluded that the people of Sistan and Baluchistan are familiar with the science of astronomy. Astronomy is used by them. One of the most widely used geometric motifs in the art of coin embroidery is the circle motif, which creates the original design on the background in the form of round mirrors. The divine truth is expressed through the mirror. The use of proportions and symmetry of motifs such as circles, squares, triangles, and rhombuses is one of the main rules of geometric motifs in the art of coin embroidery, and plant motifs are also formed as abstract designs while maintaining geometric features. Human characters such as eyes, human, man and woman, etc. can be seen in the examples of Sistan and Baluchistan coin embroidery patterns, and human characters do not have a clear resemblance to humans, and in fact, they are called by this name because of their similarity to human characteristics. A symbol such as Konak (fish ear) is one the symbols that refer to the authenticity and identity of the coin, Kochak is obtained from Lake Hamon and has a meaning of white color and expresses purity, innocence and purity, and reminds people that Lake Hamon is sacred. The third largest lake in our country, Hamon, is located in Sistan and Baluchistan, and it has been mentioned numerous times in history, literature, and Avesta. This harmony between geometric motifs, astronomy, nature, abstraction, animal and human motifs with the art of coin embroidering should be attributed to women artists and coin embroiderers who create such roles without any training experimentally and mentally. Other important features of the art of Baloch embroidery are the variety of colours and the multiplicity of colours. The color in this art is formed by colored woolen threads, and in most coin embroidery, the dominant color on the background is almost 80% red and green, and colors such as blue and white are also available in all samples. In the art of coin embroidery, each color has its own rules to follow.

Art Nouveau is one of the first artistic styles of the late 19th century, which was welcomed by a diverse range of artists in various fields in many countries. The heyday of this movement is at the end of the 19th century and the beginning of the 20th century, which can be seen with the increase of organic motifs and curved shapes in most European countries. One of the most important characteristics of the art nouveau style is the use of motifs from eastern art, especially Islamic art, emphasis on the simultaneous use of two materials together to create practical works, and the extensive use of plant and curved motifs in the design of works. This style pointed out. How to benefit from the two materials of metal and glass in the design of works of this style is considered the main issue of this research. The purpose of this research is to examine the combined works of metal and glass in art nouveau style works, which tries to answer the question of how different methods of making and decorating two materials, metal and glass, have been used in the design and construction of works of this style. This research is applied based on its purpose and descriptive-analytical based on its nature and method. Its information has been collected in a library manner. Based on the studies and the results, it can be said that the artists of the Art Nouveau style tried to decorate their works with a practical nature by emphasizing the combination of different materials with the use of plant and circular motifs. Emphasizing the aspects of application and decoration in the combination of different materials is one of the most obvious features of Art Nouveau style works.

Nowadays, the world is undergoing a revolutionary transition from the industrial age to the information age, and the success of various cultural, social, economic, political, and security activities depends on understanding and exploring current and future opportunities and threats. The speed of changes and the expansion of target markets from local and national handicraft industries to global levels, along with the subsequent encounter with diverse tastes and cultures, emphasize the importance of finding creative and cultural industries in economic relations. Designing and producing handicrafts at different levels and dimensions advantages and to succeed globally reminds us that production at a global level as a production strategy in the industry sector has been accompanied by successful results. However, due to the unique characteristics of artistic craftsmanship, it solely as pure art or industry, and planning should be based on the existing strategies in each of these areas. Therefore, the aim of this research is to formulate the principles and sub-components of each of World-class production according to the indices of handicrafts. In this article, following the answer to the research question about the principles and sub-components of world-class handicraft production, first by reviewing the research literature on the principles of world-class production, including quality, cost, flexibility, just in time, creativity & innovation and customer service were identified and for each of the principles, sub-components corresponding to handicrafts were explained. Then the results were provided to 12 experts in the fields of handicrafts, art and management, and the experts modified and completed the proposed principles and sub-components in three rounds using the Delphi method, and added three principles including sustainable production and consumption. Environmental and socio-cultural roles reached a consensus on six existing principles. The results of the research, in addition to compiling the principles and sub-components of world-class handicraft manufacturing, show that the experts have developed a design-oriented management approach in the handicrafts sector and developed new management methods in accordance with the characteristics of handicrafts. They consider it necessary and necessary to be successful in global platforms and gain economic and cultural benefits in new markets.

Persian printing in the world began with the publication of Dāstān-I Masih in Leiden (1639). Three hundred years after the invention of movable type printing by Gutenberg (1455) and 200 years after printing the first Persian book, the first book printed with movable type in 1233 AH (1818 AD) in Tabriz (Iran). This research shows that nine books were published in Tabriz between 1233 AH (1818 AD) and 1252 AH (1837 AD) using movable type printing. Ali ibn Mohammad-Hossein al-Tabrizi, known as Amin al-Sharʿ Tabrizi, was the last printer and publisher of most of these publications (four books) in Tabriz during this period. Considering that all these publications were printed with the same typeface, this research aims to study the visual features of the "Amin al-Sharʿ" typeface by examining its formal visual characteristics. The present study is applied in terms of purpose and qualitative in terms of data nature, and library resources have been used to collect data. The results of the study were obtained through a descriptive-analytical approach, focusing on the diversity in form and use of letters. The study examined similarities and differences, developments, and letter combinations in various conditions. The results extracted from this research indicate the use of highly diverse forms in some letter families, such as the "ک" and "ه" letters, for example, a particular form of the "ب" family alongside the "س" family, are signs of attention to the medium and the limitations of printing tools. Also, the use of common sub-forms to create other letters, for example, "ن" in shaping "س, س, ص, ص", reflects a design-based approach that emerged in the use of new tools and indicates the creativity and ingenuity of the experts of that period.

In Iranian painting, the interpretation of an artist’s perspective can be understood by examining the illustration of texts and fixed themes by prominent artists. From this perspective, the issue of the artist’s interpretation of literary texts holds paramount importance, and in illustrating various versions of these texts, artists have incorporated their personal interpretations of the original text, creating additional meanings beyond the content of the work. In the depiction of Khamseye Nizami in the Tabriz School of Safavid painting, artists have indeed created different layers of meaning essentially indicating the authorship of the artist in portraying scenes from Khamseye Tahmasbi. One of the artworks in which the artist has created an additional layer of meaning as the author is the painting “Shapur Showing the Portrait of Khosrow to Shirin”, by Mirza Ali in Khamseye Tahmasbi located in the British Library. This study is aimed at answering the question: What are the hidden layers of meaning in the painting “Shapur Showing the Portrait of Khosrow to Shirin”? The goal is to analyze the painting at three stages according to the iconology pattern of Erwin Panofsky to identify its layers of meaning through this method pre-iconographic description, iconographic analysis, and iconological interpretation. This research, conducted through descriptive analytical methods and library research, reveals that instead of adhering to Khamseye Nizami, implying the image of Khosrow’s face being shown to Shirin by the servants and expressing a romantic atmosphere, here the artist himself is doing it. In this artwork, we are surprised to witness Shapur the painter performing this act, and he has portrayed Shirin and the servants with an anxious and surprised demeanor. The artist conveys moral messages to the king and the court of the Safavid era, indirectly and metaphorically. It serves as a warning symbol of the excessive prejudice, anger, injustice, and tyranny in the Safavid era, finally leading to the downfall of the monarchy. In fact, the creation of this artwork is rooted in the artist’s political, social, and to some extent, spiritual and religious perspectives, derived from the social conditions and wisdom of that era.

Clothing has undergone changes over time due to social, cultural, and geographical factors. Each ethnic group has preserved its traditional clothing as a sign of its native identity. Embroidery is a traditional Iranian art with countless variations, appearing in unique forms in different regions. The embroidery art of Sangesar and Turkmen people, with its long history, has been an essential element in the decoration of the traditional clothing of women in these two groups. This is because this type of clothing has always been one of the main bases for embroidery, featuring a wide range of decorative ornaments and has been considered a visual art that preserves its native authenticity. Therefore, this research seeks to answer the question: What are the similarities and differences in the embroidery patterns of the traditional clothing of Sangesar and Turkmen women? The aim of this research is to identify the components of the embroidery patterns of the traditional clothing of Sangesar women and then compare them with the characteristics of the embroidery patterns of the traditional clothing of Turkmen women, in order to identify their commonalities and differences and ultimately develop theoretical knowledge about the traditional clothing of Iranian ethnic groups. The type of research is descriptive-analytical with a comparative thematic approach. The methods of data collection are library and field research. The results of this research indicate that there are many common features in the patterns of both groups, such as nature, culture, identity, beliefs, and within the geographical boundaries of this type of native art, which undoubtedly the gender of the artist has been very influential in creating these patterns in both groups. The existence of forms derived from nature such as geometric, animal, plant, and abstract designs, as well as the limited use of human figures, attention to delicate details in the embroidery of Sangesar and Turkmen clothing using silk thread, are distinguishing features from other patterns that over time have become symbols with concepts and native identity.

After the end of the Qajar period, the Iranian art was more influenced by Western culture and art. Due to the influence of Western culture and art, more modern trends entered Iranian art. The Persian painting, which had stagnated for a long time from the Isfahan school, was transformed by artists such as Hadi Tajveidi, and through that, the Tehran school of Persian Painting was established. The Tehran school of Persian painting under the influence of the cultural and artistic atmosphere of the Pahlavi period, while benefiting from the artistic techniques of old painting and paying attention to innovation while preserving the roots, meeting the needs of contemporary audiences and points such as Iranianizing the faces to do it Painting faces were influenced by Chinese and Central Asian faces before Tehran school of Persian Painting. The Tehran school of Persian Painting, which was formed during the first Pahlavi period, left a significant impact on the painting of the second Pahlavi period and then on the painting after the victory of the Islamic Republic.  With the forward movement of contemporary painting, some works of painting were placed on the border between Persian painting and modern painting, and some works of modern painting also took many signs of old painting under the influence of the atmosphere that demanded Iranian identity. The present article has searched for the answer to the question that how and through which examples of contemporary Persian Painting and painting have received the effects of ancient Persian painting? The main purpose of this research was to formulate and categorize the methods of referring to ancient painting in contemporary painting and painting of Iran. The present research was written in a descriptive and analytical method and in a quantitative and qualitative way, and its statistical population included all paintings and drawings of the 14th century of the solar Hijra; From this large statistical population, twenty-three works have been selected and discussed. From the results of the present research, the recognition and classification of four main currents influenced by ancient painting in contemporary Persian painting and painting, three of which are placed in the category of contemporary painting due to their undeniable similarity with ancient painting, and the fourth category Due to the innovations that go beyond the framework of old painting, they have the possibility to be named with the names of modern Persian Painting, illustration and modern painting.

Carving is one of the original of Land Abadeh and has been considered as a world city of carving by UNESCO. The motifs used in Abadeh wood carving are rose, narcissus and willow leaves, which can be traced to environmental and cultural factors. Therefore, the artistic characteristics of Abadeh carvings have been investigated and its meaning and concepts have been analyzed from an anthropological point of view.

To investigate the effect of climate and local culture of Abadeh on the motifs used in carvings in Abadeh city.

collection of materials in the library field through interviews with renowned masters and photography. The research method is developmental and descriptive-analytical with an anthropological approach.

The findings indicate that the artistic characteristics of Abadeh wood carving are elegance, smoothness, density in the execution of motifs on the works, and the use of wood without texture and pattern such as pear, or local walnut wood is popular. In the analysis of the issue, weather conditions, climate of the region, values arising from cultural phenomena and beliefs have been considered. Therefore, multi-petalled and red flowers can be found in this region, which was one of the centers of Fars's rose-water collection in ancient times. Rosa damascena has played an important role in various ceremonies such as courtship and marriage. Also, the presence of rose gardens around Abadeh, such as Shurjastan, and the plants and flowers that grow in the mountains have visually encouraged artists to use them. It should be remembered that Abadeh is located in a province that was the capital of the Achaemenid and Sassanid periods, the existence of famous poets and celebrities, and the motive of visual richness with ancient forms and famous faces is understandable and acceptable. What is used. Whatever the artist perceives in his living environment, he shows it in his works, and functional or decorative objects are inseparable from this process.

In traditional perspectives derived from divine revelations and teachings, the belief was that both the world and humanity represent facets of truth, with the world being as the macrocosm and humanity as the microcosm. This perspective leads to another principle, which is the harmony between the macrocosm and microcosm. According to mystical teachings and religious interpretations, the world consists of hierarchical levels, and each level, as a symbol of a higher rank, corresponds both partially and entirely to another level. The research question is how Iranian and Islamic paintings, when viewed through a perspective that emphasizes the correspondence between the microcosm and macrocosm, are perceived and interpreted. Every aspect of an artist's imagination, whether rational or imaginary, and sensory perceptions, all represent facets of truth. The mystic artist, consciously or unconsciously influenced by this spirit of the traditional world, engages in creation, and their artwork in a way alludes to truth. This study aspires to analyze three works from the Tabriz II School of painting germane to the story of Layla and Majnun. The main thrust of the study is to comprehend and present the visual components in the correspondence between macrocosm and microcosm as taught in the Islamic mysticism school for analyzing Iranian painting and deriving novel insights from it. The research is both descriptive and qualitative, using analytical and interpretive methods based upon Ibn Arabi's teachings. Data collection involves observation and study of printed and electronic sources. The results indicate that most paintings are not solely reflections of the external world or narratives but rather refer to the relationship between "humanity-nature-world" and the flow of love in the elements of existence; it is as if the artist portrays the reflection of these two worlds and the flow of love within the pillars of existence.

Modern hermeneutics, of which Eric Hirsch is one of the founders, is in fact a bridge between traditional and philosophical hermeneutics. Traditional hermeneutics believed in the originality of the author's intention in interpreting the works, while philosophical hermeneutics considered the audience to be a partner in the interpretation of the work of art and considered the number of knowledgeable audiences to interpret the work of art acceptable. Eric Hirsch believes that by using the stages of apparent meaning, initial hypothesis and interpretation of the work, the audience can approach the author's intention. In other words, the destination is the author's intention (traditional hermeneutics), but it can be approached from different directions (philosophical hermeneutics), not just one way. The development of this view has been the subject of this research with the aim of further identifying the patriarchal art and tiles of this period. The method is analytical descriptive and based on Eric Hirsch's hermeneutic views. Based on this, he went through the steps of interpreting the works using the connection between the text and the image in order to approach the meaning of the author's work and intention. This research seeks to answer the question of what is the relationship between the text and images of patriarchal tiles? and how can this connection be understood using a hermeneutic method? The results of this study include the relationship between common sciences as astronomy in this period and tile motif.