نشریه هنرهای صناعی اسلامی
سال پنجم شماره 1 (پیاپی 6، بهار و تابستان 1400)

Ottoman carpet weaving has a wide range of designs and patterns, colors and weavings that are of special importance in the history of world carpet weaving. During the Ottoman rule (1299-1922 AD) carpet production developed more than the previous period, so that the sixteenth century and the first half of the seventeenth century is considered the most glorious period. By examining the carpets of this period, one can see the traces of Iranian art. The influence of Iranian art on Ottoman carpets intensified after the conquest of Istanbul (1453 AD) and its effects can be seen in changing the design, pattern and weaving technique of carpets. For this purpose, Ottoman carpets can be historically divided into two groups. The first group includes carpets that are often woven before the 16th century and the influence of Iranian art and carpet weaving is not directly visible. This group of carpets continues the Seljuk style and their designs are geometric. The second group is carpets that are woven and presented under the influence of Iranian art and artists. The main purpose of this paper is identifying the Ottoman carpet and identifying the influential factors of Iranian art in the formation of the second group of Ottoman carpets. Accordingly, the main questions of the present article are; Which group of carpets of the Ottoman period was woven and presented under the influence of Iranian art? What are the influential factors of Iranian art in forming Ottoman carpets? The research method is descriptive-analytical. Research findings show that some factors such as the influence of Iranian art, gifts of kings, forced and voluntary migration of artists to the Ottoman court, looting of Iranian works of art by the Ottomans during the occupation, the export of Iranian carpets to the Ottomans are the main reasons for the expansion Ottoman carpet. The most influential factors can be seen in the identification of three groups of Ottoman carpets: 1) Ottoman palace carpets, 2) Ushak Carpets, especially carpets with medallion layouts, and 3) Herke carpets. The method of collecting information is library studies and some images have been obtained by searching in museums.

The place of religious subjects in Iranian arts is quite famous and most of the arts are rooted in religious culture, which is evidenced by the art of carpet weaving. The purpose of this study is to study the Qajar and Pahlavi carpets in which the religious theme has been used and since there are commonalities in the carpets of these two periods, by analyzing, matching and classifying these carpets to examine the similarities and differences We will discuss their activities and their capabilities in detail to show the importance, position and manner of employment and attitude of the artist and the people of these two periods in these projects. Questions raised in this research: 1- What are the topics and concepts used in Qajar and Pahlavi carpets? 2- What was the status of the use and durability of religious subjects in the carpets of the Qajar and Pahlavi periods? Historical, descriptive-analytical research method and field and library information collection method that has been done after examining samples of carpets with religious themes in Tehran museums. The results of this study show that in the carpets of the Qajar period, figures and icons, Shiite religious narrations and events as well as other religions were prevalent and in the Pahlavi period, most religious topics revolved around the life events of the Prophet (PBUH) and Shiite Imams have been especially the image of Imam Ali (as). Because Qajar society was a religious society, these images influenced the religious beliefs of the people from the beginning to the end of this period; And then in the Pahlavi period with the change of social conditions, people's tastes towards the new conditions were formed and therefore, the religious rugs of the Qajar period had a more important place in the transmission of religious concepts than the Pahlavi period.

The tomb of Shah Ismail Safavid is located at the end of the Kandilkhaneh near the Dome of God in the tomb of Sheikh Safi al-Din Ardabili. A very exquisite and delicate chest is located under the blue dome of the tomb of Shah Ismail Safavid on his grave. This box of different maps and designs that have been executed with a very diverse and beautiful techniques in a coherent geometric system. Geometric knots are one of the types of designs used on this box that can be seen in all aspects of the work. This research tries to untie all the geometric patterns on this valuable work and find out how to draw it. The aim of the present study is to decode the geometric knots used on the box of Shah Ismail Safavid. The question of this research is, what drawing method did the geometric knots of the mentioned fund follow and what is the secret of its knots? The research method is descriptive-analytical, which is discussed by analyzing a historical work. Data collection is by documentary and field methods. The findings also show that the three types of suns "eight", "ten sharp" and "twelve sharp" can be seen in all aspects of work with different compositions. The "ten sharp" sun is far more useful in performance. The type of division of the general work space as well as the type of tools created with the mentioned nodes are different in all its aspects. Despite the variety and multiplicity of nodes in the work, a special unity and coherence has been created in different parts of the fund. The nodes used on this box When drawing in a quarter circle, their suns are drawn and in the square or rectangular frame, of course, other parts are also drawn based on the type of knot. In general, suns are formed by a five-pointed star or a cracker. The different parts of this box are in the upper and lower rectangular cubes, each of which is like a painting with various motifs such as Islamic, Khatai and inscriptions that are executed in a bed of geometric motifs with special colors and in a way They have exhibited Iranian-Islamic artistic features.

The poem of Varqa and Gulshah Ayyuqi is a very valuable manuscript of the Seljuk era, which has been preserved for the quality of the drawings and the representation of its story by the painter. Books such as Survey of Persian Art of Arthur Apham Pope, Persian Miniature of Basil Gray, Islamic Art and Architecture of  Ernst Kuhnel, catley marguerite and humby louis in the their book, Seljuk and Kharazmi art described a brief history of Seljuk painting and the characteristics of painting of this period. This research seeks to answer these questions: 1. To what extent does the painting of the manuscript of Varqa and Gulshah express the story and which plots of the story does it contain? 2. How was the atmosphere of the drawings according to the written text?. Based on a story "told by Arabs," the poem was (re-) composed by Ayyuqi in the eastern Iranian world during the Ghaznavid period. The poem Varqa and Gulshah is a love story about the life of two lovers in Saudi Arabia and the Islamic period, which is a description of their mania, problems and sufferings, wars and their separation in the way of love and joiner. The story of Varqa and Gulshah is set in Arabia in the time of the Prophet Muhammad and revolves around the misfortunes of a pair of lovers. It is in the fourth century and early fifth century AH. Varqa and Gulshah are the children of two brothers who are joint chiefs of a tribe named Bani Shayba. The two are raised together, fall in love and become engaged (Grubar, 2019, p. 73). Considering that Varqa and Gulshah manuscripts the earlist Islamic romantic manuscript in which the roots of the connection between poetry and painting can be recognized, there was a reason to choose this manuscript and to study and adapt its drawings with poems, so that the painter’s success in visual expression of the poem could be realized. Findings of the research indicate that in this illustrated version, all the features of Seljuk painting are reflected and there is a valuable connection with literature. In illustrated manuscripts, how the story is represented as an image is of special importance. Therefore, in this study, the adaptation of the story of Varqa and Gulshah with its painting has been considered. Seljuks with emphasis on the art of this period, the characteristics of painting of the Seljuk school are mentioned. By depicting 71 paintings from a copy preserved in the Topkapı Palace Museum Library in Istanbul, containing the most important events and characters that contain the main plot of Ayyuqi, the painter has shown the fidelity of image to the literary text. This story was classified in the form of 17 main plots, and it turned out that the painter illustrated 13 examples of it and, following the text, dealt with them very sensitively and has illustrated the turning points of the story into four plots and several narrations. The research method in this article is descriptive-analytical and the data collection method is library.

One of the important and mythical characters of Ferdowsi's Shahnameh is Jamshid. In the Baysonqor’s and Tahmasp’s Shahnameh, a scene attributed to Jamshid is illustrated. Jamshid’s kingdom miniature in Baysonqor’s Shahnameh and Jamshid’s court miniature in Tahmasp’s Shahnameh are both visual representations of the content of Jamshid's kingdom and its king functions. The importance of the common theme in both of the Shahnameh paintings has led to the necessity of a comparative study. The purpose is to identify how Jamshid's personality is represented in the Jamshid’s kingdom miniature in Baysonqor’s Shahnameh and Jamshid’s court miniature in Tahmasp’s Shahnameh and understanding the similarities and differences between Jamshid's personality and Illustration type of two miniatures. The study was done to answer these questions: 1-How is Jamshid's personality represented in Baysonqor’s and Tahmasp’s Shahnameh miniatures and what are the features? 2- What cultural, political and social factors have led to more and more detailed and precise in Tahmasp’s Shahnameh painting than Baysonqor’s Shahnameh? In this research, library and documentary information have been studied with descriptive-analytical and comparative approach and the results show that is illustrated more details and visual elements in the Jamshid’s court miniature in Tahmasp’s Shahnameh and the number of these elements is less in the Jamshid’s kingdom miniature in Baysonqor’s Shahnameh. Also Jamshid’s government in Tahmasp’s Shahnameh is illustrated Authoritative, powerfully, luxurious and excellent and also the number of human elements in Baysonqor’s Shahnameh miniature is 15 and in Tahmasp’s Shahnameh miniature is 28 and the image of two demons.

What connects Ferdowsi's Shahnameh with people's culture and painting are stories with heroic and mythical themes that have made painters try to depict it for many years. One of the themes in Shahnameh is the battle of famous heroes with legendary animals. Including Simorgh and Dragon. Among the evil animals, which are a symbol of demonic and evil forces, the dragon has a special place and in Iranian mythology, it often appears as an embodiment of evil and evil deeds. One of the ways to portray the confrontation of these two opposing forces in Iranian epic literature is in the form of a superhuman war with a dragon. Haft Khan is his battle with the dragon, which is the manifestation of the battle between good and evil in the whole world. The dragon is one of the elements that is considered in all cultures and has many meanings. The battle with the dragon is a symbol of man's battle with the ego. This is the battle between good and evil. Dragons are commonly used in painting to represent demonic forces, and the role of dragons has had a special place in describing evil, darkness, evil, and the power of the soul. Therefore, in both schools, one of the most significant works illustrated by painters is the Shahnameh and the battle of Esfandiar and the dragon is one of the subjects in which it is depicted in various forms. This issue is important among the paintings of the two leading schools of Shiraz and Tabriz, and the paintings of this period have a different structure than the paintings of their predecessors. The main issue of this paper is a comparative comparison of the visual and structuralist relationship between Esfandiar and the dragon in the drawings of Shiraz and Tabriz II schools. The present study, in order to answer the question, what visual features did the painters use to depict the dragon? And what do the selected images have in common with the visual-visual differentiation? Is organized. This research was collected from the perspective of method, descriptive-analytical and its data in a library method. The results show that the drawings of Shiraz school, unlike the drawings of Tabriz II school, have not been as successful as they should be and perhaps in using the functions and visual features to depict the desired theme. Painters in each period in accordance with the conditions of the time and the need for painting have used special visual features and it can be said that the feature used in the works is greatly influenced by Ferdowsi's descriptions in Shahnameh which is the richest source for painters and the image It has provided a clear and concise picture of the dragon, and the painters have been able to find a special artistic language, appropriate to the literary expression of the Shahnameh, and to give the images a value equal to that of literary crafts. Among the features that are commonly seen in all periods and are mentioned in the verses of Shahnameh, we can mention the following: the size of the dragon, fire and incitement, as well as the dragon's claw. Other visual features include the texture of scales such as the body of a snake, the body of a twisted body, the body color of a dragon and large teeth, the position on the screen and the direction of movement, which may not be seen as the same in Ferdowsi literature, but the artist of each He considers these descriptions as an adjective in the dragon he has depicted in various forms. Visual functions also include the type of composition, cutting the frame with the dragon body, twisting clouds, drought, the small presence of spectators, showing the scene in terms of the moment of confrontation, the color space that governs the image and the type of lines that govern it.

The use of the printing industry in Iran and India caused the cultural and artistic exchanges of these two lands to expand more than before, along with the spread of the Persian language and literature. In this way, the images of lithographed books provided a new visual medium for artists to be able to reflect social developments and changes in addition to illustrating the glorious texts of Persian literature. The first lithographed edition of Shāhnāmeh was published in Bombay in 1262 (1846 AD) and only five years later, the images and text of this Shāhnāmeh were a model for the publication of the first Shāhnāmeh in Tehran in 1267 (1850 AD). This work, illustrated by ‘Ali-Qoli Khoiee, an excellent illustrator of the Qajar period, is in many ways similar to India's first edition. However, in many cases, the Iranian artist has tried to reflect the characteristics of his work and the Qajar society in the pictures and to cover the Iranian dress in the Indian pictures. The goal of this research, which is to look at the cap in two lithographed editions of the Shāhnāmeh in India and Iran, is to figure out what changes ‘Ali-Qoli Khoiee made in the details and form of the caps in his images for the Shāhnāmeh compared to the images of the first printed Shāhnāmeh in India, and what design innovations he made. The result of this research shows the recognition and enlightenment of the use of caps and the use of their types to distinguish people in different social classes. While the high variety of caps in ‘Ali-Qoli's Shāhnāmeh assemblies and careful drawing of details distinguish ‘Ali-Qoli's work artistically from that the Bombay artist, these images provide a better introduction to the characters in the images.

Colors are radiant forces and energies that are manifested in various aspects of life, including social coverage of individuals, and depending on their darkness, brightness and inner characteristics can have a positive or negative impact on the individual and social life of citizens. People may not know for sure that the color of their clothes plays an important role in creating vitality, mental health, and how they communicate. Most of the color choices in Iran are limited to dark, repetitive, and lifeless colors in people’s clothes, especially women in society and the offices. Today, women play a special role in the city and at work. If women are not aware of the importance of using colors correctly in their social clothing and uniforms, and also do not know enough about the effect of dark colors on the quality of life and work, their health and peace of mind will be in danger. Therefore, this lack of awareness not only has a significant impact on the quality of life of women but also on the quality of life of men and children and the perspective of the whole city. In the meantime, it is important to pay attention to people's uniforms as a manifestation of the connection between the employee and his profession in the community. Applying suitable colors in work clothes, because of their long-term daily use, is important as the simplest and most effective way to create vitality. This study has aimed to identify the factors affecting the wearing of dark clothes by the people in society and to raise awareness about the use of appropriate and various colors in the clothing of people, especially women. Moreover, this study tries to answer the question of what women think about the effect of the application of various colors in their clothes? Also, what factors are effective in choosing the color of people's social coverage?. The present study is applied in terms of purpose, which has been done by reviewing library resources and collecting and analyzing data using a questionnaire, so the research is quantitative. The statistical population was women employees of chain stores in Tehran who were randomly selected. Quantitative data analysis was performed with SPSS26 software. The results of the present study show that although many women believe using bright colors in clothes affects their lives, mood, and communication in society, are not sufficiently aware of the role and effect of colors on their job quality in the workplace. Consequently, due to some influential factors, they still tend to wear dark uniforms and social clothes. The investigation of factors of wearing dark clothes and research findings shows that individual, social and aesthetic factors, each affect the color tendency of social clothing such as uniforms. Finally, by surveying women's views about the factors of wearing dark clothes, it was found that three factors are important in the tendency to dark colors: "contamination of dark clothes is less visible", "dark colors make the body look slimmer" and "dark colors are more compatible with other colors of the clothing."

Time is one of the factors in determining and explaining authenticity in the artistic and cultural fields. The works of handicrafts, with their wide range in the historical, social, aesthetic context, owe part of their originality to the factors related to time, which Datn considers as one of the requirements of the authenticity of a work of art. The purpose of this study is to explain the role of time and the effectiveness of this component in the originality of handicrafts according to the theory of "evolutionary aesthetics" and a case study of handicraft in Dezful region. The questions of this research are: 1- What is the role of time in determining the authenticity of handicrafts and how is it explained? 2- How is this element demarcated in the art of carpentry? The research method of this research is qualitative and problem-oriented, which has been done in a descriptive-analytical manner. In this process, first the data were collected through library resources and citation databases as well as the field method, then by analyzing the concepts of "authenticity" and "time" from Dutton's point of view, we analyzed the data on the three categories of "spirit of time" and "time spent". To create the work "and" History of the work "the results were presented. The results of this study indicate that the temporal elements of authenticity according to Dutton include the spirit of time, the date of creation of the work and the time spent to create the work. The application of these three elements in wooden works is as follows: Customs imply specific techniques of the time of production as well as creative breaking with tradition. Also, the issue of time spent in wood production, according to Dutton theory, refers to the amount of time spent in creating the work of art. Another category from Dutton's point of view is the history of the work, which in turn testifies to the influence and effect of the work from the period before itself or the contemporaries.

The glass enameling is one of the artistic skills with a long history in Iran, which at the same time with the Qajar period, with the arrival of donated and custom works from Europe, was influenced by their techniques, designs and designs, and the manifestations of these effects continue to this day. The combination of decorative techniques and patterns and similarities between domestic and imported products sometimes obscures whether they are Iranian or non-Iranian. In the Qajar Museum of Tabriz, a precious treasure of such glassware with a wide range of colors and designs is kept, which has been analyzed in the present study. The purpose of this study is to identify the technical characteristics of enamel (execution methods) of the glass of this collection and analyze the role of the ink used on them. This research sought to answer the question that what technical characteristics (execution methods) and visual (designs) have the enamel works of Tabriz Qajar Museum and what message do they have in their visual arrays? The type of research is basic, descriptive-analytical with a comparative approach and collection of library and field information. The necessity of the forthcoming research arises from the fact that so far no detailed and comprehensive study has been done to extract and analyze the techniques and patterns of glazed glass in this collection. The purpose of this study is to identify the technical and artistic characteristics of glazed glass in this collection and analyze the pattern used on them. The present research is of basic-applied type and descriptive-analytical method. The method of data collection is based on observations of works in museums and library studies. The statistical population is 30 enameled glass works of Qajar Museum in Tabriz. Tables and diagrams have been used to show the technical and decorative features of the works and the frequency of each of the variables. The results of the study and description of the variables led the research to analyze the data based on library resources. The results showed that the enamel glass of Qajar Museum of Tabriz has been applied on all kinds of decanters, vases, jewelry boxes, inks, teapots, glass bowel, hookahs, vases, glass candlesticks and oil lamps. The glass of this collection is made of opaline, Cameo Glass and colorless and clear colored glass and their enamel is done using opaque, luster glaze and gold enamel paints. The director of the Qajar Museum in Tabriz introduced two pairs of straits in this collection as a gift from Napoleon Bonaparte to Fath Ali Shah Qajar. The high quality of the enamel of this collection indicates that the mentioned works were produced by famous factories in European countries and Turkey in the field of glassmaking and were sent as gifts to the Qajar kings or by order of Iranian merchants and statesmen. The main motifs of the enamels in this collection include human motifs (the role of European men and women, Qajar kings and politicians), plant motifs (western ivy plant, which the Iranians call Kondan, various leaves, rosette, medallions which the Iranians call bergamot, five feathers flower, pomegranate flower), The lion and the sun and the inscription. The works of this collection are luxurious, donated and imported. In some of them, features of Western aristocratic art styles such as Rococo can be seen, and in another category, according to the motifs of Qajar kings, politicians and the role of lions. The sun has been a propaganda tool in the service of showing the glory of Shah Qajar and the discourse of government power.

Illumination or gilding is a work of Iranian painting. Many artists in different periods of Iranian history have been skilled in this art and have left delicate and magnificent works that are often done in the margins of paintings, literary and Quran texts. Among the illuminator of Iran during the Safavid period and in the school of Shiraz, Taj al-Din Mohammad Haidar the illuminator of Shiraz (11th century AH), which have left various glorious works, some of which are kept in the Qapi Ball Museum in Istanbul. In this research, the separation of color spaces and the framing and spacing of Taj al-Din Haidar's works have been dealt with, which is one of the most important concerns of illuminator artists. This research has been written in a descriptive-analytical method and the questions that have been answered in this research are: firstly, what is the difference between technical modifications of molding, spatialization and framing, and secondly, what kind of spatialization and framing is used by Taj al-Din Mohammad Haidar Shirazi in his works? And what is the characteristic of framing his works? According to the result, the difference between the template, spacing and framing is that the template is the general and final form of the illumination and the spacing is the separation of the spaces of the general form and the framing is the use of tables, roles, Islamics, etc. in the form. It is general, and also according to the analyzes done in Taj al-Din Haidar's works, geometric margins, Islamic frames and congressional frames have been used more. Also, according to the calculations and measurements performed, it can be said that on average between 30 to 70% of the space is allocated to the margin and also the text of the works occupies an average of 30 to 60% of the space. Which shows that he did not use a specific rule in spatial planning and mostly tried to create diverse and different works.

Art as an arena that is the manifestation of the endeavors of the human soul and its human concerns has a two-way interaction with the political, social and cultural conditions of the society. Syrian painting is also influenced by cultural events in its formation in continuation of the Ottoman style, which first tests the experiences of modern Western art, then cultivates what it has learned and tries to present its approaches and beliefs in the art world. The sense of backwardness among Syrian intellectuals and artists draws them to the West, some of whom have become acquainted with the modern Western style by studying in European universities and trying to introduce and apply it in the Syrian society. Meanwhile, the spirit of independence instilled in human nature has been fostered by some artists of the first decades after World War I, and under the control of the French guardianship, in search of their historical identity, appears nationalism in their paintings. Tawfiq Tariq, the most well-known artist of the early decades of Syria's formation as an independent state, returns to Syria from France with military family upbringing, patriotism, membership in the Turkish Nationalist Party and knowledge of modern Western art and as one of the pioneers of the Rawwad generation. Relying on the artistic techniques of the West, he shows his commitment and prejudice to the Arabs and the Syrian nation in his paintings. His great interest in history and gaining knowledge in the field of restoration of historical monuments, urged him to work as an architect and topographer after returning to Damascus and while he continued to paint all the time, he also participated in the restoration of several historical buildings in the city and restored them, which was effective in his paintings of the architecture of Syrian historical and religious buildings. The main question of this research is how nationalism is realized in Tawfiq Tariq's paintings based on the examples of the present study? With the establishment of the first modern educational institute of art, Tariq, in addition to creating his works, trains a generation to address his concerns in the field of Syrian art, which lead to a new approach to contemporary Syrian painting. Late art historians and critics have considered Tariq's works, like other Rawwad's works, often adapted and devoid of originality, and have written about them more ideologically or nationalistically. However, it can be argued that the paintings of this particular artist were created with very clear purposes and with a political and social commitment to the period and society in which he lived. While his paintings followed European patterns in style, the themes of Tariq's works were closely related to his support for national independence and his concern for contemporary issues in Arab and Syrian society. His works provide a framework for the artist's commitment to the changes he wished to see in his community and to use his art tirelessly in this direction. Even in Tariq's less "political" paintings, the emphasis on Arabic or Syrian identity remains central. This study aims to review Tariq's role in contemporary Syrian art and to examine and analyze some of his works such as Majlis Mamun and Abu Abdullah Saghir and even works that are apparently not political and historical and only illustrate natural landscapes, and show his tendency to nationalism and conclude his commitment to the Syrian community. This research intends to study and analyze some of his works, such as Majlis Mamun and Abu Abdullah Saghir, by means of descriptive analysis, and to demonstrate his inclination towards nationalism and his commitment to the Syrian society by reviewing his role in contemporary Syrian art, which shows his interest in the Arab background and his prejudice against his homeland.