ابوالفضل عبدالهی فرد

Art has always had a rational and improving function in human societies as one of the important pillars of education and training. A skilled artist can control many social anomalies and lead the society to a desirable and bright life. The perception of beauty is one of the human needs that the citizens in the city seek (Moeinifar, 2012:21). Today, cities have become places for doing repetitive activities and the machine life of citizens. In this regard, it is necessary to strengthen the points that have value in terms of urban facilities in the urban design for the benefit of the people, and also the factors and forces required for the entry and stopping of people in the space. Therefore, public art can be used to beautify and improve the visual quality of the city of Ardabil, eliminate architectural problems, beautify, optimize the urban environment and improve the quality of life of the city and its citizens, especially urban women.

Theoretical Framework:

To define public art, two words "art" and "public" should be discussed. The term public art has a very broad meaning and includes everything from urban sculptures to subway graffiti, but is often used as a collective term to cover any art that is not shown in official galleries or museums. Meanwhile, proper planning and special attention to women can be an important factor in urban development; Therefore, the active participation of women in the preparation and implementation of urban plans, laying the groundwork for the greater presence of women in urban spaces, improving the security of public spaces, paying attention to the protection of places where women are more present, the ability to increase visibility, openness and ease of access, increasing the strength of the transportation system at night is one of the things that can play a favorable role in creating suitable urban spaces for women. Joy and happiness are one of the most important human needs that prepare them to face the complexities and problems of today's world. Although many people believe that this art is internal and the person himself should create happiness in his life, but since the city space establishes the most connection with people and the living environment,

The current research is applied in terms of purpose and descriptive-analytical in terms of method. According to the nature of the study, the method of data collection is a survey and a library using a questionnaire with the women of Ardabil city. Cronbach's alpha was used to confirm the validity of the questionnaire, considering that little research has been done in this field, according to professors and specialists, and to check the reliability of the questionnaire. The total alpha coefficient was equal to (.906), which shows the high reliability of the questionnaire. The statistical population in the current research is women (experts and non-experts in art and architecture) in Ardabil who are between 20-35 years old (57,913). To estimate the sample size, Cochran's formula was used, and the number of 381 samples was estimated, of which 185 healthy questionnaires were distributed and completed among the statistical population by a simple random method. In this research, the questionnaire measures the research variables, which consists of 41 questions, divided into two sections, public arts and interactive arts, and one image from each type of art, similar to what was shown in the introduction section of public arts, was selected and An online questionnaire format, in which the participants were asked to express the level of joy they felt after watching that artwork in urban spaces according to the 5-point Likert scale, was designed and sent to the target community through virtual space applications. It should be noted that the questions were evaluated through a 5-option Likert scale. In order to analyze the data in the descriptive statistics section, Excel, Spss software and for inferential statistics in which the relationships between variables are examined based on the purpose of the research, the statistical test with inclusion (one-sample T) was used.

To investigate the impact of public art on the perceived vitality of women in Ardabil city and to answer the research question of which type of public art has a greater impact on improving the perceived vitality of women in urban spaces, a one-sample t-test was used.The results of the single-sample t-test showed that abstract art had the highest average score (4.71), followed by the vitality created by this item (4.60), and the desire to create abstract art in the urban space from the point of view of women (4.63). This means that abstract art was the most popular type of public art among the women surveyed.In the next ranks, art embedded in space and applied art had an average score of (4.25), followed by art appropriate to the site and natural environment with an average score of (4.18), artistry (sculptures of celebrities) with an average score of (4.16), and finally the musical fountain with an average score of (4.03).These results suggest that women in Ardabil city perceive abstract art as the most vitalizing type of public art. This may be because abstract art is open to interpretation and can be seen in many different ways, which allows women to connect with it on a personal level. Additionally, abstract art can be seen as a form of escapism, which can be appealing to women who are looking for a way to relax and de-stress.

The city of Ardabil has a lot of potential to create public art that is both visually appealing and revitalizing for women. However, the current state of public art in the city is lacking. There are only a small number of famous statues and some examples of murals and lighting. This is a missed opportunity to create a more vibrant and inviting urban environment for women. The managers and planners of the municipality and related bodies should pay more attention to the vitality and vitality of not only the women of the city of Ardabil, but also all sections of the society. They should commission more public art that is designed to appeal to women and other marginalized groups. This would help to create a more inclusive and equitable urban environment for everyone.In addition to commissioning more public art, the municipality should also take steps to improve the security of public spaces. This would make women feel more comfortable and safe in the city, which would encourage them to spend more time outdoors and enjoy the public art. By taking these steps, the municipality can create a more vibrant and inviting urban environment for women and all residents of Ardabil city.

The construction date of the ‘Twelve ImamsMausoleum’ in Yazd goes back to the end of the Buyidsand Daylamites periods. The architectural ornaments of this building include murals, plasterworks, faience mosaics, and brickworks; also, an inscription with decorative Kufic script has decorated its parts. The research conducted on this building is limited to the architecture and restoration of its external walls, while the dome has valuable ornaments, including the inscription of ‘Ayatul Kursi’ in its Grivar. This inscriptionis implemented using the technique of ‘painting on plaster’. This historical monument has been seriously damaged due to the age of the building and the destructive environmental effects on it. These damages are either erosion destroying the appearance of the building or the structural destruction destroying the foundation of the building; therefore, knowing the damage so as to prevent further destruction and reconstruction is of particular importance to preserving this thousand-year-old monument.

This research tries to study the damages inflicted on this inscription with the help of reconstruction and damage photography. It, also, tries to to know the structure and motifs used in it in comparison with similar inscriptions. The questions raised in this research were: 1- What were the damages caused to the Grivar inscription in the Twelve Imams Mausoleum? 2- What was the general structure and decorations used for this ornament? This research was descriptive-analytical, and data collection was based on library studies and field surveys. Its approach in the image processing section of the inscription to determine the amount of damage was quantitative, and in the structural analysis it was qualitative. The primary research sources were provided using field photography; the damage mapping of the sides of the inscription was reconstructed based on photographs and images; image processing was provided using a computer program and a color analysis method. The images processed based on color; the numerical results were separated and analyzed based on tables, and the possibility of reproducing the inscription provided the conditions for its structural investigation concerning the analysis of external components and visual features.

The mentioned inscription is in Kufic (Moashaq Moshajar) script, written in dark azure color on a plaster base. This inscription began with "Bismillah" from the third side of the top of the entrance door and ended with the phrase ‘Al-Ali al-Azeem’ at the end of the eighth side. Over time, damages were imposed on this inscription, leading to the destruction of many parts. Among these damages were humidity, mud,and water flow from the upper parts on the surface of the inscription, the effect of suspended particles in the air, pollution, and dust, the change in the writing's color, the loosening of the paint layer, and its separation from the plaster bed due to the passage of time, penetration termites and the porosity caused by their activity in the lower layers, the cracks caused by earthquakes or other shocks and the forces entering the building, and the traces of droppings of birds or other creatures on the surface of the inscription. Measuring the accurate amount of damage on each side was done in the form of three separate images for each side: 1- The reproduced image of each side of the inscription was in black and white without destruction (the processing of this image provides the amount of positive (text) and negative (background) space to determine the amount of damage in other destructions). 2- The recreated image of each side showed infrastructure destruction in red and paint loss in blue 3- A black-and-white image of each side of the inscription was used to estimate surface pollution. Based on this damage imaging method, by comparing the white and black colors on each side and the percentage of white and black in the ‘initial recreated design’, it was noted whether the destruction damaged the writing itself or the background of the inscription. Accordingly, the fifth side had the most serious destruction of the background with 8%, and the the most serious destruction of the text with 7%. The results of the processing of the blue color, which represents the ‘paint loss’ showed that the first side had the highest amount of paint loss (7% loss), which caused the color of the design and the background to be the same. The lowest amount of paintloss was assigned to the second and the third sides. According to the results, ‘surface pollution,’ had a 100% extent in the inscription.

Based on the reconstruction of the destructed parts, damage imaging, and image processing with computer programs, the damages have been divided into three general categories: 1) destruction of infrastructure materials, 2) paint loss, 3) surface pollution. The results indicate that the most serious damage was caused mainly by the fall of infrastructure materials, paint loss, and environmental pollution. Structural analysis showed that this inscription had all three structural components of inscriptions including the plant system in the upper part, the geometric system in the middle part, and the writing system in the lower part. The greatest similarity was in the plantmotif, and the greatest diversity was seen in the knots of the geometric part. Although these systems were not necessarily used in all architectural inscriptions, this inscription had all three parts in a structured way showing that the designer had designed each component in harmony to achieve a coherent whole.

The path to divine wisdom and mystical closeness requires enjoying heartfelt reasoning-based light arising from the light of the lights. Seyed Heydar Amoli believed that mystical closeness was dependent on the spiritual travel of the soul. Creatures of the universe take benefit of the divine grace who is the light of the heavens and the earth, surrounded by His grandeur. This light glow when the servant becomes a mystic and says Labbeik (Here I am) to take a mystical path towards the divine light. Describing the divine path, MirHeidar discusses the Prophet Mohammad’s ascension who saw Allah through the heart as he ascended to the sublime positions. Spiritual observations of the ascension night have been illustrated by the painters, and the MirHeidari’s illustrated Me’raj Nameh, also called Shahrokhi, is one of them. An important point to attend to in Me’raj Nameh paintings is the selection and quality of the visual elements including golden clouds, which also poses the following questions: What are the illustrated and spiritual position of golden clouds as regards the prophet’s mystical closeness in ascension? And which embodiment qualities do they involve?This research was descriptive-analytical which maintains that golden clouds are a blend of embodiment of divine path for the prophet. In this connection, the painter has created golden clouds as airing from the holy glowing of the prophet as he believes that these golden clouds are the brightening embodiment of the prophet’s soul.

Safavid art in conjunction with dominant discourses of society become a power tool and in other level it transforms to symbolic violence.in spite of that Safavid era ,many arts, including carpet weaving,were produced in court workshops and were under the direct support and supervision of that. It intensifiers this mentality that court has tried to reflect interests and ideologies on these cultural and social art productions.Motifs,Symbols and signs on urban style carpets reflects dominant discourse, represent the relations in society its value and norms .This new field was one of the strongest artistic fields of era which created potential forms which become active and practical in certain circumastances. The main purpose of this research is to identify discourse relationship on Safavid carpet field , the manifestations of symbolic violence on carpet designing in this era.The research is qulalitative and historical with an analytical descriptive method.it has explained the function of discourse and manifestations of symbolic violence in urban carpet field .The theory used is pierre Bordieu’s symbolic power Theory.This method helped us understand special superviosion and attention to quality and production and usage of culture and art by Safavid to develop and deepen its discourses has led to formation of specialized fields in various fields especially new field,Symbolic violence is also the result of the formation of this specialized and allows the artist to create art in a way that conditions of the field of power require.

In the Islamic era, the mosque is known as an architectural index and is considered a sacred and blessed place for the Muslims and has a special status and importance. The architecture of the mosque was gradually embellished with decorations, and over the time, it was filled with special concepts that are full of semantic and decorative elements in Islamic architecture that have extremely benefited from the teachings of Qur’an the Muslim Bible. This diamond engraving has been executed with various Quran, prayer, historical and divine names, and sometimes with the techniques of tiling, brickwork and craftsmanship. The analysis of the contents of the inscriptions used in Goharshad and Hakim mosque and also the exploration of the differences and similarities of the inscriptions of the two mosques are the purposes of this article. Which is in response to the following questions: What are the implications in the Qur’an inscriptions of the Hakim Mosque of Isfahan and Goharshad of Mashhad? What is the difference and similarities between the two mosque inscriptions? The study shows that in the inscriptions of Goharshad mosque, Thuluth script is most used among other scripts, and the Cathay bearings, Scrollwork arabesque bearings motifs coincided with the decoration of the building. In Hakim Mosque of Isfahan, the index script in the inscription is Cufic, Sotto script), and most of the inscriptions are on the same script, and also Thuluth script as well as Nasta’liq script are used in the inscription of this collection. Tobeh, Asra ,Jom ‘eh, Dahr are among the common chapters between these two collections. Although in the Goharshad Mosque of Mashhad and Hakim mosque of Isfahan share similarities in the structure and content of the inscriptions, the decorative enrichment and Quran inscriptions of Goharshad Mosque are more than Hakim Mosque. The research method in this study is descriptive content analysis and collecting the necessary information was through library studies, observation of collected works and fieldwork.