جستجوی مقالات مرتبط با کلیدواژه « Symbolism » در نشریات گروه « هنر و معماری »

Fauvism is considered to be the first significant movement in painting of the 20th century. Due to their similar stylistic tendencies, the Fauves, a group of young painters, collaborated for several years. In the meantime, Henri Matisse, the most important painter of the Fauvism style, achieved the following results the use of pure color, as an equivalent for light, the visualization of space by using different effects of colors, the clarity and simplicity of shape-forming lines, the organization of the image with the help of the inherent forces of the line and color The theme finds artistic expression through this formal harmony in the painting, and this is a kind of harmony comparable to the combination of sounds in music. The foundations of Matisse’s aesthetics were established as a result. He tried to turn the scenery in front of him into a decorative design or make people and trees more harmonious with the wallpaper flowers, which were very simple or modified. He aims to combine forms with strong colors and side lines of a simple facade with decorative effects of children’s illustrations. The objective of this research is to discover the origins of the Fauvism style. Henri Matisse’s paintings, which are considered the most important in this style, will be examined. The primary objective of this study is to determine how Fauvism and decoration interact in Matisse’s paintings. After establishing the theoretical foundations and introducing several works of Henri Matisse that utilize decorative elements in their creation, they will be examined. The use of a descriptive-analytical method is used in this practical research. In a library-like manner, they are gathering information and viewing images. The sampling in this study is selective and the research is qualitative. This research states that from an aesthetic point of view, Henri Matisse objectified his dreams and inner emotions with the help of two-dimensional motifs, expressive lines, and symbolic coloring, and used the motifs with an emphasis on their decorative and emotional values on flat surfaces.

The Qur'an has unique and exceptional capacities and everyone can benefit from this infinite ocean according to their existential and epistemological capacity and talent; in the sense that behind its simple appearance, deep and endless concepts and issues are hidden. Islamic mysticism in the light of the Qur'an, traditions, and hadiths of the infallibles, in the topics of ontology and monotheism, is full of intellectual richness and depth of thought, which every time with careful reflection on these teachings, new horizons and wider spaces are revealed and opened. Some of these concepts are the result of attraction and inspiration, and some have an argumentative and descriptive aspect that is obtained in the field of Qur'anic and religious teachings. Verse 35 of Sura Noor is one of the verses that has an amazing allegory about a transcendent and transcendental truth. Every thoughtful commentator, depending on the level of faith, intuition, and reasoning, has received and understood this noble verse that although there are differences in the form of expression and the form of discussion of each one, the essence of each is connected to the same truth. The simile used in this verse, like other Qur'anic similes, brings the concepts as close as possible to the mind of the audience. In this beautiful allegory, there are secrets and hidden things that sometimes need to be expressed in a symbolic language. Symbology is an efficient tool to access higher meanings of the worldly and natural life of man, which is formed in the world beyond him. Therefore, it is especially used in retrieving the concepts of the holy texts, which show the relationship between man and the world beyond himself. Muslim thinkers have accepted symbolism in some verses of the Qur'an and mentioned it with expressions such as "symbolic". Of course, these scholars did not introduce symbolism in the sense of negation of knowledge-giving Qur'anic propositions. The aim of the present research is to investigate the symbology of the verse of light and a careful search to find the symbolic meaning of the verse of light in the form of Islamic architectural decorations in Iran. The main questions of this research are: 1. How is the symbolic concept of the verse of light displayed in the decorations of Iranian mosques? 2. Which pattern is more famous and useful than other motifs? Islamic art is a great treasure of great mystical meanings and divine wisdom; the root of this art should be sought in the deep foundations of spiritual and divine thinking. Thinking and meditating on the inner aspect of this art and symbolic language, which contains mystical and metaphysical foundations, is an undeniable necessity. The necessity and importance of this research is due to the fact that there are many shortcomings in this field in researches. In this article, we will examine the symbolic meaning of Islamic architectural decorations in the form of analyzing some motifs, in connection with the symbolic meaning of the verse of light, and along with these elements, we will analyze and investigate the mystical and metaphysical foundations of these motifs. The research method in this research is descriptive-analytical and with a structural and visual study through a comparative approach. The method of data analysis in this research is qualitative. The primary information of this research was collected through library studies and the secondary information was collected through field studies. The statistical population of the research includes examples of mosques in historical periods in Iran. The Qandeel symbol, used in the altar of mosques and tombstones, and altar tiles, has been identified and studied from the point of view of symbology. To analyze the data, the desired motifs were photographed and their motifs were extracted using AutoCAD software. The results of this research show the verse of light is one of the few cases that refers to an element as a symbol in the Holy Qur'an. As can be understood from the meaning of the verse, in order to better understand the concepts in the audience's mind, God expresses his light as a symbol with the analogy of a lamp inside the altar. After the interpretation of the verse by Islamic commentators and scholars, Qandeel's role in Islamic art has been repeatedly used as a symbolic meaning of the verse of light. Apart from this role, the symbolism of the verse of light can be seen and analyzed in other decorative elements of the mosque, such as Muqarnas, applications to regular faces, and light-retaining meshes, in which geometry and light help each other to manifest existence. Due to the direct connection between the visual nature of Qandeel and the example mentioned in the verse of light, this pattern has served as a reminder of the verse of light more than other decorative motifs of mosques.

Symbolism is a cryptic and effective way of conveying meaning, handled by Iranian painters in different periods. During the Safavid period, the use of symbolic elements became more prominent with the recognition of the Shiite religion and the tendency of art workshops to portray mystical and religious themes. Among these workshops was the royal workshop of Prince Ibrahim Mirza in Mashhad, which is recognized both for its religious and cultural significance of Khorasan and for its illustration of magnificent manuscripts such as the Jami’s Haft Awrang. Ibrahim Mirza's Haft Awrang paintings are based on Jami’s stories and have different themes, such as the story of "Yusuf and Zuleykha" mentioned in the Qur’an and other books of the monotheistic religions, or the often told story of "Leily and Majnoon". It is reflected in Iranian literature and culture. The aim of this study is to comparatively examine the symbolism in the paintings of these two stories, to determine their relationship with the religious and cultural beliefs of this period, and to answer the following questions: 1. How were the culture and religious beliefs of the Safavid period reflected in the symbolism of the two stories? 2. What is the connection between the symbolism in the paintings of the two stories and religious and cultural beliefs of the Iranians during the Safavid era? The research method is comparative-analytical, and the information collection method is library research. We start with symbols classifications: One of the types of symbols classification is the placement of symbols into the type of human symbols and transcendent symbols, based on the theory of symbolism by Charles Chadwick (1996). "Human symbols" is a personal aspect of symbolism that can be considered the art of expressing thoughts and feelings by referring to how they are expressed by the artist; like a jar in Khayyam's poems. In this sense, it is the artist who brings a symbolic concept to the symbol and uses it in a certain sense in his works, and this requires the examination of all the works of an artist that are outside the scope of this study. But, in "transcendent symbolism" symbols are broad, general and ideally objective images of the world, of which the present world is only an incomplete representation, mystical symbols, and cultural symbols may be considered of this type. Transcendent religious symbols refer to religious content, and transcendental cultural symbols refer to literature and culture, and transcendent artistic symbols are derived from the principles of Iranian painting and elements of nature. We examine artistic symbols in two sub-categories of geometric and natural in 6 paintings of Haft Awrang. What can be deduced from the analysis of the research findings and the comparison of the two categories of painting is that the painters of Ibrahim Mirza’s Haft Awrang paid attention to the belief and culture of their period in the painting of religious and cultural content. The use of symbols such as the Ghezelbash Hat of the main characters of the story, Islimi, Greh, lotus, green and blue colors, mountain -tree, and the golden sky is in accordance with religious and cultural beliefs and principles. In response to the second question from the painting tradition of this period, despite the similarities in the use of some transcendent artistic symbols in both categories of painting originating from the Iranian painting tradition and originating from the seven principles of painting during the Safavids period, symbolism is different in the pantings of two stories. It is clear that in the Iranian painting tradition, symbols, like other nations, have a cultural and doctrinal basis, which is immortalized to express deep and cryptic concepts in the literature and culture of the nations. Therefore, the formation of principles based on this deep connection between religion and culture in the Iranian painting tradition has led to the use of some similar transcendent artistic symbols. As the winged angel and phoenix are combined symbols, rooted in the ancient myths of ancient Iran, and after Islam, under the influence of the common concepts of religions, the winged angel became a symbol for Gabriel and angels close to God, and phoenix found a sacred and spiritual role. Therefore, the painters paid attention to the religious and cultural context of the story in symbolism, and used symbols accordingly in their paintings. Despite the influence of religion and culture on each other and the art of the Safavid period, it can be said that some mythological symbols such as phoenix and dragon from the rich culture of ancient Iran remained strong and alive. The painters also used symbols like Lutus, Greh, etc. and they became the common ground and basic principles of Iranian painting. Some symbols such as the winged angel and the phoenix, retained their mythological forms, but took on a religious color and were used in a new sense.

Native elements are one of the most important components of the formation of visual texture in culture. The texture of the image of Iranian culture is full of symbols and signs that have emerged from the heart of native elements. Symbolic anthropology deals with the understanding and interpretation of culture with the help of symbols and signs. Throughout history, symbols and signs have used media such as images and writing to express their values. Typography is one of the powerful image and writing branches in today's world, which has been able to communicate with the roots of image and writing and has achieved an independent function in this connection. The purpose of this article is to find the impact of native elements on Iranian typography from the perspective of symbolic anthropology and what consequences this impact had on Iranian typography. The method of examining the findings is descriptive-analytical and based on library study and case examples of Burjamaneh's works from Iranian civilization. From this, 7 cultural symbols of Iran have been examined as findings in this article. The findings show that native elements have played an essential role in shaping human constructions and his knowledge of his surroundings. Typography in its various forms is affected by these knowledge and constructions. In the most basic form of knowing the environment around him, the intelligent man has gone to the creation of symbols and signs. In the examination of symbols in Iranian art, traces of native elements can be searched. These elements are expressed in the form of symbols and signs in the image and text. The body of Iranian art is full of these signs, which in each period has adapted itself to a different thought of the time and has emerged as a unique Iranian art from the heart of the thought of each time. Native elements can be considered as the characteristic of every culture and civilization that forms the cultural context. Native elements have a significant impact on the shaping of ethnic aspirations, far and near. Desires that are mixed with life, death, creation, cosmology, totem, pilgrimage, rituals, marriage, the world after death, etc. Therefore, native elements should be considered a turning point in the formation of these concepts. Today we look at the image with a deep attitude. The image for us, whether written or in the form of a pure image, has many meanings that we can interpret through our knowledge and understanding of the image. Symbolic anthropology is the methodology of our interpretation of these signs. A bird in a stamp that looks up, a hexagonal captive ram, or the writing of Bab al-Hawaij, which has a hand association with science, all have a specific definition according to our bio-ecological understanding of the image. Typography is the art of designing a message (concept) in the form of an image or writing or both, which conveys a specific meaning according to the geographical location where the designer and the audience live.

Human's life is full of symbols. In the field of art, colours have long had a symbolic meaning. In the late nineteenth century, the symbolism movement began with the declaration of symbolism in France, and the painting of ideas was defined by Albert Orber in connection with the visual arts. Gustav Klimt was a symbolist painter and, like an emotional poet, tried to embody general and abstract concepts such as life, death, music, lust and jealousy with symbolic lines and colours. Eugene Schiele was one of his students in the expressionist style of painting and was influenced by his master's symbolic style. The authors answer the research question with descriptive-analytical research method and library information collection method. This study is a comparative study of Gustave Klimt's painting "The Kiss" and Eugene Schiele's painting "Cardinal and the Nun (Meditation)". The research question is to compare and evaluate the effect of these two paintings from the perspective of the symbolic meaning of colours on the emotional perception of the audience? The result of this research shows that although the two works of art have a common theme, the artists have paid attention to their purpose and feelings in choosing the colours. Depending on the choice of colours, one effect induces a sense of anxiety and fear and the other effect induces a sense of interest and love to the audience.Artistic styles and techniques have been created according to the culture, social conditions and geography of each place. Symbolism was a reaction to the school of Impressionism as well as the principles of realism. Expressionism was also a reaction to symbolism. The symbolists conveyed all their intentions through the symbols. Expressionists expressed their emotions, especially fear, anxiety, and love, through colour; They exaggerated in the use of colour and drawing. Colour has a special place in the lives of humans and artists. By seeing the colours used in the art of any culture and society, one can understand the feelings of the people of that culture. Colours can define a person's mood and also create a special halo or energy in the atmosphere.Colour has existed in human life since time immemorial. Until the nineteenth century, only a few dyes and pigments were known, most of which were organic in origin and very expensive, but today humans use synthetic materials to produce multiple and cheaper dyes. Colours are present in all human life and are very important and are a part of our lives. Spectacular and visible colours have different effects on nature and the human mind. Every colour has a use and meaning in every place. The perception and interpretation of each colour is different in each culture. Colour symbolism is universal; It is one of the most important symbolic systems of man. Colours evoke what it symbolizes.The statistical population of this research is the painting "The Kiss" by Gustav Klimt and the painting "Cardinal and the Nun (Meditation)" by Eugene Schiele. In this study, the authors conducted a comparative study of the colours of the painting "The Kiss" by Gustave Klimt and the painting "Cardinal and the Nun (Meditation)" by Eugene Schiele, which is the purpose of this study. Also, what effect do these two paintings have on the emotional perception of the audience in terms of the symbolic meaning of colours?The present study is based on collecting library information method with a fundamental purpose and descriptive-analytical method to answer the question and purpose of this research. The simultaneous and historical comparative method as well as the study of the statistical population of this research to determine the common, conceptual and symbolic differences between these two paintings. The type of this research is qualitative. The statistical population of this research is two paintings by two artists with the style of symbolism and expressionism; These include the painting "The Kiss" by Gustave Klimt and the painting "Cardinal and the Nun (Meditation)" by Eugene Schiele.The sampling of this research is purposeful and by selecting two paintings by two artists with the style of symbolism and expressionism that have the same theme, but each artist has chosen colours and each colour has a symbolic meaning and these colours have affected the emotional perception of the audience. This research first uses a descriptive method to define modern Western art, symbolism, expressionism, symbolic concepts of colours, and the biography of Klimt and Schiele, and then analyzes the symbolic meanings of the colours used in the two paintings.Kiss is the most famous work of Klimt from his golden age (1898-1908), which has used gilding in most of his masterpieces. Klimt began The Kiss in 1907. Klimt called this painting lovers, but today it is better known as The Kiss. This time in The Kiss, like many of his previous works, he does not portray society as a scandal. From the very beginning, this painting was noticed and admired, and this can be seen in its rapid sale. This painting has become a symbol of New Vienna art. The two figures in the kiss painting are wearing strange clothes that have been carefully decorated. Klimt has used more gold, brown, emerald green and yellow. The artist uses the golden colour in the background to create depth in the work. The painting has no straight lines and is full of curves and curved lines. The male face is not seen in Klimt's kiss painting. He holds the woman up; He presses his hands to the woman's face with a delicate gesture, but his face is away from her arms: he just offers his cheek for a kiss and his hand almost tries to hold her away.In Eugene Schiele's "Nun and Cardinal (Meditation)" painting, the eyes are full of excruciating anxiety. Anxiety about Christian temptation and sin. It is as if the nun is staring into the eyes of someone who sees her committing such a corruption; However, the Cardinal also has a glimpse of this dazzling. The hands, which are often the strangest forms in Schiele paintings, are in a state that can be seen in Christian paintings and statues, but ultimately both their figures and their proximity can be attributed to the figures of Klimt; the same painting that Schiele has been most influenced by. For Schiele, the connection is the wear and tear of the figures, except that the sexual act is highlighted here, even though in the red shadow of the cardinal sin. Schiele called this strange feeling of shame "embrace". The composition is triangular - a shape that always refers to the strength of power structures and their strong attachment to the ground. The issue of sexual and moral corruption in the church is not unusual in itself.Artists have influenced each other over time, depending on the circumstances. These effects can be in the use of colour, subject matter, art style, symbols, and so on. Students have been impressed by their teachers. The greatest influence in Schiele's painting "Cardinal and the Nun (Meditation)" is from Klimt's painting "Kiss", which was drawn by Klimt five years ago.In this research, the symbolic meanings of the colours used in the painting "The Kiss" by Klimt and the painting "Cardinal and the Nun" by Schiele have been studied. Also, what effects do these two paintings have on the emotional perception of the audience in terms of the symbolic meaning of colours? Although they have the same theme, each of these paintings gives a different feeling to the audience. One expresses love and affection and the other is fear and anxiety, which is due to the choice of colour by the artist, and the difference in the choice of colours is related to the artistic style, mind and feelings of the two artists. Klimt has used positive and light colours in this painting, but Schiele has used dark and negative colours, each of which has a symbol and meaning.Artists have been able to use these colours to communicate their intentions to the audience. Klimt has used the colours of gold, brown and yellow more, which symbolizes and expresses glory, love, care, safety and success. Yellow is a symbol of activity and ambition. Emerald green is the colour of spring and a symbol of youth and vitality. Brown is a symbol of trust, comfort, intimacy and stability. He also used red colour in the decoration of women's clothes, which is a symbol of fertility and love.Schiele in this painting of dark colours, used black, more than brown. Green and red are also seen. Black is a symbol of secrecy. Brown indicates earth and materialism. Red is the colour of passion, passion and passionate behavior. It is also a warning to not continue and not to move forward, a passionate and daring behavior. Schiele has used red in men's clothing, which is a symbol of masculine power. The sludge green colour indicates deterioration, obsolescence and erosion. 

Pottery is one of the arts of the Islamic period. Pottery with the beginning of the Islamic era and Islamic art in Iran, due to having the spirit of simplicity, unity in role, color and full adaptation to the lifestyle, beliefs and culture of Islamic art paid special attention to it.In order to know more deeply thepatterns and their meanings in this sublime art, pottery of Meybod region, which is one of the most prestigious regions and the center of pottery in Iran, is culturally and historically ancient and economically very effective in the livelihood of its peopleIs selected as a sample of studies and seeks to answer the question that, what is the meaning and symbolic meanings of pottery motifs based on the symbolic language of Islamic art?The purpose of this research is to know the characteristics of form and color of Meybod pottery motifs based on the symbolism of Islamic arts,in order to pay more attention to the motifs used in the pottery of this regionand also the symbolic meanings of its motifs.The results show that pottery is a suitable platform for embossing human beliefs and ideas and the patterns and colors used in pottery are all symbolic and abstract derived from religious beliefs, social,cultural conditions and daily life of the people of this region and have Strong concepts of symbolism are in line with the culture and characteristics of Islamic art, which is the language of symbolism, purity and unity.Accordance with culture.And are characteristic of Islamic art.

This article is an attempt to explain and present the definition of “Another in Me” based on Paul Valery’s discourse in “The Lady From The Sea” which is a play that was written by “Henrik Ibsen”. The main direction of article is the understanding of “Another in Me” in the “Symbolism” which was explained by Paul Valery. This article refers to Paul Valery’s poetry and prose for the deeper understanding of Valery’s Symbolism. Illustrating the concept of “Another in Me” on the main character of mentioned play, “Ellida” plus making turbulence and involvement between marine area and earthy area that leads to "selection”. Also for making this subject more objective and the better understanding put the Symbolism’s mechanism in the chart format. Therefore two other Characters of this play “Arnholm “ and “Sailor “ are two different faces of Ellida and because of the writer's ability to use literary elements have objective aspects in two other characters at the same time. The main character of this play apart from marine and earthy connection in the material world is in the connection and discovery with the inner world. The other related point is the explanation of Symbolism’s place in The Lady From The Sea based on the Freud’s approach, from this window the other two characters (Arnholm and Sailor) who are representations of two period of Ellida’s life – past and present – explanation again and their Symbolic aspects match with Ellida’s face, The result is obtained that Ellida’s truth is hidden beneath the two other Characters’ face. This essay that was written in the form of “Descriptive –Analytical” is an identity study from the inner world of the play "The Lady From The Sea" with consideration of spiritual journey and conduct of the main Character of the play “Ellida” and is an answer to this main question: why and how the main character of The Lady From The Sea between two facts of his life based on the concept of “Another in Me” accomplishes discovery of herself and her wish and then chooses and what is the outcome of her choice? Also the result of the process of confrontation and explanation of Valery’s theory in The Lady From The Sea is an important challenge of the main character of the play “Ellida” and the communication between the other characters (Arnholm and Sailor) to access the other area of herself.

Pottery is a cultural and artistic phenomenon and its role as a symbolic as well as allegorical expression has been a means of conveying ideas and beliefs. The bird is one of the creatures whose motif has been drawn by human because of the close and constant presence in human life and proximity of its habitats to human dwelling. This research aimed at reviewing the motifs of ancient birds as well as birds of the Islamic period in Iran. Indeed, the present study seeks to discover which ideas, beliefs and themes emerged in ancient times as well as in the Islamic period, and also scrutinizes whether these themes were same in these periods. Moreover, the research attempts to find out the commonalities and differences in the design of the form, symbolism, and message transmission of bird motifs in these periods. This research is descriptive-analytical and the required data has been collected in a library method. The results show that the use of bird motifs in ancient pottery was not only symbolic but also a reflection of spiritual beliefs and seeking help from the bird's natural power in nature. However, motifs of birds in Islamic period show the symbolism of these motifs. Although the artist in ancient times made the designs seem natural, motifs seem very abstract; meanwhile, the opposite can be observed in Islamic motifs. In addition to the mentioned contradictions, commonalities can be seen among these pottery. For instance, these pottery were at the heart of people daily lives in both periods.

Islamic art inherits the ancient tradition of illustration and motif, which was developed under the religious teachings of Islam. The desire for happiness and blessing in the form of written expressions and word repetition observed on the pottery surfaces of the Islamic period, is part of this legacy. The study of Elamite inscriptions as one of the oldest civilizations in the world, shows that the concept of blessing and abundance is one of the important themes of these writings, which is especially illustrated in scenes dedicated to Elamite works. In Elamite art and on Islamic pottery, inscription is associated with the concept of blessing and benevolence, which are placed next to pictorial symbols. In the pottery of the Islamic period, the text is decorated with an abstract plant symbol. The concept of blessing and fertility can be considered as one of the main aspects of human thought. Blessing and fertility is directly linked with human life. Thus, it can be represented as text and image on artwork. The present study seeks to discover how the concept of blessing and fertility appeared in ancient Iranian art, particularly in the Elamite civilization, and how this concept is represented in the pottery of the Islamic period. The purpose of the research is to explain the philosophical concept of blessing in Iranian art and to identify symbolic characters on Iranian-Islamic pottery. This research aimed at comparing the methods of expressing blessing in the oldest Iranian arts with symbolic examples in the pottery art of the Middle Ages of the Islamic period. The type of research is fundamental with respect to the purpose of the study. The research method was descriptive - analytical and data collecting is via library study by taking notes and image. The data analysis is qualitative. The findings indicated that concept of blessing emerged not only in written texts and inscriptions on seals and containers, but also in the form of animal visual symbols such as birds, fish, plant symbols such as the tree of life, and abstract symbols such as zigzag lines, circles and spirals, stars, and divine symbol. Written inscriptions revealed the concept of blessing, felicity and prosperity in the form of prayer decorated the Islamic pottery in Middle Ages. The same pictorial signs symbolizing blessing in Elamite art are also depicted on pottery next to the word blessing.The concept of blessing and fertility is one of the main aspects of human thinking. Blessing and fertility is linked with human life. Thus, it can be represented as text and image on works of art. This study seeks to answer the question. What is blessing and fertility symbol in ancient Iranian art, especially in the Elamite civilization and aspects of this concept in Islamic pottery. The main hypothesis is the emergence of the concept of blessing and fertility symbol for inscription, As well as icons in Elamite art and culture, its continuity in the Islamic pottery especially the works of Nishapur . The reserch method was descriptive - analytical and data collecting is via library study by taking notes and image. Thte analysis of data is qualitative. Based on research findings, blessing have appeared In the Elamite writing of art on stamps and with animal symbols such as bird, fish and plant motifs, the tree of life, and abstract symbols, such as zigzag lines, circles and spirals, stars and divine symbol. Written inscriptions with concept of blessing, good luck and prosperity for prayer,decorated the Islamic pottery.

Coins represent important objects of our cultural heritage and are usually of high artistic and cultural value. The archaeological issue concerns questions in relation to the iconography, dating, provenance, and technology of production or authenticity. So, the symbols on the coins are the most important guide for researchers in recognizing religious beliefs with religious opinions and beliefs in different historical periods. Myths have played a major role in the culture and art of every nation for a long time and they have had various usages in different eras and have been manifested in the narrative stories or visual symbols from the heart of the religions, beliefs, and art of any nation. Plant motifs have a special place in Iranian thought from the past, which have been sanctified as symbols and myths in Eastern cultures and have been associated with ancient rituals. Numismatics is an auxiliary source for recognizing political and economic issues and for explaining historical periods from which there is limited information about them in written sources. In fact, in some cases, the design on coins is the only source that provides significant information for researchers, about the political, cultural, social, and religious structures of a historical period. Therefore, it is an important source in historical studies and art history. While other sources, especially written sources, do not have the information on these coins. Despite the importance of coins as first-rate sources, the knowledge of numismatics from the Parthian period is very incomplete, compared to other periods in the history of Iran, and studies on coins from this period are more about the identification of kings and political history, and less about the subject of religion. The symbols on the coins are the most important guide for researchers to recognize religious beliefs and opinions in different historical periods. In the culture of ancient Iran, plants and trees have been respected for a long time. According to the many designs found on seals, beddings, pottery, etc., it can be seen that some plants had a sacred and mythical place and a particular plant had high importance and status based on religious and ritual beliefs in different historical periods. The main purposes of this field research is to identify plant symbols by emphasizing the patterns engraved on Parthian coins, and to try to study, re-read and interpret plant images in order to identify their place in the religious and mythological beliefs of this period. The main issue in this study is the lack of resources and so far, no independent source has studied them. The questions of this research are:What are the most important plant drawings used on Parthian coins?Is it possible to understand the religious beliefs of this period from the plant symbols?In terms of the research method, this research has described and analyzed the drawings and symbols by using the fieldwork and library-based method. At first, two hundred and fifty coins in the repository of the Reza Abbasi Museum were examined and studied. These coins were purchased from individuals and collectors in the years before the 1979 Revolution and among them, one hundred and thirty coins had plant drawings. The research also referred to the coins of museums of Sepah Bank and Money Museum with two samples of coins of Arsaces I and II belonging to the Money Museum, and bronze coins with plant images belonging to the Sepah Bank Museum. Due to the limitations of museums regarding photography and providing photographs to the authors, eighty coins were selected for study; sixty- five of which were Tetradrachms and Drachmas while fifteen coins were Bronze, which had been designed in Photoshop and Corel softwares. In order to conduct library studies and to identify the Parthian kings, the Sellwood catalog of Parthian coins has been used. Thus, at first, the plant motifs, which were used in Parthian coins, were identified. Then, by collecting information through library research, and relying on the symbolic approach, plant drawings were studied and checked in order to provide a comprehensive interpretation about plant symbols which were used on Parthian coins, as well as their function and place in the myths, beliefs, and rituals of this period.The results of this study show that the plant motifs which were used in the Parthian period, include palms, olives, rosettes, grapes, wheat, pomegranates, lilies and oaks.  The motifs of palm, olive, rosette and lilies can be seen in the Tetradrachm and Drachma coins of the Parthian kings, while the motifs of grapes, wheat, pomegranate and oak can be seen in the Bronze coins, and according to symbolic issues, it can be said that these arrays are related to Zoroastrian, Mithraic and Anahita’s religions. In the Parthian period, Zoroastrianism is mixed with other beliefs, which is seen as the trinity of the gods of Mehr, Anahita and Ormazd, which ultimately indicates the religious tolerance in this period.

The application of script in the Islamic art, as in architecture, cloth designing and other applied arts, shows that Farsi script, apart from conveyance of concept, is being used as a decorative and symbolic element, as it has harmonic complexities and opportune visual ups and downs. In the 40s S.H. and creation of Saqakhane school, the artists who were concerned with guarding and further developing the national art, were seduced by a novel style called drawing - calligraphy; the so-called style is based on illustration of form-based aesthetics of the script and also, it became a sole decorative element, using other elements of drawing. The latter led to eventual salvation of the script apart from conveyance of concept. There were also artists who tried to revive and revitalize an old Islamic art, which was named “script drawing”, that had been underlined during the Safavid and the Qajar periods; an art form in which recreation of conceptual forms is being made by using the script. In this regard, images of holy animals are created using decorative scripts. One of the most important pieces is a bird-formed Bismillah (In the name of god) script. In the Islamic culture, birds have a special place. The birds are used to found and mean visual terrestrial elements again, proportional to religious definitions; regarding both the form and concept.Furthermore, writing the Islamic name for God, the Prophet’s name, verses of Qoran like La -ela-ha-ella-Allah (which means there is no god but Allah) has frequently been done by different artists. The writing of Bismillah (which is Arabic for “In the name of God, the most merciful and the most compassionate”) is one of the most frequently used phrases between Muslim artists due to its high religious value and credit as well as its meaning. By arrival of Islam and its prohibition of drawing, artists always tried to implement symbolic and virtual forms in their works. This thought led to arts based on environmental and natural forms, such as Esllimi (arabesque) forms used in architecture, and Toranj and Lachak in carpets as well as other related simplifications. In recent years, regarding the lack of basic definitions in this regard, no distinguished artistic creation has happened; this is also because of the lack of dominance in terms of skills of decorative script’s different branches. Research around this subject will lead to historical recreations of evolutional path of work creation, which eventually leads to creation of creative works based on knowledge around traditions. The current survey is aimed at knowing script drawing and its distinction with drawing – calligraphy. Accumulation of so-called structured knowledge is considered to ease the creation of deliberate arts between young artists. The current survey is undertaken due to the urgency of disclosing differences between basic definitions of script drawing and drawing-calligraphy and their fundamental differences, focusing on bird of Bismillah drawn by Reza Mafi. Reza Mafi is a leading Saqakhane school artist who implemented script in drawing images, and has created most works among contemporary artists around bird of Bismillah. Questions of the survey are: 1- What are the concepts of the script and image in bird of Bismillah regarding visual symbolism? 2- What are the mostly used techniques and scripts in works named as bird of Bismillah? 3- How are forms, which are implemented in the latter works, categorized regarding visual symbolism? The survey method is library-based; based on available documentations that are gathered using fiche method and categorizing tables. The statistical population consists of artists of the 30s and the 40s S.H. of Saqakhane school followers. The samples include 4 works by Mafi, and 4 other birds of Bismillah from other Safavid and Qajar-era art pieces. The sampling is not random and is based on previous authorized samples that confirm the identity of the artist. Among these 8 art pieces, Mafi’s works are regarded with considering visual symbolism based on explicit and implicit indicating signs. It is found out that birds of Bismillah are among religious artistic works. Both in the Safavid and the Qajar eras, artists of Saqakhane School had enhanced their religious credit by drawing bird of Bismillah and subsequent praise and worship of the unity Allah. These forms are generally drawn using the problematic script of Thuluth (and sometimes Nastaliq). According to the investigated works (symbolic images of bird, drawing of Bismillah to create images) the form of lines and images are drawn alike symbols and meaningful forms, in spite of script drawing in which words are made void of their meanings, and as the form and color elements are superior and words and letters play only aesthetic roles, words in script drawing are used controversially, and the element of script has the main visual role.

Sometime replete with sense of life, Gonabad pottery and its motifs have gradually lost their original meanings and concepts in the course of time and now those meaningful motifs reduced to just some decorative motifs without their initiative notions for most of potters making pottery and applying those motifs on the works. Therefore, it seems necessary to authors to determine the basic, essential concepts of motifs on the pottery forgotten as a result of transmission by oral history as well as time passage. The aim of this study is to introduce and reexamine the concealed thoughts, ideas and philosophies these motifs have maintained within them during thousands of years. The research is based on descriptive-analytical methodology and the data collection method on library review. According to the concept of study, the main sources for related data, articles and so forth in the research were scientific databases.The results indicate that there are generally three types of motifs on Gonagad pottery, including zoomorphic, vegetal and geometric. In the zoomorphic group, peacock, sparrow (little bird) and pigeon (big bird) are so prominent that those like peacock and sparrow have appeared on Gonabad Great Mosque’s portal as well. In the vegetal motifs the tree and in geometric ones the sun motif is of significance. In fact, the basic concepts of such motifs are embedded in popular stories as well as in folk beliefs, manifested symbolically in the form of single images on the pottery. Furthermore, the motifs had strong and close relations with the religious beliefs of that period as well as the subsequent eras. Specifically, peacock motif on the one hand was prominent in Islamic Art and on the other it carried Zoroastrian connotations.

In the Islamic architecture, functional geometric designs have more than technical means, in other words, the spirit of Islamic art has always been reasonable to the world and the world, because of the alternative to the materialist art, and in any case, the Muslim artist was able to draw a picture of the geometry of science. The application of this geometry, which is generally in different forms of geometry in the interior and exterior of buildings, these varied forms in the traditional domain of the Islamic religion can be able accompanied by national religious approaches. The symbol of the eight-pointed star due to its geometry and its specific form in Iran, especially in the sanctuary Razavi, has been considered as a spiritual center on the religious position of Imam Reza.The purpose of this article is to investigate the link between the symbolic concept of the 8th star in the sanctuary Razavi with the spiritual position of Imam Reza. Geometric shapes are an important part of the identity Iranian-Islamic art, this study examines the relationship between the star's eight and the imam of the eighth by examining the existential nature of the geometric role of the star.  To examine the relationship between the symbolic concept of the eighth star in Razavi's area and the spiritual position of Imam Reza. The research approach of this artical is based on a descriptive-analytical method based on library and field studies. According to the analyzes, the combination of spirituality and science in the context of the symbolic dimensions of geometric shapes (in particular the geometric role of the 8th star) and the theme of this form in terms of the science of numbers and graphs represent the artist's perception of their semantic function, and the relation of the symbol to the position The spirituality of Imam Eight was fully observed in the architecture of Razavi's shrine in Mashhad. Overcoming the symbol of the other symbols and diversity that artists have drawn in and painted has a symbolic link. Reviewing the historical background of the shape of the eight star and its application in the Razavi sanctuary indicates that the artists, using the science of numbers and the knowledge of the symbolic meaning of the number eight and the geometric shape of the eitgh angke star, have deep links with Imam Reza.

Petroglyph is one of the arts whose sculpture has continued from the Paleolithic period to the present day. This art is found in almost all parts of the world. So far, a large number of rock motifs have been identified and introduced, a large part of which is located in the Central Zagros, especially in western Iran (Kurdistan Province). In this study, during archeological studies in 2020, newly discovered lithographs of Zarrineh in mountainous areas at a distance of 1.5 km west of Zarrineh village were examined. The research method in this article is fieldwork along with a historical-comparative-analytical approach. In the field section, the site in Kurdistan province has been studied. In the historical section, books, articles, and reports related to the subject are examined. The main research questions include: What designs do Zarrineh drawings contain? What are the themes of the golden motifs? What areas are Zarrineh lithographs comparable to? What is the relative chronology of the area? Zarrineh lithographic motifs include motifs in the form of collections of images of animals (horse, goat, leopard, camel), geometric (cross, wheel), tools (bow and arrow, bow, cane), and human figures. The paintings are stylized and volumetric and have been created on igneous rocks. The figures narrate scenes that are directly related to the thoughts and ideas of past peoples. Even in recent years, these motifs have shown the continuation of a long tradition. The motifs can be traced back to the Iron Age or later. The lithographs can be compared and analyzed in terms of style, technique, and variety of similarities with the regions within the Iranian plateau, especially Azerbaijan (Songun Arasbaran) and Lorestan (Bauki Azna). The study of these works in western Iran is important because these works are located in a region that has always been considered as a strategic passage between different ethnic groups from prehistoric times to Islamic periods.

Iranian carpet that appeared after Islam, especially in the Safavid period, was created with the approach of manifestation of paradise, Garden of Eden, paradise gates and human entry into the paradise. It incorporated an eternal and sacred perspective into its seemingly earthy elements.
The view in the Safavid era, especially regarding the inclination of Safavid kings to Islamism and the observance of religious norms, was very popular and had a high status. Each of the motifs in these rugs expresses specific concepts, originated from within the artist and his society, which together has created a beautiful and harmonious work, and the artist mirrors the art, culture and ideas of the people of that time in the form of a magnificent rug. Symbolism can help us achieve this goal to a considerable extent. The aim of the researchers in this field, considering the two hunting rugs belonging to the Safavid period, is to explore the body and concepts in the margins of these two carpets in order to achieve the symbolic layers in them and to understand the effects of the environment on the creation of these works. In order to conduct the research, with the help of documents and writings in the field of culture and beliefs of Safavid society, in addition to using the Holy Quran, the transformation of earthly man into a holy man was observed. Using the obtained data, the main question of the research is in regard to the reason for the difference in the two margins of the studied carpets, despite the similarity in their main bodies. With a symbolic and semantic approach, the motifs used in the edges of these carpets were studied in order to represent the transformation of earthly man into a holy man from a hermeneutic and post-structuralist point of view, culturally and value-wise, with the help of currents during Shah Tahmasp I by comparing two Safavid-era rugs in Boston Art Museum and the Museum of Applied Arts of Vienna. In order to achieve the purpose of the research, the method was first described in the section of theoretical concepts and literature of the holy art as well as the holy man, and then in the same section a description of the religious situation and the adherence of Safavid kings were given. Following the description of the general characteristics of rugs and the appearance of both margins, as well as the intertextual observations, the patterns used in these margins were analyzed. In order to get closer to the purpose of the research in another part of the analysis of patterns of the margins, firstly the angels and the winged men were described, and then paradise in the hunting scene carpet of the Vienna Museum was done. Subsequently, in order to achieve the goal of the research through intertextual study, paradise was described from the Quran's point of view, and was then compared with the Vienna carpet’s margin in form of a table.  A separate table provides the result of the comparison of heavenly features, extracted from Quranic verses, and elements used in the Vienna carpet.
In the other part of the research, hypertextual studies were conducted. In this context, firstly a brief description of hypertextual studies and their process were given, and after repentance of Shah Tahmasp, and the decree of enjoining the good and forbidding the evil, the hypertext of the research was examined. Finally, according to the documents as well as the work of Sultan Mohammad and its comparison to the design of the carpets, it can be said that the designer of both carpets was Sultan Mohammad. However, the important issue about these two carpets is that the design and weaving of the Boston Museum's carpet belong to the pre-repentance period of Shah Tahmasp while the Vienna Museum's carpet belongs to the period after the Shah's repentance.
According to research studies, it becomes clear that Shah Tahmasp, after his repentance, removes all signs of sin from the country. As for depiction of king's binge in the margins of the Boston Museum’s carpet, given the king's keen interest in the art of carpet weaving and the promotion of this art, and the fact that his interest in this art was so great that he designed carpets, as well as the fact that this carpet is one of the most luxurious or even the most luxurious carpet of this period; in the case of this carpet, Shah Tahmasp's decision to cleanse this carpet faces a challenge, and finally he made a new decision for another carpet to be woven with the same theme and different margins. This decision was in line with his interest in the art of carpet weaving and in keeping with his repentance.

To explain the symbols and signs in the field of linguistics, there is an approach called symbolism or semiotics. Ferdinand de Saussure, as one of the first pioneers in the field of linguistics, believed that each of the signs that exist in the structure of linguistics, constantly had a cause and a defect that granted them meaning; furthermore, this method includes other areas in addition to the linguistic structure. In the meantime, architecture has not been an exception to this rule due to its artistic structure, and throughout the history of world architecture, it has always been explored by architects in various architectural designs. Among the historical monuments in Iran, those related to the Qajar period, specifically located in the cities of northwestern Iran, namely Ardabil, Tabriz and Urmia are studied in this paper. In this study, which emphasizes both interpretive-historical events and the interpretation and meaning of symbols and signs in architecture based on Saussure theories, the functional and conceptual causes of residential spaces from Saussure's semantic perspective is studied in the mentioned cities of Ardebil, Tabriz and Urmia due to having residential houses rich in Qajar culture and architecture. The results indicate that the structures of each building are different in the formation of meaning and architectural concepts in that area, nonetheless, the principles of using the signs in each of the houses introduced in each city are similar.

Introducing the symbols and signs used in the historical houses of the Qajar period in the cities of Ardabil, Tabriz and Urmia and the visual and conceptual analogy of each of the signs in the structures used. Assessing the quantitative and qualitative status of historical spaces and houses in the cities of Ardabil, Tabriz and Urmia.

Research questions:

What are the symbols of the historical houses of the Qajar period in the cities of Ardabil, Tabriz and Urmia according to the semantic theory of Ferdinand de Saussure? What is the purpose of symbolism and marking in the historical houses of the Qajar period in the cities of Ardabil, Tabriz, Urmia?

Despite the advent of mechanization in modern life, there are still men and women who create unique handicrafts that are the result of their taste and initiative. For a long time, jewelry has been of special importance among different ethnic groups in Iran, because such artifacts have come out of their creative and innovative minds and they reflect their culture, customs and traditions. Perhaps it is possible to take a step towards the promotion of this art by comparatively studying the ornaments of different ethnic groups in Iran and examining the similarities and differences between them, as well as by deciphering the ornaments that evoke certain concepts. Expressing and introducing the special concepts of ornaments of these tribes can be the most effective way to revive this forgotten art for Turkmen, Baluch and even other tribes. The present research has been done by historical-analytical method and has used library and field methods to collect data. The purpose of the study is to investigate the symbolic meanings of Turkmen and Baluch ornaments as well as the jewelry that women, girls and even men use very much. This research is based on the assumption that the beliefs of the Turkmen and Baluch tribes have always been involved in the manufacture of their ornaments. The question also arises that despite the geographical distance of these tribes from each other, can the similarities obtained be related to the influence of their beliefs on each other or not? This research has studied the ornaments of the Turkmen and Baluch ethnic groups of Iran and has tried to examine and apply the ornaments of these two ethnic groups with a Symbolic approach. From the research results, we can recognize similarities of these two cultures in beliefs as well as the significance of using jewelry with ritual reasons.

Kerman is one of the famous carpet weaving regions of Iran which has shone in different periods of time. Kerman's carpet possess many symbols and signs, each of them has its own meaning and definition among which this paper focused on the tree symbols that are very scenically worked in Kerman carpet. The role of tree in addition to having a natural and apparent meaning, it has a symbol that has been used especially in the arts of ancient Iran. Thus, tree symbol has gained a prominent place in the design of Kerman carpet. Some of the tree designs that exist in carpet, designed in a very natural appearance and some of them have changed from being natural and have taken on a symbolic design. For this purpose, this paper focused to answer this question that has the role of the tree of life in the Tree-Cypress carpet of Kerman take on a symbolic meaning? Moreover, I tried to respond this query that does the design of realistic trees contain a specific symbolic meaning in the field of carpet design? The research methodology is descriptive-analytical, and the basic data were gathered mostly through the library studies. In this research, five tree models were analyzed, compared with together, and finally divided into two groups. It is worthy to be mentioned that in the first group of symbols the form of the trees (mostly cypress) is designed abstract, symmetrical and far from the natural shape of those trees in the nature. In the second group, the form of trees is closer to their natural shape (realism) since they have been designed unbound, dancing and asymmetrical forms.

Symbolism as one of the tools of pictorial expression and transmission of concepts has brought many works of Iranian painting closer in form and meaning. On the other hand, the use of symbol is also considered as one of the literary arrays. In the process of composing, what attracts the poet's sensation, emotion and imagination more is the creation and the space and scope of nature. Iranian artist creates in a symbolic atmosphere; Taking advantage of the valuable context of Persian poetry and literature, the Iranian painter has not sought to represent tangible nature, but to represent symbolic effects. Manouchehri Damghani and Molana Mohammad Jalaluddin Balkhi (Shams) are among the most prominent poets describing nature in Persian literature. The present study seeks to analyze the symbolic effects of nature in poetry and painting in the fourth and seventh centuries AH with a descriptive and analytical method. The research findings demonstrate that the use of lexical range in the poems of Manouchehri and Rumi shows that their poetic world is a green world filled with symbols resembling nature. The symbolism of nature depiction is beautifully visible in the poetry of these two poets and the painting of the fourth and seventh centuries AH. The invention and use of symbolic elements in Iranian painting in the mentioned centuries does not bear an independent form, but an evolutionary process in form and content based on Persian poetry and literature of this period with poets such as Manouchehri and Rumi and under the influence of naturalistic imagery influenced from Chinese art.

1. Recognition of the symbolic effects of nature in Iranian poetry and painting with emphasis on the poems of Manouchehri Damghani and Ghazals of Shams. 2. Comparison of the elements of nature from the point of view of Manouchehri (mere naturalist) and Rumi (Shams).

Research questions: 

1. What is the place of the use of symbolism in the poems of Manouchehri and Rumi and in the paintings of the fourth and seventh centuries AH? 2. How did Manouchehri Damghani and Rumi acknowledged nature in their poems?