نشریه هنرهای صناعی اسلامی
سال هفتم شماره 2 (پیاپی 11، پاییز و زمستان 1402)

Qalam and Qalamdan, which are essential tools for dissemination of knowledge, emerged along with development of civilization. As an ancient art, Qalamdan making has a significant role in Iranian culture. Qalamdan making in Iran was flourished during the Safavid and Qajar periods. During this period, Iranian Qalamdan painting was also influenced by the European style. Currently, exquisite Iranian Qalamdans are scattered in great museums of the world. The present study tends to answer the following questions: 1) What is the variety and shape of the Qajar Qalamdans in the Hermitage Museum? 2) What motifs and decorations are used to decorate the selected Qalamdans of the Qajar period?. The present study discusses the background of Qalamdan making and lacquer painting in Iran and Qalamdan painting themes in the Qajar period. Finally, conclusions are drawn from the findings by examining and analyzing the motifs and decorations of 35 Qajar Qalamdans kept in the Hermitage Museum. This study is descriptive-analytical in terms of nature and method, and a documentary method is used to collect data.The Qalamdans of the Hermitage Museum are classified in two general categories in terms of shape: 1) sliding; 2) lidded. The number of sliding Qalamdans is more than the lidded Qalamdans. All the sliding Qalamdans have round heads, which have two different cutting methods 1) dragon fire; 2) oval. Dragon fire cutting method is more common than oval. The lidded Qalamdans also have a transverse cut. The theme of decorations of Qalamdans is diverse; among them landscape, bird-and-flowers, and angelica are the most frequent, which can be seen in the form of one subject or a combination of several subjects on one Qalamdan.

One of the concerns of designers in today's world is to design products that are most in harmony with the cultural background and mood of the user. In today's homogenous world, some cultures, by reflecting on their cultural roots, try to differentiate themselves in the local and global markets, in addition to achieving the permanence of the design with the user. A part of the cultural appearance of a civilization appears in the form of artifacts left over from the past. Iran has cultural roots that have been preserved in the form of objects from the past. These artifacts are a valuable source of inspiration for designers in creating form. In this study, a candlestick with a dragon design from the Timurid period was selected for research in order to examine the intellectual roots of the candlestick designer based on the philosophical atmosphere prevailing at that time, perhaps it will be a path-breaker for the contemporary designer.    The study was done by descriptive-analytical method and the data was collected and analyzed through literature review and the adaptive examination of the form and decorations of the candlestick based on the philosophy of Sheikh Eshraq, Suhrawardi about light. After exploring the political and social conditions governing the society during the period of the creation of Dragon candlestick and the place of the art of metalwork in this period, the philosophy governing the artist's time was analyzed focusing on the issue of light. The origin and basis of Timurid forms and motifs lies in the geometry that has mystical roots and is a network of circles and radial lines from which the mystical concept of light can be understood. The findings indicate that for create the form, the designer must examine the deep intellectual roots that have continued to exist over time, in addition to the user's cultural background and the product, in addition to meeting the need for which it was designed, remains with the user at a deeper level. In This case, the combination of two entwined dragons with an open mouth that houses the candles and a slime-shaped crown or horn on each dragon's head can symbolize several concepts such as, a demonic creature whose breath is fire and the lightning of his gaze encircles and enchants everyone, the fusion of two Iranian and Chinese cultures and myths, the connection of the sacred couple of the earthly dragon with its heavenly counterpart, the constellation of the dragon, and other symbols. Applying the advanced geometric rules that have been customary in the design of Iranian Muslim artists in the past, rethinking the intellectual philosophy that governs the thinking and work of the past and translating these values into the language of today's usres will distinguish the Iranian designer's work in the world of art and industry. Undoubtedly, by pondering the reason for the formation of the form and decorative motifs of the works in various fields of art and industry, the Iranian designer achieves valuable solutions for creating the product form, appropriate to the culture of the users.

Wall painting is one of the types of decoration that appeared in the Qajar period. Wall painting in this period is considered to be a continuation of the tradition of decoration in previous periods such as the Safavid and Zandiye periods, some of these wall paintings were done in Imamzadehs and others in coffee houses and other public places. The events of Ashura is one of the most important titles that has been considered for wall painting in different eras. In this research, an attempt has been made to investigate the wall painting with the theme of Ashura events in the tombs of eastern Gilan based on the Panofsky iconography method. The eastern part of Gilan, which was called Beypish in the past, is the origin of tomb wall paintings in Iran. The reason for this was the rule of the Alavi dynasty in Gilan. In this regard, this research seeks to find an answer to the main question: 1- What is the most important Qajar iconographic feature of Ashura event in Gilan region? To get the answer to this question, the famous wall paintings in some imamzadehs of Gilan province, including Lahijan city, which was in Beypish region, have been investigated.Iconology is a method of interpretation in cultural history and the history of the visual arts that uncovers the cultural, social, and historical background of themes and subjects in the visual arts. The primary level should correspond to the most basic level of understanding, i.e. the natural perception of the work.For the final level of interpretation, the observer not only receives and interprets the message contained within the representation, but also seeks to interpret it under an historical point of view, looking for social and cultural interrelations that might broaden the meaning. This level sees the art not only as isolated act, but as the product of historical, social and cultural conditions conducive to its creation. The results of this research show that painters have tried to portray the event of Ashura based on hadiths and traditions and love for the Prophet's family. Despite the characteristics of Qajar painting and the repetition of painting subjects from the historical events of Karbala, in every In Imamzadeh, the variety of paintings can be seen. It is worth mentioning that a series of characteristics to show the Imams and their Ahl-al-Bayt, as well as their enemies, are common in the wall paintings, and the characteristics that have viewed all aspects of the events of Karbala in the mentioned time frame.The analysis of the images shows that the painters used characters to represent Ashura. In this type of painting, using color, the person's position, the dimensions of the person's face and body, the type of clothes, etc., they have expressed the inner characteristics of people. The shape of the hat indicates a human or a jinn, as well as a person's belonging to the satanic and divine factions. Other images that refer to the way of life of the Prophet's family also express the individual in the same way through the use of color and their position. In the picture where people do not have faces, it is an attempt to emphasize The central characters of the narrative and this is a kind of innovation that has been done in other paintings by reducing the person's face in four graves.

The Mozaffaria or Kaboud Mosque of Tabriz can be considered a milestone in the Islamic art of Iran in terms of tilework. At first view، the widespread use of mosaic tiles in this mosque is impressive، but with attention to the surfaces a variety of tiles, including Luster, underglaze blue and white, gilded tile, and glazed bricks can be seen, which are used skillfully and intelligently in the building. Its mosaic tiles are one of the most delicate examples in Iran, and it is the main type of decoration used in interior and exterior decorations. This article،, while investigating the application of different types of tiles in Kaboud Mosque, analyzes the application of these types in simultaneous and previous buildings and tries to address the previous efforts to achieve these techniques and the innovations in Kaboud Mosque. Therefore, this study aims to investigate the tilework types in the Kaboud Mosque based on the developments of tilework in the past and tries to answer the question of what types of tiles and how they have been used in the Kaboud Mosque? Accordingly, data were collected by documentary and field methods, and descriptive, analytical, and historical methods were used in this research. The results show that despite the use of traditional methods of tileworking in Mozafaria Mosque, creative methods have been applied in the design and making of tiles, which have less history in this technique.

One of the most significant features of Islamic art is the technical and visual similarities between the wooden works of different regions of the Islamic world, especially the wooden buildings of the Seljuk period. This issue is primarily observed in the geographical area of Iran, Syria, and Turkey. Among the things that have been noticed in the studies of Islamic art, is the explanation of these similarities and differences. In the same direction and keeping this issue in mind, this research aims to analyze and compare the wooden works of Abianeh Jame Mosque in Kashan and Ulu Surihisar Mosque in Turkey. The city of Sivrihisar (120 km west of Ankara) is an Eskişehir State in Anatolia. According to the remains and archaeological documents, this region has hosted significant civilizations such as Rome, Byzantium, and Roman Seljuk throughout the ages. Ulu Grand Mosque was built in the 7th century A.H. in the center of this city, which is one of the largest mosques with wooden columns in Anatolia and is on the provisional list of UNESCO World Heritage. Also, the Jame Mosque of Abyaneh village is located near the city of Kashan in Iran, which dates back to the fifth century AH according to the findings of archaeologists. Inside these two buildings, apart from the roof and columns, there are other historical wooden works such as doors, pulpits, and altars, which stand especially at the same time as the construction of mosques. Based on this, the similarities and differences in techniques and motifs between the wooden works of Abyaneh Mosque in Kashan and Surihisar in Turkey is also a question that the present research seeks to answer. Studying the similarities and differences between the wooden works of the two mosques can shed light on the relationship and influence of Iranian artists in the Roman Seljuk government. On the other hand, it seems necessary to record and examine historical wooden works due to the lack of stability of wood material against biological hazards. Information was collected using library sources and field surveys, which were compiled with the descriptive-analytical method. The process of writing the content in this article is as follows: first, explanations are given about the Seljuks of Iran and the Roman Seljuks in Anatolia, then the discussed buildings are introduced, and then explanations are given about their wooden works, in Finally, the introduced wooden works have been compared and matched with each other.The results of the study show that although the quality of the decoration techniques in the works of the Jame Abyaneh Mosque is relatively low, the quantity in number is one of the best features of this unique building in the field of wooden works. In terms of its structure and the number of columns, Ulu Siorihisar Mosque is a manifestation of technical and specialized development in the area of building flat wooden roofs in the Anatolian region. This progress is well felt in terms of the quality of execution of motifs.

Considering the many problems and forgetting the original design and pattern of carpets in Kermanshah, it is necessary to pay attention to the background and local culture and recognize the originality of the design and pattern of carpets in this province. The aim of present study was to Study and analysis of the design and pattern of contemporary carpets in Kermanshah. In this research, 50 contemporary carpets were collected using field and library data, and the design and pattern of them were assessed. The results showed that the types of designs of contemporary carpets in Kermanshah are mainly of the broken type in terms of components and motifs execution way, and the one-fourth and global types in terms of design divisions (number of knots between 20-45). Designs commonly used in these carpets include ship anchor, pergola, Quranic frame of Paveh Mosque, Berchluark, Taranja curtain of Paveh Mosque, samovar, bergamot of Lanjab, fusion, two flowers of Akbar Abad, altar vase, hunting ground, Hossein Abad Keliai, Seyed Abdullahi, one-bergamot Kiveh Nani, one-flower, skewer, Dargol, armband, combination, and coffee tray. Also, the most commonly used colors in these carpets were crimson, cream, pink, lacquer, blue, green, and gray. The most common sub-patterns used in these carpets were also included turtle, mirror, lamp, small flower and sparrow (in the place of bergamot), bear, handkerchief and salt shaker (in the place of Lachak), and pond (in the place of texture). It seems that the contemporary carpets of Kermanshah, which are mainly found in the area of Songhar Keliai, have a high originality in terms of color; however, due to the proximity of other important cities in the field of carpet weaving (such as Bijar or Sanandaj), there exist some non-original designs and patterns in return. Knowledge of the results of this study can be useful for administrative and production organizations related to carpets to produce the best and original quality carpets in Kermanshah.

The influence of literature on Iranian art, including painting, has long been considered. One of the main features of Iranian painting after the establishment of Islam was its association with Persian literature. In Iranian literature, Ferdowsi Shahnameh has a special place and has been seen in the masterpieces of painters during different historical periods. The detailed and extensive illustrations of the Shahnameh have been a constant source of inspiration for the artist. During the Safavid era, when different schools of art appeared, Shahnameh writing received special attention. The Shahnameh became a vehicle for the expression of Safavid political and social thought. Of the Shahnameh manuscripts compiled at the behest of the Safavid king, none is more valuable than Shah Tahmasb. Among the various paintings of Tahmasbi Shahnameh, there are notable music-themed scenes (with the presence of male and female musicians) in Banquet scenes. The study shows that very few studies have investigated the influence of the visual text of Tahmasbi Shahnameh on the literary text of Ferdowsi Shahnameh on the theme of Banquet and music. The purpose of this article is to analyze Banquet's scenes and musical elements in Tahmasbi Shahnameh's painting "The Feast of Faridun and Kundrau" based on the theory of intertextuality, in relation to the literary text (Ferdowsi Shahnameh). Comparing the musical image "the Feast of Faridun and Kundrau" in Tahmasbi Shahnameh with the literary text in Ferdowsi Shahnameh, it is clear that there are differences in the relationship between in contrast to the general similarity of the scenes and the general narrative. This article attempts to answer the question: What are the similarities and differences between the visual text of the musical scene "The Feast of Faridun and Kundrau" and the literary text of Ferdowsi "Shahnameh"? Did the author of Tahmasbi Shahnameh follow the literary text (Ferdowsi Shahnameh) in depicting the musical scene? What intertextual relationship exists between the musical scene in the visual text (Tahmasbi Shahnameh) and the literary text (Ferdowsi Shahnameh)? The results show that the painters, inserting the literary texts (Ferdowsi Shahnameh) into the visual texts in the form of inscriptions, in some cases used personal creativity to depict the scenes of Banquet. Furthermore, the effect of the visual text in the literary text of Ferdowsi Shahnameh can be seen in the overall theme of the painting, which has an intertextual relationship with the literary text itself. Depicting Faridun on the throne of Zahhak in the center of the frame, the artist clearly and openly refers to the literary text of Ferdowsi Shahnameh. Servants, courtiers and musicians playing instruments directly represent the Banquet ritual in the story of the literary text. On the other hand, by studying images, one can better understand that visual text has different elements than written text. Two important narrative elements, time and place, are present in written text and absent from visual text. The golden sky in the illustration indicates a festive moment during the day, while the literary text indicates an evening celebration. In terms of location, the ceremony took place outside the palace, in nature, while the texts mention a party inside the palace. Kundrau's presence in the castle and his conversations with Faridun are mentioned in the written text, while Kundrau is not seen in the visual text. From a historical perspective, the differences between the types of covering of figures, the shapes of containers and metal objects in pictorial texts and the era of written texts (Ferdowsi Shahnameh). In addition, influenced by the political and social conditions of the Safavid period, Safavid painters included images of five male musicians in the Ferdowsi Shahnameh, each playing a common musical instrument. Musical instruments of the Safavid era. Historical sources such as travelogues and drawings show that the painters of the Tahmasbi Shahnameh reflected the social reality of the Safavid era.

Iranian painting is one of the visual arts in which the language of writing and shapes are combined to introduce and convey the ideology and aspirations of the Safavid kings as a propaganda, symbolic and encrypted medium. The traditional practices of the Persian garden and the representation of Safavid ideology are purposefully represented in the paintings. This art deals with social and political contexts, the presence of human agents and the role of artists in the production of text in order to make it more impact and influential on the audience, on the other hand, it indirectly reflects social criticisms and discrimination. The aim of the present study is to identify the elements of power in the expression of ideology and media discourse in Safavid visual works using the approach of Fairclough critical discourse analysis. This research seeks to represent the main and marginal themes in garden drawings to answer the questions: What discourses do the social and cultural components of garden paintings address?  And how are ideological concepts represented in garden paintings as a powerful medium? This research has been done with the approach of Fairclough critical discourse analysis, in a descriptive-analytical manner and qualitative content.The results show: The ideology of the Safavid kings has dealt with symbols and signs of natural and ancient elements in three levels of description, interpretation and explanation. This has been done through the use of cultural hegemony, absolute imperial power, and finally, it has been made available to the audience through the language of shapes. In Fairclough 's critical discourse analysis approach, garden paintings have acted as a mass and effective medium. These visual works have critically addressed various discourses and religious, national, political, mythological and news concepts of the Safavid period. The discourses formed in the garden paintings have dealt with the Power discourse, the network discourse, the discourse of perfectionism, the discourse of traditionalism, the media discourse, the military-mythological discourse, the national-symbolic discourse. These discourses have led to the identification of the long-term goals of the Safavid rulers in social and political development and progress. The ruling system in this historical period has caused Safavid artists to use a variety of formed views and discourses to depict the Iranian garden in the field of power along with the separation of social spaces of the upper and lower classes of society. During this period, the art of gardening and landscaping of the Safavids has become a multifaceted and media visual network. This news media covers the attitude of the Safavid kings in order to legitimize their monarchy and express religious, cultural and political views in the heart of society. These visual media had become a powerful tool for expressing the Safavid ideology, art and industry. Safavid artists in garden paintings have dealt with traditional and ethnic arts, religious-identity and historical teachings to advance the main role of ideology and its function in the context of society. On the other hand, these artists have taken a realistic look at identifying the class divide and moving the lower classes of society away from the space of modernity, and have covertly and cryptically made it the target of their assessment of the class structure of power.

Fabric, as a material that has always been used during birth, human life, and death, has found various functions in different historical periods, according to the ruling policy of various governments. Prominent examples of the political, social, cultural, and economic use of the art of fabric weaving, were the inscribed fabrics. One of the most important types of inscribed fabrics is known as Tiraz, which, in addition to its aesthetic aspect, has had various political, social, and cultural uses in the Shiite governments of the Buyids and the Fatimid of Egypt. Considering the special feature of this fabric, which has functioned as a medium, these questions are raised what are the role, position, and political, social, cultural, and economic functions of these fabrics during the Buyids and the Fatimid of Egypt? What are the commonalities and differences between the inscribed fabrics of these two periods? The principal purpose of this comparative study was to analyze the role and position of inscribed fabrics and especially, the Tiraz style in the two mentioned periods as a medium. The results indicated that the use of inscriptions with religious and Shiite themes, the utilization of Kufic script and the Arabic language for writing, symmetry, balance in the implantation of decorative motifs, the use of more spiritual topics such as the wish for happiness, and forgiveness are common features. Furthermore, some elements such as weaving techniques, a variety of Kufi calligraphy styles, literary and religious subjects, symbolic motifs, execution methods of writing, and baselines are among the different aspects of the inscription fabrics of these areas. Moreover, based on the shaping approach, it was determined that the studied fabrics were first produced for political and social purposes, then economic and cultural, and served the thoughts of the rulers of the time. This research has been done with descriptive, analytical, comparative, and library methods.

Pictorial carpets are among the most important achievements of carpet design and weaving art in the Qajar period, and a relatively large collection of these carpets is the collection of Hoshang Shahi carpets, which in that period became a platform for depicting Shah Zamaneh in the form of Hoshang Shah. Despite countless researches in this field, the reason for the emergence of motifs with historical narratives is a topic that has been rarely discussed. The purpose of this research is the possibility of obtaining critical semantic layers in the desired work, which have been neglected by the opinions. In this research, the authors seek to answer these questions, based on Edmund Burke Feldman's model, by reviewing the symptoms and exaggerated parts of Hoshang Shah's visual carpet, it is possible to achieve a critical interpretation in new layers. Count the differences of these symptoms compared to similar works.The current research is descriptive-interpretive in terms of methodology, and the method of collecting information is library. In this research, the authors have reviewed the research conducted on the subject of the research and try to critically analyze the pictorial rug of Hoshang Shah based on Edmund Burke Feldman's model through four steps (description, formal analysis, interpretation and evaluation). The findings of the research showed that the intended effect in this research, by using the element of exaggeration in the enlargement and reduction of the parts, undermines the symbolic position of the main element of the page, namely Hushang Shah, who probably represents the king of the era. has displayed In the semiotic analysis of these works, there is a kind of semantic error that makes it possible to interpret the meanings in a critical way. By reviewing the available examples of pictorial carpets of this period, it can be seen that the characters of this carpet had a different approach to the position and size of the elements in the work, which makes it possible to interpret in other layers of meaning turn.