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فاطمه کاتب

  • الاء بصل، فاطمه کاتب*، ابوالقاسم دادور، مریم مونسی سرخه
    نقاشی دیواری بستری برای بازنمایی فرهنگ و عقاید دینی، مذهبی و آرمان‎های جامعه است و در هر دوره تاریخی به اقتضای شرایط، جلوه ای متفاوت دارد. نقاشی های دیواری اموی (661-750م./40- 132ه.ق.) در کاخ ها و مساجد بر اساس بستر دینی و دنیایی اثر، خلق می شدند. در اثر گذشت زمان نقاشی دیواری دستخوش تحولاتی شده و در سوریه معاصر (1966-2000م./1385-1420 ه.ق.)، منظور دوره ریاست جمهوری راحل حافظ اسد) نیز هنر نقاشی دیواری زینت بخش اماکن عمومی شد. هدف پژوهش، شناخت جایگاه نقاشی دیواری در هنر اموی و معاصر سوریه، درک مفهوم و ویژگی های هنر نقاشی دیواری و اهمیت هنری و فکری آن در دوره اموی و معاصر است. پرسش: وجوه اشتراک و افتراق نقاشی دیواری اموی و معاصر در سوریه چیست؟ روش پژوهش، توصیفی تحلیلی و تطبیقی و گردآوری اطلاعات، میدانی و اسنادی است. نتایج نشان می دهد در نقاشی های دیواری اموی، عظمت معماری، بیان نمادهای رمزی نقوش و توصیف آسمان و بهشت، نمایانگر رابطه هنرمندان و دستاوردهای مذهبی دولت است. در این تصاویر، نقوش حیوانی و انسانی تحریم می گردد اما در کاخ ها مورد استفاده قرار گرفته اند. هنرمندان معاصر سوریه با تاثیر از هنر اموی و در نقاشی های دیواری معاصر سوریه به تجلیل از دستاوردهای تاریخی و فرهنگی رئیس جمهور راحل حافظ اسد اقدام نموده اند و با استفاده از تصاویر انسانی برای انتقال این مفاهیم تلاش کرده اند.
    کلید واژگان: نقاشی دیواری, موزاییک, کاشی کاری, دوره امویان, دوره معاصر سوریه
    Alaa Basal, Fatemeh Kateb *, Abolghasem Dadvar, Maryam Mounesi
    Wall painting serves as a medium for representing a culture, religious and spiritual beliefs, and societal ideals, and its appearance varies in accordance with the circumstances of each historical period. Umayyad wall paintings (661-750 AD/40-132AH) were crafted in palaces and mosques with emphasis on both religious and worldly themes. Over time, wall painting has undergone transformations, and in contemporary Syria (1966-2000 AD/1385-1420AH, referring to the presidency of Rahal Hafez Asad), it has been utilized to embellish public spaces. The aim of the research is to comprehend the significance of wall painting in Umayyad and contemporary Syrian art, including its conceptual and artistic characteristics and its artistic and intellectual value during both historical periods. The central research question is to identify the similarities and differences between Umayyad and contemporary wall paintings in Syria. The research employs a descriptive, analytical, and comparative method while gathering field and documentary data. The findings reveal that in Umayyad wall paintings, the magnificence of the architecture, the expression of symbolic motifs in the inscriptions, and the description of the sky and paradise all convey the relationship between the artists and the religious accomplishments of the state. While living beings such as animals and humans are prohibited in these artworks, they were utilized in palace decorations. Contemporary Syrian artists, inspired by Umayyad art, have utilized human images in their contemporary wall paintings to commemorate the historical and cultural accomplishments of President Rahal Hafez Assad.
    Keywords: Wall Painting, Mosaic, Tilework, Umayyads Period, Contemporary Syria
  • رئوف مصطفی زاده*، نازیلا علائی، فاطمه کاتب
    مقدمه و هدف

    فهم درست مولفه ها و تغییرات بیلان آب در مطالعه های آب شناختی و منابع آب اهمیت قابل توجهی دارد. تغییرات اقلیمی و فعالیت های انسانی بر تغییرات رواناب، مدیریت منابع آب و توسعه ی پایدار جامعه تاثیر گذار است. در این راستا، این پژوهش با هدف تعیین و مقایسه ی تغییرات بیلان آب با استفاده از منحنی بودیکو در استان اردبیل در آبخیز نیر، انجام شد.

    مواد و روش ها

    منحنی بودیکو برای آبخیز نیر در مقیاس های زمانی ماهانه (فصلی و سالانه) محاسبه شد. در این پژوهش، از داده های یک دوره ی آماری 33 ساله ی ایستگاه باران سنجی و تبخیرسنجی آبخیز نیر برای محاسبه ی میانگین بارش و تبخیر-تعرق بالقوه استفاده شد. منحنی بودیکو، یک رابطه ی غیرخطی است که با محدودیت های فیزیکی تقاضای آب جوی (PET> ET) و عرضه (P> ET) محدود می شود و شاخص خشکی در منحنی بودیکو تعادل بلندمدت آب را نشان می دهد.

    نتایج و بحث:

    نتایج نشان داد که روند تغییرات جریان رود در مقیاس سالانه به شکل مستقیم با تغییرات مولفه های آب و هوایی ارتباط داشت. این در حالی بود که بر اساس داده های واقعی، فقط در تعدادی از فصل ها روند تغییر جریان از تغییر مولفه های اقلیمی تبعیت می کرد. هم چنین در سال های مطالعه شده، توزیع داده ها در منحنی بودیکو بیانگر آن بود که اندازه ی مصرف آب در آبخیز نیر از محدوده ی پیش بینی شده بر اساس منحنی بودیکو، به انرژی و تعادل آب، دچار انحراف شده است. بیشترین و میانگین و حداقل ET برای سال های بررسی شده به ترتیب 876/55، 431/85 و 277/88 به دست آمد. هم چنین بیشترین و میانگین و حداقل نسبت PET/ P به ترتیب 0/07، 0/05 و 0/02 بود. بیش تر سال های مطالعه شده داده های مشاهداتی روی منحنی بودیکو در محدوده ی محدودیت آب قرار داشتند، که در آن، اندازه ی مصرف آب مشاهده شده (AET/P) برابر با پیش بینی مصرف آب (PET/P) بود. بر اساس نتایج، تغییرات در AET/P در سال های (1360، 1362، 1368، 1373، 1386 و 1389) کم تر بود. بر اساس تغییرات در اندازه های PET/P و AET/P نسبت به منحنی بودیکو می توان در خصوص توانایی آبخیز در تنظیم AET قضاوت کرد.

    نتیجه گیری و پیشنهادها:

    نتایج این پژوهش نشان داد که با افزایش دما و کاهش بارش، اندازه ی تبخیر-تعرق واقعی سالانه آبخیز افزایش یافت و منجر کاهش رواناب در آبخیز شد. این نتایج می تواند برای پیشنهاد راهکارهای مدیریتی و سازگار با اقلیم در راستای استفاده ی بهینه از منابع آب به کارگرفته شود. سرانجام می توان گفت که اندازه ی تبخیر-تعرق بالقوه در آبخیز مطالعه شده از اندازه ی بارش بیش تر بود. نتایج این پژوهش می تواند برای مدیریت منابع آب با در نظر گرفتن محدودیت های تغییر اقلیم و فعالیت های انسانی به کارگرفته شود.

    کلید واژگان: تبخیر-تعرق بالقوه, جریان رود, مدیریت منابع آب, معادله بیلان, مولفه های اقلیمی
    Raoof Mostafazadeh *, Nazila Alaei, Fatemeh Kateb

    Introduction and Goal:

    In hydrological and water resources studies, the understanding of water balance components and changes holds great significance. Climate changes and human activities affect runoff changes, water resources management and sustainable development of society. In this regard, the current research was conducted with the aim of determining and comparing water balance changes using Budyko curve in Nir watershed, Ardabil province.

    Materials and Methods

    The Budyko curve was calculated for the Nair watershed in monthly, seasonal and annual time scales. In this study, the data of the rain gauge and evapotranspiration station of the watershed were also used in a statistical period of 33-years to calculate the average precipitation and evapotranspiration potential in the watershed. In the Budyko curve, the non-linear relationship that is limited by the physical limits of atmospheric water demand (PET>ET) and supply (P>ET) and the aridity index in the Budyko curve show the long-term water balance.

    Results and Discussion

    The results showed that, the trend of flow changes is directly related to the trend of weather components in annual time scale. Meanwhile, contrary to expectation, only in some seasons does the flow change process follow the change in climatic components. In addation, the Budyko curve analysis indicated that the amount of water consumption in the studied watershed regularly deviated from its predicted dependence on energy and water balance. The maximum, average and minimum ET for the studied years were obtained as 876.55, 431.85 and 277.88, respectively. Also, the maximum, average and minimum ratio of PET/P was 0.07, 0.05 and 0.02 respectively. In most of the years studied, the observational data aligned with the water limit range on the Budyko curve, indicating that the observed water consumption (AET/P) matched the predicted water consumption (PET/P). According to the results, the changes in AET/P are less in the years (1981, 1983, 1989, 1994, and 2010). Based on the changes in the values of PET/P and AET/P in the Budyko curve, the watershed ability to regulate AET can be considerable.

    Conclusions and Suggestions:

    The results of this study indicated that with increased temperature and decreased precipitation, the annual actual evapotranspiration of the watershed increased, leading to a reduction in runoff. The results can be the basis for providing management solutions and adapting to the climate change in order to optimally use the available water resources. In general, it can be said that the amount of potential evaporation in the studied watershed is more than the amount of precipitation. The study's findings can provide a basis for managing water resources under the limitations of climate change and human abstractions.

    Keywords: Potential Evapo-Transpiration, River Flow Discharge, Water Resources Management, Water Balance, Climatic Variables
  • الاء بصل، ابوالقاسم دادور*، فاطمه کاتب، مریم مونسی سرخه

    اساطیر رومی به دلیل تجسم خدایان در قالب پیکره هایی انسانی با توانایی های ماوراءطبیعی، دارای جایگاهی مقدس و جاودانه بوده اند و از ارزش هنری و تاریخی برخوردارند. اسطوره ها شامل خدایان، نیمه خدایان و صحنه های حماسی و نمادین، در نقاشی های دیواری رومی سوریه تصویر شده اند. این نقاشی ها به نمایش رسوم و اصول اخلاقی می پردازند و نحوه پیروی از مذهب و ارزش کارکردی و درونی جامعه را بیان می کنند. پوشش زن، به عنوان مولفه ای نشانگر تمدن، در بخش مهمی از جامعه سوری روم تجسم یافته است. هدف، شناسایی مضامین اسطوره ای در نقوش انسانی و شناخت معانی آنهاست. در این راستا فرم های ظاهری پوشش زن در پنج نقاشی دیواری بررسی و سپس با پوشش زن سوری در دوره روم تطبیق داده می شود که با مولفه های نیاز و نهاد مالینوفسکی تحلیل می شود. پرسش آنست که از منظر کارکردگرایی، وجوه اشتراک و افتراق پوشاک در نقاشی های دیواری و زنان سوریه دوره روم با تاکید بر عناصر اسطوره ای مالینوفسکی چیست؟ نتایج نشان داد که نوع پوشش زنان و رنگ های به کاررفته در نقاشی ها و لباس زنان سوریه دوره روم، علاوه بر پاسخگویی به نیاز به پوشش، در جهت پاسخگویی به نیازهای فرهنگی و انسجام روحی ازقبیل اخلاق مداری، باورهای اجتماعی و دین مداری نیز برآمده است. در جامعه سوریه دوره روم، نهادها در خدمت برآورده کردن نیازهای زنان بودند و نقش مثبتی در بقای کلی جامعه داشتند. روش پژوهش، تطبیق تاریخی- تحلیلی و شیوه گردآوری اطلاعات، اسنادی است.

    کلید واژگان: اسطوره, نقاشی دیواری, پوشاک زنان, سوریه دوره روم, کارکردگرایی مالینوفسکی
    Alaa Basal, Abolghasem Dadvar *, Fatemeh Kateb, Maryam Mounesi Sorkheh

    Roman Mythology holds an immortal and sacred place and is of great value artistically and historically as it personifies gods in the form of human bodies with supernatural powers. The mythical figures, such as gods and demigods, and epic and symbolic scenes are depicted within Roman murals in Syria. Providing an interpretation of morals and traditions, the given murals portray how the society's functional and inner values and religions are pursued. Women's clothing is manifested as a civilizational component in a significant section of Roman Syrian society. The research objective is to identify mythological themes in human patterns and reliefs and grasp their meaning by focusing on the details of women's clothing in five murals and comparing them with those of Syrian women's clothing during the Roman period as analyzed by Malinowski's need and institution components. In the general sense, the concept of functionalism implies a relationship established within an institution. What are the differences and similarities between the clothing in murals and among Syrian women of the Roman period under an emphasis on Malinowski's mythological elements from a functionalistic perspective? The results indicate that in addition to meeting clothing needs, the type of attire and practical colors in the murals and garments of Syrian women during the Roman period also address spiritual solidarity and cultural needs, such as ethicality, social beliefs, and orientation toward religion. There are common grounds between women's clothing in the murals and the garments of Roman Syrian women, and both entail aspects of providing protection, observing social manners, and denoting women's emotional and economic status. In Roman civilization, colors would bear sanctity and represent an individual's eminence. In the case of Syrian women of the Roman period, institutions were to meet women's needs and hold a positive role in society's survival as a whole. In addition to its role in resolving primary needs and taking recourses to meet derivative needs, Roman clothing is also displayed in the form of customs and traditions. The research method is comparative-historical analysis with documentary technique as the data collection method.

    Keywords: Malinovsky', s Functionalism, Mythology, Roman Syria, Wall Painting, women', s Clothing
  • پانته آ بغدادی، فاطمه کاتب*
    ارزش های اجتماعی در بافت زندگی اجتماعی افراد جامعه خلق می شوند و تداوم می یابند و به همین دلیل مطالعه ی آن ها به شناخت عمیق تر جامعه کمک می کند. بر این اساس، این پژوهش با هدف بررسی و شناخت ارزش های اجتماعی در دوران قاجار انجام شده است. با استفاده از روش کیفی و مبتنی بر رویکرد پدیدارشناسی، با 15 نفر از جامعه شناسان، تاریخ دانان و جامعه شناسان تاریخی مصاحبه ساخت نایافته انجام شد. مصاحبه شوندگان مبتنی بر نمونه گیری هدفمند و با استفاده از روش نمونه گیری گلوله برفی انتخاب شدند. یافته های گردآوری شده مبتنی بر روش کلایزی (1973)) و روش کدگذاری نظری گلیزر و اشتراوس (1967) مورد تجزیه و تحلیل قرار گرفتند. یافته های این پژوهش در 2 مضمون «ارزش های اجتماعی پیشامدرن قاجار» با 10 مقوله «جوانمردی/فتوت و بخشندگی»، «اعتقاد به سرنوشت الهی»، «وارسته و آزاد بودن»، «جدای گزینی فضایی/اجتماعی/قومی/مذهبی»، «تجمل گرایی و توجه به ظواهر زندگی»، «پاکدامنی و عفاف در زنان»، «مهمان نوازی و رعایت ادب و احترام»، «خویشاوندی و کمک به دیگران»، «دین مداری و اجرای مناسک مذهبی» و «عدالت محوری و انصاف گری» و مضمون «ارزش های اجتماعی مدرن قاجار» با 6 مقوله «وطن دوستی»، «وارستگی و آزادی خواهی»، «پیشرفت فناوری، اقتصادی، اجتماعی و...»، «رشد اندیشه وری و روشنفکری»، «توجه به علم و علم آموزی» و «عدالت محوری و انصاف گری» از تجزیه و تحلیل یافته های حاصل از مصاحبه استخراج شده است. بررسی مجموعه ی ارزش های اجتماعی دوران قاجار گویای آن است که ما در این زمان با یک دوران گذار و تحول اساسی در بافت فرهنگی جامعه روبهرو هستیم.
    کلید واژگان: ارزش, ارزش اجتماعی, ارزش های قاجاریه, قاجار
    Pantea Baghdadi, Fatemeh Kateb *
    Social values are created and perpetuated within the social life context of community members and therefore, studying them helps in gaining a deeper understanding of society. Accordingly, this research aims to explore and comprehend the social values during the Qajar era. Utilizing a qualitative methodology based on a phenomenological approach, structured interviews were conducted with 15 sociologists, historians, and historical sociologists. The interviewees were selected through purposive sampling and snowball sampling methods. The collected findings were analyzed using the Colaizzi (1973) method and the Glaser and Strauss (1967) theoretical coding technique. The findings of this study are organized into two themes: "Pre-modern Qajar Social Values" with ten categories including "Chivalry/Generosity," "Belief in Divine Destiny," "Nobility and Freedom," "Spatial/Social/Ethnic/Religious Segregation," "Luxury and Attention to Appearances," "Purity and Modesty in Women," "Hospitality and Observance of Decorum and Respect," "Kinship and Helping Others," "Religiosity and Performance of Religious Rituals," and "Justice-oriented and Fairness"; and "Modern Qajar Social Values" with six categories "Patriotism," "Nobility and Freedom-seeking," "Advancement in Technology, Economics, Social, etc.," "Growth in Thought and Enlightenment," "Emphasis on Science and Education," and "Justice-oriented and Fairness." The analysis of the data extracted from the interviews indicates that the Qajar era represents a period of transition and fundamental transformation in the cultural fabric of society.
    Keywords: Value, Social value, Qajar Values, Qajar
  • مریم فدایی تهرانی *، فاطمه کاتب

    بیان مسیله: 

    بنا به شواهد تاریخی، الگو برداری هنر عثمانی از ایران سابقه طولانی دارد و از مصادیق آن خیمه های سلطنتی هستند که بلحاظ شکل- تزیین و ساختار؛ نمادی از شکوه و قدرت سلاطین ایران و عثمانی محسوب می شوند. تاکنون مطالعات بسیاری در خصوص تاثیر هنر صفوی بر عثمانی انجام شده است که این مقاله سعی دارد با استفاده از خیمه های سلطنتی عثمانی ادامه این تاثیر پذیری را از هنر صفوی تا قاجار بررسی نماید.

    هدف

    شناخت عناصر هنری خیمه سلطنتی عثمانی است که نشانگرتاثیر، تثبیت وتداوم هنر ایران (صفوی - قاجار) بر هنرهای عثمانی می باشد.

    سیوالات: 

    تشابه وتمایز خیمه های سلطنتی عثمانی و صفوی - قاجار چیست؟ کدام ویژگی خیمه های عثمانی متاثر از هنر صفوی و قاجار است؟

    نتیجه و روش تحقیق:

    روش تحقیق توصیفی تحلیلی، گردآوری داده ها از راه کتابخانه ای- سایتها- موزه ها و جامعه آماری آثار کاخ موزه گلستان تهران- کاخ توپکاپی و موزه نظامی استانبول- قطعات نگارگری و برخی خیمه های موزه های خارجی است. نتیجه تحقیق نشان می دهد نقوش مشترکی درخیمه های عثمانی بکاررفته و رایج ترین آن متاثر از سبک صفوی است که تا قاجار ادامه یافت. خیمه های عثمانی بلحاظ ساختار، تزیین برمبنای سبکهای سده 10 تا13 ه.ق ایران تهیه شده اند و در شیوه های تزیینی و اجرا مشابه صفوی بوده ؛ اما به دلیل نبود ظرافت و نوآوری در نقش و تزیین متمایز از دوره قاجار هستند.

    کلید واژگان: خیمه, خیمه سلطنتی, خیمه عثمانی, خیمه صفوی, خیمه قاجار
    Maryam Fadaei Tehrani *, Fatemeh Kateb

    Statement of the problem: 

    According to historical evidence, taking Ottoman art as a model from Iran has a long history, and one of the examples is the royal tents, which in terms of shape, decoration and structure; They are considered a symbol of the glory and power of Iranian and Ottoman sultans. So far, many studies have been done regarding the influence of Safavid art on Ottomans, and this article tries to investigate the continuation of this influence from Safavid art to Qajar by using Ottoman royal tents.

    Purpose

    To know the artistic elements of the Ottoman royal tent, which shows the influence, consolidation and continuity of Iranian art (Safawi-Qajar) on Ottoman arts.

    Questions: 

    What are the similarities and differences between Ottoman and Safavid-Qajar royal tents? Which features of Ottoman tents are influenced by Safavid and Qajar art?

    Research result and research method

    descriptive analytical research method, data collection through library-sites-museums and statistical community of the works of Golestan Palace Museum of Tehran, Topkapi Palace and Istanbul Military Museum-painting pieces and some tents of foreign museums. The result of the research shows common motifs used in Ottoman tents, and the most common one is influenced by the Safavid style, which continued until Qajar. In terms of structure and decoration, Ottoman tents were prepared based on the styles of the 10th to 13th centuries of AH Iran and were similar to Safavid in terms of decoration and execution. But due to the lack of elegance and innovation in the role and decoration, they are different from the Qajar period.

    Keywords: Tent, Royal Tent, Ottoman Tent, Safavid Tent, Qajar Tent
  • ویانا میرزائی*، فاطمه کاتب
    با ورود اسلام به ایران، هنر کتاب آرایی حیاتی دوباره گرفت و اعجاز کلام قرآن و تقدس آن منجر به توجه و تاثیرپذیری و در نتیجه کوشش برای زیبا ساختن نسخ قرآنی شد. با تکیه بر این گزاره اصلی که آثار بر جای مانده نشان می دهند در قرآن های خطی، سرسوره و فاصله میان آیات نخستین مکان هایی بودند که قابلیت تزیین یافتند؛ در پژوهش پیش رو به چرایی این پرسش بنیادی پاسخ داده می شود که سیر تکاملی سرسوره های قرآنی در نسخ خطی در سده های اولیه اسلامی در ایران چه تغییرات بنیادینی داشته اند و تحول آرایه ها و رنگبندی آن چگونه بوده است؟ به این منظور و با هدف بررسی سیرتکاملی سرسوره های قرآنی، به بررسی و تحلیل نقوش و رنگمایه های موجود در آن ها در نسخ خطی قرآنی در قرون اولیه اسلامی پرداخته شده است. این پژوهش کاربردی به روش توصیفی، تحلیلی و تجزیه و تحلیل داده ها به شیوه استقرایی با تکیه بر منابع کتابخانه ای و اینترنتی انجام شده است. یافته های این پژوهش نشان می دهند که در سده های نخستین اسلامی، تزیین ویژه ای در نسخه های قرآنی دیده نمی شود ولی به تدریج تا سده نهم هجری با افزودن آرایه های تزیینی کتیبه، نشان و نقوش اسلیمی و ختایی و نیز تنوع در رنگ بندی و خطوط، تذهیب های تجملی جایگزین تذهیب های ساده به کار رفته در قرآن های سده های اولیه شده اند و همچنین بررسی ها نشان می دهند که نقوش و رنگ های به کار رفته در آرایه های قرآنی ابزار های مناسبی برای شناسایی هنرهای قرآنی هستند.
    کلید واژگان: کلیدواژه ها: کتاب آرایی, تذهیب, سرسوره, قرون اولیه اسلامی
    Viyana Mirzaie *, Fatemeh Kateb
    Iran has a long tradition of publishing books and gilding manuscripts that dates back to the Sassanid era. The Manichaeans were masters of book design in Iran during this time, when they coexisted with Islam. Iranians paid attention to their techniques for gilding and book-making and were also familiar with the Manichaean way of book-making. The majority of the arts were affected by the Quran upon the entrance of Islam, which led to an increase in the popularity of gilding and book design. As a result, artists created more exquisite manuscripts as a result of the miracle of the Quran and its sanctity. Early on, in the history of Islam, calligraphy was frequently combined with gilding, which was hardly ever employed alone. )Afshar Mohajer, 2001: 18). When Islam arrived in Iran, the Seljuk government was created. Between the fourth and sixth centuries, Iran had its first monarchy and art school. According to Rouyin Pakbaz in his book, The Evolution of Painting in Iran, decorative patterns were utilized in book illustrations instead of geometric patterns during the Seljuk period. (Pakbaz. 1986: 401) Gilding deteriorated from the time the Mongol monarchs converted to Islam until the end of the Ilkhanids; but it underwent progressive transition once the Mongols invaded Iran until the end of the 7th century. From this perspective one of the significant aspects of manuscript gilding during this time, which is discussed in the book, is that the initial pages of the of the Quran are gilded and divided in a geometrical form, and Islamic motifs are used in them. The gilding was made more beautiful by using different and contrasting colours in the background. In the gilding in the Mongolian style, which was called naturalism, plant and animal figures were used more, and this naturalistic style continued in the gildings of the Timurid period. (Ettinghausen, 2008: 1378) In the Timurid period, it became common to draw plants, flowers, and natural landscapes, and the margins of books were illustrated with them. In this period, different colours were used, and blue and gold colours were used more. According to the proposition that in written Qurans, the beginnings and the space between the verses were first gilded, in this research, The key query is: What modifications did the Quranic chapters in Iranian manuscripts endure. throughout the early Islamic centuries, and how were these chapters gilded throughout Iran’s Islamic history up until the end of the Timurid era? The investigation goal is to learn more about the Quranic passages in manuscripts in the early Islamic centuries in Iran and what the gilding of these manuscripts meant. Therefore, firstly, the headings and its characteristics have been explained in the manuscripts, then the Quranic examples have been examined; Finally, the gilding and transformation in the headings in different Islamic eras until the beginning of the Safavid period. At the end, after drawing the statistical graph, the result of the research is written. The decoration of the headings of books and Qurans started in the first century of A.H. In the early centuries, these headings were often decorated with palm-shaped patterns, complex designs, or square geometric patterns. These patterns are usually from architectural images, tiles, and fabrics. (Khalili, 2001: 12-13) These decorations started with a narrow decorative strip. A narrow decorative strip is a long rectangle that has the names of the Quran Surahs inside it, and the image of a shamsa is drawn next to it either at the beginning or at the end, making it more beautiful. Narrow decorative strips were drowned until the third century of A.H., and after that, they headings were used instead. The initial headings are usually inserted into the margin from one or two sides, but by drawing the table on the pages, it is drawn with the text in the table. The headings were usually drawn in a wide form without side patterns according to the size of the text. Within the narrow decorative strip, geometric patterns of knots and sometimes flowers and bushes are designed, and the name of the surah is written in the middle of it in Kufic script. From the sixth century of A.H., the pattern of medallion and borders has been drawn inside the heading, and the name of the surah is written in the middle of the central medallion. Medallion is drawn according to the shape of the heading. The main elements of heading had certain characteristics in different eras. The knowledge obtained from the examination of works of art from various historical periods in passages is used to this study. It is therefore historical research, and its goal is crucial. Analytical arguments are used in the historical-descriptive research methodology. Taking samples and gathering samples of gilded works in museums and libraries are the instruments and procedures for gathering information. Due to the vast number of these samples, the statistical population for the historical era covered by this study is the headings of the Quran manuscripts from the beginning of the Islamic period to the beginning of the Safavid period, and the statistical population is the headings of the Quranic manuscripts of this period due to the large number of these samples. The number of 16 Qurans from the 3rd to the 9th centuries of A.H. has been examined, and a table of 21 chapters from these Qurans has been created. The number of four Qurans has been chosen purposefully, as samples, and four headings of these Qurans have been examined due to the similarity of other samples and as the main model in terms of visual characteristics.  For this purpose, the Quranic manuscripts of the early Islamic centuries in Iran have been examined with the aim of visually studying these ornaments in the chapters by presenting images. According to final results, in the early Islamic periods, the gilding ornaments are quite plain and just include the chapter title and verse number, without dots or syntax, which are painted with gold color and drawn with a black pen around them, and headings have been the first place to be decorated and gilded. In the colouring of the Quranic headings, first a single colour of gold is used, then blue colours, then red colours, and finally a variety of colours such as orange, green, yellow, pink, etc. are used, but finally gold and azure colours are used more than other ones. Regarding the gilding of the surahs, first a decorative strip is drawn to separate the surahs, then this strip is completed and becomes a heading. In the evolution of heading, first the palm tree sign is added to it, then the inscription is added to it, and finally, the headers are embellished with plant motifs, including arabesque, flowers, and leaves. The patterns used to create the headings are delicate and drawn using a variety of colours. The Kufic line appears in the headings; initial position, followed by the Thuluth script, and then various other script types, including Naskh, Muhaqqaq, Rayhani, and Reqa' . As patterns, colours, and lines have changed over history, headers have expanded in variety and beauty. The colouring of Quranic gildings, which have been depicted in decorating books for years, is one of the best illustrations of analysis regarding conventional responsibilities. In the evolution of the gilding of Quranic verses in the early centuries of Islam, we see simple and gradually gilded decorative and luxurious gilding until the ninth century A.H. In completing this research, the transformation and change and the symbolic meaning of the use of gilding in Qurans are good topics for further research.
    Keywords: Bookmaking, Illumination, Headling, Early Islamic Centuries
  • سپیده طراوتی محجوبی، فاطمه کاتب*، مهدی کشاورز افشار

    از مسایلی که کم تر به آن پرداخته شده است، مساله هویت فرهنگی زنان در حوزه فرش دست باف می باشد. از آن جا که فرش دست باف همواره، آمیخته با زندگی زنان بوده است، مساله اصلی این پژوهش، اعتبار بخشیدن به گفتمان هویت فرهنگی زنان در فرش دست باف و مفصل بندی عناصر موثر این گفتمان در ایران دوران قاجار موخر و پهلوی اول است. در این پژوهش، با تکیه بر نظریات فوکو، مجموعه گزاره های تولید کننده دانش در حیطه مربوط به زنان و فرش بافی در دو دوره مذکور مورد بررسی قرار گرفته است. لذا، زن در ارتباطش با فرش دست باف از سه منظر 1) ذهنی؛ 2) عینی و 3) موضوع اثر، مورد تحلیل قرار گرفته است و سعی در کشف روابط عناصر مرتبط با زنان و نحوه ایجاد معنا و گفتمان در فرش شده است. هم چنین، هدف از این پژوهش، پاسخ به این پرسش است که، هویت فرهنگی زنانه در فرش دست باف ایرانی در دوران قاجار و پهلوی را چگونه می توان اعتبار بخشید؟ روش پژوهش کیفی و از نوع تحلیل گفتمان می باشد. برای تحلیل داده ها و رسیدن به پاسخ مساله، از نظریه دیرینه شناسی میشل فوکو به عنوان چارچوب نظری استفاده شده است. این روش به سبب وفور مستندات در مورد مشارکت فرهنگی، اجتماعی و اقتصادی زنان در حوزه فرش دست باف دوران مزبور، جهت اعتباربخشی و توصیف این گفتمان، اتخاذ شده است. نتیجه پژوهش، حاکی از آن است که با در نظر گرفتن زنان در موقعیت های سه گانه ذهنی، عینی و موضوع اثر، می توان به هویت فرهنگی زنان در گفتمان فرش دوران قاجار موخر و پهلوی اول اعتبار بخشید.

    کلید واژگان: گفتمان زنانه, فرش دست باف, فوکو, زنانگی
    Sepideh Taravatimahjoubi, Fatemeh Kateb *, Mehdi Keshavarz Afshar

    Iranian handwoven carpet is a phenomenon that carries the history, culture, tradition and civilization of Iran. But one of the less addressed issues is the women in the field of handwoven carpets. Since handwoven carpets have always been intertwined with women's lives, the main issue of research is to identify the female discourse in handwoven carpets and to articulate the effective elements of this discourse in Qajar and Pahlavi eras in Iran. Since handwoven carpet has always been considered masculine and women have not been looked at, more deeply than in the role of the weaver or the subject of the image in the pictorial carpets that were part of the productions of these two periods, this article tries to drag out the importance of the women's role in Iranian patriarchal society of those days.  In this study, based on Foucault's theories, a set of propositions producing knowledge in the field of women and carpet weaving in the Qajar and Pahlavi eras have been studied. However, Foucault had not clearly explained how the research must be conducted following the discourse, and it is difficult to find an easy guide to implement  in social research inspired by his work. Foucault uses archeology and genealogy in two major stages of his methodology. In archeology, Foucault focuses on the inner dimension of discourse and shows no interest in examining non-discourse elements. So, The present study emphasizes the method of Foucault's archeology and does not include genealogy as one of its components. The present study deals with the prevailing conditions in the Qajar and Pahlavi eras, especially in relation to the situation of women. According to Foucault's theory, in each period of epochs, a special discourse governs the behavior and actions of people and is accompanied by a series of discourse strategies that are inextricably linked with language and with the collapse of any system. Therefore, women in relation to handmade carpets in the two periods of Qajar and Pahlavi have been discussed and some power relations have been mentioned as well. In this regard, women have been analyzed in relation to handwoven carpets from three perspectives: 1) subjective; 2) objective and 3) the subject of the work. Also, an attempt has been made to discover the relationships of elements related to women and how to create meaning and discourse in the carpet. Also, the purpose of this study is to answer the following question: What was the position of women in Iranian handmade carpets during the Qajar and Pahlavi eras? The research method is qualitative and in terms of method of implementation is descriptive-analytical-historical. To study and understand past events, look at the causes, effects or trends of past events that helps to clarify current events and predict the future ones, Michel Foucault's archeology theory has been used as a theoretical framework and also as the conceptual model of the research to analyze the data and to respond to the problems. Considering the latter triad in Foucault's discourse analysis, the Iranian hand-woven carpet in the Qajar and Pahlavi eras has been studied from three perspectives. That is, women have been given subjective, objective, and conceptual situations in the handmade carpets of these two periods in order to recognize the dominant discourse of these two periods.Finally, a final assessment of the discourse position of handmade carpets in the two mentioned periods in Iran is obtained. Rival discourse sources in the construction of femininity in this period can be considered as written sources obtained from that period. Because these sources, which are at the same time expressive of the ruling discourse of this period, also express the demands of society, especially women. Because the identity that refers to women in modern times is not an absolute concept, but it is completely relative, which is realized in the historical process and within a certain cultural, traditional and social context, and is strongly dependent on the components and factors of its constituent context. The constituents of the context and their internal relations with each other are also involved in the process of application and construction of female identity. Accordingly, we will be confronted with different kinds of female beings and identities, and it is not possible to judge and define the conceptual nature of it. Therefore, woman is placed in different situations in relation to the handwoven carpet, then studied in the historical context of the period in order to understand the dominant discourse and at the same time, to recognize the power relations. In order to better understand and include discourse analysis based on the archaeological approach, it is necessary to explore the propositions confirming the phenomenon under study, to recognize power relations, and to identify competing discourses. Then to understand the current discourse of that phenomenon.  In historical and sociological analyzes, most women have been ignored and a distorted image of them has been obtained because they have always been on the margins of analysis and research. This is not just because of the exclusion of women from research examples, but also as a result of the systematic prejudices and inefficiencies that exist in common male-centered contexts. Even in the examples that include women in research categories, it is from a perspective that considers men as a common standard. Women are related to all aspects of Iranian handwoven carpets in the historical period under study, and according to the documents collected. Relying on the discourse method of Michel Foucault and adopting a triple response method in archeology, the propositions related to Iranian handmade carpets in the Qajar and Pahlavi periods were examined. Propositions whose function is revealed by dealing with historical narratives. Until the answer to the main question was found, which is looking for the place of women in Iranian handmade carpets. The richness of historical material and documents related to the daily events of men compared to women in history is so high and even the smallest daily activities of men have been recorded in the history. But women, as the half of the population, enjoy less of the richness of written documents, and the  recorded history for them is often an oral history. The main purpose of this article is to take women out of the historical isolation of that time and to identify their activities and to record propositions and elements in writing and to include them in the realm of discourse to recite  the forgotten identity of women living in the patriarchal society of that era. An identity that is not inherent in nature and has always been introduced to others by her male relatives. Also, the expression of propositions that may be considered more accurately and in detail in future research. The meaning of each of these propositions may not be important, but how they are combined and united is important. In order to answer the research question, which was to find the position of women in the field of handmade carpets in the two mentioned periods, by granting three special positions to women in relation to handmade carpets, women's footprints were observed in all related aspects of handmade carpets. Although discourse theories are always subject to change and transformation and unstable; However, according to the studied data, the role of women in economic, cultural discourses, tastes and representations of handmade carpets and looking at all its dimensions, from the stages of spinning wool and silk to the stages of production, ownership circle and even its designs in In both Pahlavi and Qajar periods, it can be said that the element of femininity has always been alive and well in the field of Iranian handwoven carpets. Therefore,  the position of women in the context  of Iranian handwoven carpets in this period cannot be denied.

    Keywords: Feminine Discourse, Handwoven Carpets, Foucault, Femininity
  • فاطمه کاتب، اباذر اسمعلی عوری*، رئوف مصطفی زاده، معراج شرری، زینب حزباوی
    زمینه هدف

    تدوین یک طرح جامع برای توسعه کشاورزی، منابع طبیعی و آبخیزداری با هدف شناسایی تمام نیازها و مسایل مربوط به ذی نفعان مختلف به طور جداگانه دشوار است. به همین منظور، استفاده از یک نیمرخ سیاسی به عنوان ابزاری با ارزش در فرآیند برنامه ریزی حوزه آبخیز می تواند کمک کند تا مسایل اجتماعی مرتبط را شناسایی نموده، اطلاعات لازم در مورد آن ها را جمع آوری کرده، و نهایتا در برنامه مدیریت فعالیت های کشاورزی و منابع طبیعی خلاصه سازی و به کار گرفته شوند.

    روش بررسی

    پژوهش حاضر به لحاظ روش، توصیفی- تحلیلی و به لحاظ هدف، از نوع تحقیقات کاربردی است.

    یافته ها

    در این مقاله مفهوم نسبت نیمرخ سیاسی در تعیین نگرش ذی نفعان به تغییر در اقدامات کشاورزی و منابع طبیعی معرفی و تبیین می کند. هم چنین، اطلاعات جامع و لازم در خصوص نقش افراد، گروه ها و سازمان ها بر تصمیمات سازمان های دولتی ارایه می دهدتا مدیران از مشارکت ذی نفعان در فرآیندهای تصمیم گیری و اجرا استفاده نمایند. در این رویکرد، ابتدا یک مسیله یا مشکل و سپس دست اندرکاران مختلف در پروژه شناسایی شده و بر اساس اطلاعات پرسشنامه ای، نگرش دست اندرکاران از طریق تعیین موقعیت، اهمیت و قدرت مشخص خواهد شد. در ادامه، مقادیر نسبت نیمرخ سیاسی محاسبه خواهد شد. مقادیر شاخص محاسبه شده امکان ارزیابی نقش هر کدام از دست اندرکاران یا ذی نفعان در حل مشکل و یا تصمیم گیری در خصوص آن را فراهم خواهد نمود.

    بحث و نتیجه گیری

    رویکرد مذکور می تواند در تعیین نقاط قوت و ضعف تصمیم گیری و اجرای اقدامات مختلف در خصوص حل مشکل یا اتخاذ رویکرد جدید مورد استفاده قرار گیرد.

    کلید واژگان: تصمیم گیری, دست اندرکاران, مشارکت, قدرت نفوذ
    Fatemeh Kateb, Abazar Esmaliouri *, Raoof Mostafazadeh, Mearaj Sharari, Zeinab Hezbawi
    Background and Objective

    It is difficult to formulate a comprehensive plan for the development of agriculture, natural resources, and watershed management to identify all the needs and issues of different stakeholders, separately. To this end, using of policy profile as a valuable tool in the watershed planning process could be helpful to identify relevant social issues, collect essential information about them, and ultimately summarize and applied these data in the agricultural and natural resources management program.

    Material and Methodology

    The current research is descriptive-analytical in terms of method and applied research in terms of purpose.

    Findings

    In this paper, the concept of policy profile ratio (PPR) in determining the stakeholder attitudes regarding the changing agricultural and natural resources measures, has been introduced and elaborated. In addition, a comprehensive and necessary information on the individuals, groups and organizations role on the decision making of government agencies has been provided for managers to use of stakeholder participation in decision making and implementation processes. In this approach, firstly an issue or problem and then different stakeholders of the project are identified and based on the questionnaire information; the stakeholder’s attitude will be assigned through determining their position, importance and power. Hence, the values of policy profile ratio will be computed. The values of calculated index ​​will allow to assess the role of each practitioner or stakeholder in the problem solving or deciding on it.

    Discussion and Conclusion

    The introduced approach can be applied to identify the strengths and weaknesses of decision-making and to take various actions to solve the problem or adopt a new approach.

    Keywords: Decision making, Practitioners, participation, Power of influence
  • اکرم نوری*، فاطمه کاتب، علی خلیقی

    فرش دست باف دارای سبقه ای بسیار طولانی است به گونه ای که قدیمی ترین قالی های دست باف در موزه های دنیا تنها بخشی از این تاریخ را نمایان می کنند. قالی، تاریخ مبهم و ناآشنایی دارد که سیر تکامل و رشد آن همواره مجهول و ناپیدا مانده است. علاوه بر قالی ها و تکه فرش های موجود به جامانده، آثار نقاشی، نگاره ها و همچنین متون قدیمی از منابع مهم تاریخ فرش هستند. در منابع مکتوب گذشته، اطلاعات مفیدی درباره قالی ایران وجود دارد. پرسش این تحقیق چنین است که قالی ایرانی در کتاب های قدیمی چگونه و تا چه حد توصیف شده است و این منابع مکتوب چه اطلاعاتی درباره آن ارایه می کنند. هدف از این پژوهش، چگونگی وصف و شرح قالی در این منابع مکتوب است. در این پژوهش ده عنوان از منابع مکتوب قرن چهارم تا هشتم قمری مطالعه شدند تا اطلاعاتی که درباره فرش دست باف ارایه می دهند جمع آوری و بررسی شوند. این تحقیق از نوع تاریخی است که به روش توصیفی تحلیلی و از طریق منابع کتابخانه ای انجام گرفت. نتایج تحقیق چنین است که در قرون چهارم تا هشتم قمری قالی دست باف کالایی باارزش و گران قیمت بوده است و بخشی از غنایم، شکوه و جلال قصرهای پادشاهی. همچنین در این منابع رنگارنگ بودن، کیفیت مطلوب بافت و جنس ابریشمی، پشمی و گاه زرین الیاف بیان و توصیف شده اند، در حالی که در ارتباط با طرح و نقوش قالی ها گزارش و اطلاعاتی ارایه نشده است.

    کلید واژگان: تاریخ فرش, قالی ایران, نقوش قالی, منابع مکتوب, کتاب های قدیمی
    Akram Noori *, Fatemeh Kateb, Ali Khalighi

    yCarpet is a valuable handicraft due to the number and diversity of its designs and drawings, the meticulous principles observed in weaving them, and the technical operations of coloring. The studies conducted in the field point to the high level of skills implemented by artists in creating and weaving carpets. Carpet has a very long history, and the oldest carpets displayed in museums around the world illustrate only a portion of that history. But it also has a vague history, and its process of evolution and development has so far remained unknown. In addition to the carpets or pieces of carpets that have survived to this date, paintings, drawings, and old texts are also remarkable resources in the history of the carpet. Investigating the history of carpet is an important branch of carpet studies and has been carried out by Iranian and foreign researchers for many decades. The historical information on Iranian handwoven carpets begins with the well-known Sheikh Safi Carpet in the 10th century of the Islamic Calendar. However, it is obvious that Iranian carpets date back to more ancient times. The handwoven carpet gradually gets decayed, eroded, and decomposed due to the existence of the protein structures of wool, silk, or cotton. Clear-cut pieces of handwoven carpets are limited to the past few decades. Resources that provide historical information on handwoven carpets before that time include pictorial sources (e.g., drawings) or written sources (e.g., books).Numerous drawings made during the Ilkhanate and Timurid eras, which encompass the period between the 7th and 9th periods of the Islamic Calendar, directly and explicitly illustrate the handwoven carpet. They offer information like the designs, drawings, and colors of the carpets produced during the period. Though many studies have been conducted in this field (miniatures), few studies have investigated the history of carpets in written records. Moreover - although not nearly enough - several studies have been conducted in the field that can be useful and helpful. Even though the present study has similarities to the previous studies in terms of its resources (the history of the old handwoven carpet in written records), it is different in regards to the selected historical period and the implemented written records. The main hypothesis of the study is that while the designs and drawings of carpets attracted the attention of the authors of written resources and prompted them to provide reports on them, the findings of the study would offer something different.The main resources of the present study include old written records. They were books that had no relevance to crafts and arts in terms of their main ideas but somehow illustrated the political, social, and cultural history of their times. However, it should be noted that no book was written on fine arts and art in the investigated period. Thus, ten volumes on three different fields, including itineraries, geography, and history, that were written from the 4th century to the 8th century of the Islamic Calendar were selected using the non-random – judgmental sampling technique. Six books on political history that offered comprehensive materials (e.g., Jami' al‑Tawarikh and Tarikh-i Bayhaqi), three itineraries that were the most well-known itineraries written in Iran from the 4th century to the 8th century of the Islamic Calendar, and a book on geography that introduced professions, crafts, and arts in different regions and realms of Iran. The main questions of the study were as follows: “How was the Iranian carpet described in old written records?” and “What type of information did the books offer on the carpets?”The present study is a historiographic one in terms of its goals and is conducted using the descriptive-analytical methodology. Moreover, the data were collected using library resources. The books investigated in the study, which were ten volumes and had been written during the Buyid Dynasty, Mongol Conquest, Ilkhanate Dynasty, and Timurid Dynasty, could be classified as historiography studies. Four volumes were valuable works written during the Mongol (Ilkhanate) era and had historical significance as they offered precious information on culture and arts of the studied eras. The Mongols linked western and eastern schools of thought due to their extensive political geography that stretched from China to Asia Minor, and this was evident in the surviving historical records of the time. For instance, Mongols converted to religions like Shamanism, Idolatry, Judaism, Christianity, and Islam in various periods and performed the rituals of those religions. This indicates a sort of artistic intermixture during the Ilkhanate era. Indeed, it can be argued that the dominance of Mongols in Iran was a turning point in the art history of this great land. The researchers sought to meticulously investigate the selected books to find phrases and clauses that offered reports of handwoven carpets and rugs. Thus, the books were studied line by line so that any traces of carpets in them could be found and analyzed. Moreover, the reports on carpets by historians who had no professional relation to crafts and arts were also considered and studied. Then, the clauses of the books that offered information about carpets were classified into three sections (determined by the authors in clear-cut thematic areas). Then, the evidence implied by the clauses and reports was analyzed. Undoubtedly, the number of books investigated in the present study was negligible compared to numerous books and old bulky volumes written in or about Iran. Nonetheless, the results of the study could be analyzed in other books as the historical components of the carpet. Investigating the selected books resulted in the collection of a total of 83 reports (containing at least one clause relevant to carpets) as the data of the study. The collected clauses all pointed to three considerations:First, in all reports, carpets were described as valuable and expensive handicrafts. Second, none of the authors in the investigated four centuries made sufficient and convenient reference to the designs and drawings of the carpet and just talked about the colorfulness and, sometimes, the materials used in weaving them. Third, though the authors did not talk about the designs of the carpets, the designs and drawings of the fabrics, curtains, and Diba (a thin carpet made of cloth) were described and paid attention to. Consequently, the following conclusions and theories were obtained: the handwoven carpet was considered a valuable and expensive commodity from the 4th century of the Islamic Calendar onward and contributed to the magnificence and grandeur of the kings’ palaces. Unlike the hypothesis of the study, the authors and historians made no reference to the designs and drawings of the carpets and only described the materials used in weaving the carpets and their colorfulness.The delicacy and beauty of the fabrics described in the investigated written records (in addition to the surviving drawings and pieces of fabric) imply that the drawings of fabrics and the textile had a significant effect on the drawings of handwoven carpets and were considered important sources in that regard. Moreover, the designs of the carpets could not be described due to their geometric repetitive designs, which could be found in the drawings of the period.Any investigation on the history of the carpet by the researchers of visual resources should take into consideration that some carpets described and noted by historians and authors were indeed cloths and dibas. This can be helpful in distinguishing the drawings of a carpet from a diba, particularly when a carpet is drawn on another one. Moreover, the similarity between the drawings of the carpets and cloths used to cover the floor consolidate the hypothesis that the designs, drawings, and delicacy of the cloths influenced the designs, drawings, and texture of the carpets.The ultimate conclusions of the present study were the significant value and cost of the handwoven carpet, the lack of information and reports on the designs and drawings of the carpet, and references to the materials used to weave the carpet. Moreover, the findings probably imply that the designs of the carpets produced during the investigated period were geometrical and repetitive, and the drawings of cloths were a source of inspiration and influence on carpet design in those eras. Historical books and records offer valuable information and data to researchers on the process of the history of art and the history of the handwoven carpet. They can pose numerous questions and offer answers to the studies conducted on Iranian carpets to elucidate the path of the progress and splendor of the Iranian carpet, which was hidden for many centuries, in a better and more comprehensive way.

    Keywords: History of carpets, Iranian carpets, carpet designs, written sources, old books
  • طیبه زرندی، فاطمه کاتب، عفت السادات افضل طوسی*

    گسترش تکنولوژی، علاوه بر تسهیل ثبت وقایع، امکان اشتراک گذاری را فراهم و تعامل پیرامون آنها را نیز بیشتر و شدیدتر کرده است. شرایطی که می تواند منجر به آغاز جنبش های بزرگ اجتماعی، آگاهی عمومی و تحولاتی شگرف شود؛ ازاین رو، شناخت و بررسی خوانش های مختلف از یک عکس می تواند عکاسان، رسانه ها و تولیدکنندگان محتوا را در انتقال هرچه بهتر پیام مدنظر و محدودکردن سایر خوانش ها یاری دهد. در این پژوهش، اصلی ترین و اساسی ترین پرسش پیرامون چگونگی، تنوع و عوامل تاثیرگذار بر خوانش مخاطب از عکس های خبری است. در راستای این مهم ابتدا باید دانست که آیا یک عکس خبری، عکسی هنرمندانه است و این عکس ها تا چه اندازه می توانند روی مخاطب تاثیر بگذارند و شروع کننده جنبش های اجتماعی باشند، آیا این تصاویر می توانند خوانشی متفاوت با پیام مدنظر عکاس و رسانه منتشرکننده آن داشته باشند؟ ازاین رو، این پژوهش با روش تحلیلی و توصیفی و با بررسی پنج عکس منتخب از میان بحث برانگیزترین عکس های خبری یک دهه اخیر (2019 - 2010)، خوانش مخاطبان را با بهره گیری از نظریه دریافت استوارت هال، تحلیل کرده است. همچنین به جهت تحلیل محتوایی، نشانه شناختی و ترکیب بندی نیز از نظریات پیرس استفاده شده است تا عوامل موثر در تنوع و تکثر خوانش ها بررسی شود. نتایج به دست آمده از پژوهش شامل واکاوی اهمیت و تاثیر ترکیب بندی و مهارت عکاس در انتخاب عمق میدان و نقطه فوکوس، انتخاب برش مناسب در ویرایش تصاویر و عواملی مانند لحظه مناسب ثبت تصویر در جهت دهی به خوانش مخاطبان است.

    کلید واژگان: عکاسی, عکس خبری, نظریه دریافت, خوانش مخاطب, استوارت هال
    Tayebeh Zarandi, Fatemeh Kateb, Effatolsadat Afzaltousi *

    The progress of photographic technology, in addition to facilitate the registration of events, provides the possibility of fast and vast sharing of images and increases the interaction about them. This condition can lead to major social movements, public awareness and tremendous development; as we were witnessed social opposition with Trump immigration policies or informing and attracting public opinion toward dimensions of the massive oil leakage in the Gulf of Mexico. By arriving the golden age of photography between the years 1930 to 1950, new subjects such as ethics, privacy and honesty of the photographer were raised in the photographic world and the photographers' population showed their adherence to these concepts based on various regulations.But with the arrival of amateur photographers who, - thanks to the digital age and the expansion of technology, got the chance of attending in this field –adherence and ethics were challenged. This challenge can be investigated from two directions, ignorant and non-dominance of these amateur photographers with management of the image content, and different readings that audience may have from an image. Hence, recognizing and examining different readings of a photo can help photographers, media and content producers for better transaction of the message and restrict other possibilities (meanings). In this research, the main and most basic question is about the variety and affecting factors of audience readings from news photos. It should be taken under consideration that is news photo consider as an artistic photo? How far can these photos affect the audience and start social movements? Can these images have a different reading from the real message of photographer and its published media?Hence, in this research five photos among the most controversial news photographs of the decade (2010 - 2019) has been selected and analyzed by analytical - descriptive method, the audience reading of the pictures has been examined by using Stuart Hall's theory. These five photos are 'The crying Girl at the Border' (John Moore, 2018), 'Venezuela's Crisis' (Ronaldo Schemidt, 2017), 'Captured Bird in Oil' (Charlie Riedel, 2010), 'Aisha' (Jodi Bieber, 2010) and 'Assassination in Turkey' (Burhan Ozbilici, 2016).Stuart Hall's theory of receiving in the article ‘Encoding and Decoding in the Television Discourse' (Hall, 1973) states that the meaning of the text is in a place somewhere between the transmitter and the receiver of the message. The transmitter encrypts the concept in his / her message in a particular way, but the receiver may decrypt it in a slightly different format. Hall classifies different readings into three categories: Hegemonic (Dominant) reading, Negotiated reading and Oppositional reading. In his view, the media encrypts its works according to the target community and social contexts of that group, but the audience (receivers) is far from the media's goal and behaves differently while facing the messages. So, despite of the media's attempt to induce a message and impose it on the audience, the recipient of the message shows different readings according to his or her way of thinking and social class in which he lives. The audience, who trusts the media, receives Dominant reading of that product. The audience, who trusts the media but reflects on the message and compares his perception with it, receives Negotiated type of this product. The audience who is unreliable to the media and believes its messages are manipulated receives Oppositional type of reading.Also, in order to analyze the content, semiotics and composition, Pierce's opinions have been used to investigate the factors affecting the diversity and plurality of readings. Charles Sanders Peirce has provided the most complete classification for signs. He examined and categorized a sign from various aspects. His classification is the most important type of classification in semiotics science. His views have special emphasis on 'implication', so recognition of signs, interpretation and subject are of the foundations of his theory. In this study, three groups of signs- iconic, indexical and symbolic -have been selected from a variety of species explained by Pierce that are more used to study media and cultural phenomena.The researchers in this study first examined the narrative and marginalization associated with each image, and then examined the composition and semiotics of it, and at the end, different readings received from each item collected by library method, and classified in three categories : The Dominant, Negotiated and Oppositional according to the results obtained from the research, it can be said that the news photo has characteristics that distinguishes it from the other types of photos, such as photography in a very short time interval, without prior knowledge and reflection of reality without any siding; but despite all these differences, news photography can be considered an artistic photography as well. News photos can cause movements. News photographers are at the forefront of the struggle to maintain the free flow of information and publish the most unseen events to the world. These photos can trigger a common sense, such as sympathy or anger, and accompany the audience in the shortest possible time and create a challenge against the current situation. The value of news photos, despite the very momentum nature of them, has a great deal of dependence on proper composition, impact and meaningful elements, speed of photographer and his choices.The ambiguity of the image, focusing on wrong subjects, choosing inappropriate shutter speed, wrong depth field, and so on can push a photo away from its true value. If in each of these parameters, an inappropriate or wrong selection happens, the photo cannot transmit its message clearly. Each news photo, despite the purpose of the photographer and the publisher media, can have different readings from the audience side. In other words, each photo – after its publication - starts its free way to inform and acknowledge, and the publisher no longer has the authority on the message which has been received by the public; but this route can be guided by the conscious selection of the photographer, paying attention to the proper composition and layout of the visual elements in the photo, better framing, attention to color and optical spectrum, appropriate focus point, minor correction and editing. The message transmitted from the photo largely depends on the number of Dominant or Oppositional audiences. Nowadays, the message of the photo is determined by the interactions of the audience on the internet and social networks. Although by promotional techniques and public opinion guidance, these views can be partially guided, however, the more fans of one of these groups to the other, the more the message will be directed to their category. Even though this reading (message receiving) is in conflict with the main purpose of the photographer. Few news photos can be found where there is no conflicted type in it. Therefore, the relevant photographer and media should limit any side view by selecting right picture and right edition.

    Keywords: Photography, News Photo, Reception Theory, Audience Readings, Stuart Hall
  • الهه مروج، فاطمه کاتب*، اشرف سادات موسوی لر

    جایگاه زنان در دوره های مختلف تحت تاثیر تحولات جامعه ای که در آن زندگی می کنند، قرار دارد.  با بررسی کتاب های به تصویر کشیده خارج از دربار می توان به مطالعه وضعیت آنها در ادوار مختلف پرداخت. شاهنامه یکی از کتب قابل توجه شاهان صفوی بوده که بارها به تصویر درآمده است. این تحقیق با روش توصیفی -تحلیلی و با بهره گیری از منابع اسنادی انجام شده بررسی جایگاه زن در شاهنامه 948ه.ق/1540م انجام شده است. در این راستا، به تفسیر و نقش زنان در نگارگری این شاهنامه با اتخاذ رویکرد آیکونولوژی و آیکونوگرافی پرداخته می شود. نتایج تحقیق حاکی از این است که زنان دربار در دوره صفوی، شاهنامه و نگارگری همواره مورد توجه بوده اند و  نکات مشترک زیادی بین آن ها دیده می شود. در تمامی این نگاره ها فقط از زنان درباری یا شاهزاده ها یاد شده است و از زنان کوچه و بازار خبری نیست؛ بنابراین زن ها  به واسطه خردمندی، سیاستمداری و  نیکوکاری شان در شاهنامه مطرح شده اند. از طرفی در تاریخ دوره صفوی همه زن ها به طبقه اجتماعی بالایی  تعلق دارند. در ارتباط بین متن و تصویر، نگارگر در تصویرگری در مواردی براساس ذوق و سلیقه خود عمل کرده است. همچنین، مشخص شد که درون مایه های تصویری در نگارگری این شاهنامه به عوامل زیادی مانند تحولات جامعه صفوی، جایگاه زن در آن دوره، نگاه فردوسی به زن و سنت نگارگری ایرانی و... بستگی دارد که در پروسه معنایابی این نگاره ها، باید به متون دیگری رجوع و ارتباط ها را مشخص کرد. اهداف پژوهش 1. واکاوی نقش و جایگاه زن در نگارگری شاهنامه عامیانه دوره صفوی؛2. بررسی نقش و جایگاه زن در دوره صفوی و نگارگری مکتب دوم تبریز.سوالات پژوهش1. نگارگر شاهنامه عامیانه از چه الگوهایی برای نشان دادن جایگاه تصویر زنان براساس نظریه پانوفسکی استفاده کرده است؟ 2. نقش و جایگاه زنان در دوره صفوی، با نگاه فردوسی و نگارگری مکتب تبریز چه شباهت ها و تفاوت هایی دارد؟

    کلید واژگان: شاهنامه, صفوی, زن, پانفسکی
    Elahe Moravej, Fatemeh Kateb *, Ashrafosadat Mousavilar
  • فاطمه کاتب، اباذر اسمعلی عوری*، رئوف مصطفی زاده، معراج شرری، زینب حزباوی
    مقدمه و هدف

    اجرای شیوه های مدیریتی و جلب مشارکت بهره برداران به دلیل تغییر ادراک و انتظارات ذینفعان با چالش هایی همراه است. لازمه مشارکت فعال در تصمیم گیری های مربوط به اقدامات آبخیزداری، معرفی ویژگی های جامعه، افراد موثر و انواع ذی نفعان دخیل می باشد. در همین راستا، پژوهش حاضر با هدف تعیین رویکرد ذی نفعان دولتی و محلی در تصمیم گیری مشارکتی برای اقدامات آبخیزداری حوضه انارچای مشگین شهر، استان اردبیل با محاسبه نسبت نیمرخ سیاسی (PPR) و شاخص حل تعارض (IR) انجام شد.

    مواد و روش ها

    به منظور تعیین رویکرد گروه های مختلف مشاغل از طریق طراحی پرسشنامه، میزان تاثیر طرح های آبخیزداری در بهبود درآمد آبخیزنشینان و ارزیابی میزان مشارکت آبخیزنشینان در اجرای طرح ها و کاهش تعارض و افزایش همیاری جوامع محلی بررسی شد. سپس شاخص های PPR و IR برای تمامی گروه های ذی نفع محاسبه و تحلیل شد. به منظور تعیین رویکرد گروه های مختلف از طریق طراحی پرسشنامه، میزان تاثیر طرح های آبخیزداری در بهبود درآمد آبخیزنشینان و ارزیابی میزان مشارکت آبخیزنشینان در اجرای طرح ها و کاهش تعارض و افزایش همیاری جوامع محلی بررسی شد. سپس شاخص های PPR و IR برای تمامی گروه های ذی نفع محاسبه و تحلیل شد.

    یافته ها

    نتایج نشان داد که مقدار PPR در دامنه صفر و 38 متغیر بوده است. به نحوی که از بین گروه های مورد بررسی، کم ترین مقدار PPR نشان از مخالفان تصمیم هستند، برخی از گروه ها با مقدار PPR صفر نسبت به موضوعات مطرح شده رویکردی متعادل داشته اند. هم چنین، میزان IR بین 1- و 1 متغیر بوده است. کم ترین مقدار آن برای گروه اساتید (مخالف اجرای تصمیم) در رابطه با اجرای تصمیمات اتخاذ شده نسبت به اثرات اقدامات مکانیکی در حفاظت از آب و خاک می باشند و میزان شاخص IR کم تر از 1 است. قابل ذکر است که در رابطه با همین موضوع، میزان IR برای اکثریت گروه ها نزدیک به 1 ارزیابی شد و نشان دهنده این است که این مساله در برنامه یزی ها توسط ذی نفعان و گروه ها حل شده است.

    نتیجه گیری

    نسبت نیمرخ اجتماعی ضمن تعیین و اولویت بندی دیدگاه های گروه های مختلف تصمیم گیر و ذی نفع می تواند در مدیریت موثر اقدامات بر اساس نقاط قوت و ضعف فرآیند مشارکت آبخیزنشینان مفید واقع شود. در این راستا، تقویت مشارکت ذی نفعان و گروه های موثر و نیز رفع موانع در گروه های کم اثر می تواند در فرآیند برنامه ریزی مدنظر قرار گیرد.

    کلید واژگان: تصمیم گیری, حل مساله, قدرت نفوذ, مدیریت منابع, نیمرخ اجتماعی
    Fatemeh Kateb, Abazar Emali Ouri*, Raoof Mostafazadeh, Mearaj Sharari, Zeinab Hazbavi
    Introduction and Objective

    Implementing management practices and involving stakeholders is associated with challenges due to changing perceptions and expectations of stakeholders. Active participation in decision making of watershed management measures is determining the community characteristics, involved people and diverse groups of stakeholders. In this regards, the present research was planned to determine the different groups approach in participatory decision-making for watershed management measures in the Unar Chay Watershed of Meshgin Shahr, Ardabil Province via Policy Profile Ratio (PPR) and Index of Resolution (IR).

    Material and Methods

    To achieve the considered goal, the target experts/managers have been chosen based on different background including natural resources, environment, regional water company, nomadic affairs, Jahad griculture, NGOs members, watershed residents, students, university professors and citizen groups. Through designing a questionnaire, the approach of different groups was examined based on analyzing the effect of watershed management projects on improving the income of watershed residents and evaluating the watershed community participation in the projects implementation and conflict reducing and increasing of local community’s cooperation. Then, the PPR and IR were calculated and analyzed for all stakeholder groups.

    Results

    The results showed that the value of PPR is between zero and -11. So that, among the study groups, the least PPR value was related to the subject of improving the watershed community income for the NGOs group which they were as opponents of the decision. Some of the study groups have a moderate approach towards the considered subjects. Additionally, the IR value was ranged between -50 and 12. The lowest value of IR was obtained for students group (opponents of the decision) towards the Women's empowerment and support via local cooperatives and organizations.

    Conclusion

    The social profile ratio, while determining and prioritizing the views of different decision-maker and stakeholder groups, can be useful in effectively managing actions based on the strengths and weaknesses of the watershed participation process. In this regard, strengthening the participation of stakeholders and effective groups as well as removing barriers in low-impact groups can be considered in the planning process.

    Keywords: Decision-Making, Issue Resolution, Power of influence, Resources management, Social Profile
  • نجمه دستغیب، فاطمه کاتب*، غلامعلی حاتم

    کیمیا یکی از مهم ترین شاخه های علوم غریبه است. در فرهنگ امروزی، کیمیاگری با جنبه ای سحرآمیز در اذهان تداعی می گردد؛ اما پیش تر این گونه نبوده است. زوایای پنهان و رازآمیز کیمیاگری با قدمتی باستانی، سبب گستردگی مفاهیم و در نتیجه، ابهام آن گشته است. با مطالعه تاریخ، اهمیت جایگاه کیمیا در شاکله تمدن ها احراز می شود؛ زیرا از ابتدای خلقت تا به امروز پا به پای بشریت همراه بوده، جلوه های متنوعی چه مادی و چه معنوی از خود نشان داده و شاخه های متعدد علوم از آن منشعب شده است. این که کیمیا چه ماهیتی داشته و نسبت آن با علم و هنر چه بوده، پرسش این پژوهش است. با توجه به این که شناخت کیمیا و دست یابی به جایگاه آن در تمدن بشری هدف اصلی این پژوهش است، در این مقاله، منابع تاریخی و پژوهشی به روش کتابخانه ای جمع آوری شده اند. مطالعه متون کیمیاگری با رویکرد میان رشته ای و شیوه توصیفی-تحلیلی انجام گرفته است. در مقایسه ویژگی های چند جانبه کیمیا می توان نتیجه گرفت که، با این که کیمیاگری ابتدا، علم است و بعد، در هنر ریشه دارد، اما در دوره اسلامی به دلیل بعد معنوی، به هنر نزدیک تر می باشد و دو وجهی بودن، کیمیا را متمایل به هنر می کند تا علم مادی گرا. هم چنین، کیمیا نه تنها فراتر از شاخه علم و هنر بوده، بلکه شکل دهنده عرفان در تمدن های بشری است.

    کلید واژگان: کیمیا, عرفان, هنر سنتی, علم باستان, کیمیاگری
    Najmeh Dastgheib, Fatemeh Kateb *, Qolamali Hatam

    Alchemy is one of the most important branches of the supernatural sciences. Today, alchemy is considered as a kind of magic, unscientific and superstitious work. But in the past, it did not mean that. Alchemy has an ancient history and the mysteries of which have made it complicated and expanded. Studying the history of civilization shows that alchemy has an important place and various branches of science have branched out of it. Alchemy is more than magic. The unity that exists within the alchemy of different civilizations proves that alchemy is not a trick; because alchemy has common principles in India, China and Western civilizations, despite the different spiritual environments. If alchemy were a lie and a trick, in the way it was expressed in all civilizations, irrationality and exaggeration would be observed and the trick would be revealed; but alchemy has all genuine traditional indications. Today, a one-sided view of alchemy has led to a distinction between the technical aspect, namely chemical processes, and its traditional and spiritual aspects. To understand alchemy, it is important to identify its nature. Opinions about alchemy vary according to its scientific or artistic nature and raise different expectations of the place of alchemy in human civilization. If alchemy is studied only in terms of the conversion of materials and metals, given the importance of the sanctity of gold and silver, alchemy is still a spiritual work. because gold and silver, in the first place, were sacred metals and, in the second place, a symbol of wealth. The definitions of alchemy in civilizations were associated with specific purposes. The first goal was to acquire gold metal and become wealthy. Second, the preparation of elixir of youth and immortality; the third most important goal was to reach truth and perfection, and the mystics also intended alchemy. Thus, the conversion of metals to gold was associated with the cultivation of the human soul, and the alchemical process was a symbol of salvation. Alchemy information was transmitted through conversation between teacher and student, and education was not in writing. The symbolic language of alchemical texts has also added to its complexity. The combination of alchemy with mysticism and mystical language connects it to the field of art, and on the other hand, alchemy includes various aspects of different sciences. The research question is what role did alchemy play in human civilization and in terms of its ancient meaning is it science or art? There are many ambiguities in alchemy for various reasons, the most important of which has been the method of conveying alchemy through dialogue, avoiding note-taking, and the symbolic language of texts. Examining the research conducted in the field of alchemy, it was found that alchemy has been effective in a wide range of sciences such as psychology, astronomy, chemistry, pharmacy, medicine, knowledge of materials and elements, glassmaking, pottery, etc. On the other hand, alchemy, like traditional art, has always been associated with mysticism and has similarities with art in customs, techniques and tools. This article focuses on the nature of alchemy and its role in the formation of human civilizations. To achieve the purpose of this research, which is to explain the nature of alchemy in human civilization, studies on alchemy as an art and also alchemy as a science are conducted to determine whether Islamic alchemy is closer to science or art in this comparison. Author in examining the history of science and art preferred science; because without knowledge and awareness, imagination does not exist. This is why art is dedicated to human beings; it is based on consciousness. Art has a deep and spiritual relationship with science, and although art in its traditional sense is unscientific and irregular, it reflects the mental order and objective manifestation of art with science. According to this fact that science includes the material aspect of things and art emphasizes the spiritual aspect, alchemy is the perfect result of the science and art blend. Research in alchemy has always emphasized the mysterious nature of alchemy texts and also alchemists' attempts to conceal alchemy Techniques and traditions. This issue needs more attention; because secrecy and concealment of knowledge is a behavior that is a sign of stinginess, a behavior that is completely contrary to the principles of alchemy. Nevertheless, we can say that alchemy is a kind of practical mysticism to achieve the truth. The most important alchemists in history have been prophets and mystics; thus, alchemy is not in conflict with religion and they share common goals, ideas, and actions. The only ambiguity that causes alchemy to be neglected is the separation of the clergy from its material aspect which has been caused by the passage of time. Of course, in religions, this qualitative decline has been an inevitable phenomenon throughout history, and for this reason, there has been a need for a prophet and a new religion to repeat and remind the principles of truth. Therefore, alchemy is a science that has an artistic expression and according to the discussions about the meaning of alchemy, alchemy is a sacred process that when this sanctity separates from alchemy, alchemy will not remain and instead, it becomes another branch of supernatural science. Alchemy is a kind of practical mysticism for achieving truth, and its spiritual aspect is so important that if it is separated, there will be no more alchemy. This level of spirituality causes alchemy to be not explainable as words Because the description of this concept in form of writing causes the descent of the spiritual burden and makes it more material and lower. So, whenever and wherever spirituality is explained in the form of writing it has led to misunderstandings such as polytheism and idolatry in divine religions. This fact is also authentic for alchemy. Another issue is that the history of alchemy is much older than mysticism, and many of the invocations and wonders that are common in mysticism and Sufism have their origins in alchemy. The alignment of alchemy with mysticism, which is a way of attaining the sacred truth, shows that alchemy itself is the most ancient mysticism to which perfect human beings resorted in the order of the path. Alchemy is a path that has been comprehensible and palpable as long as man has not strayed from the truth. The miracles of the prophets and the miracles of the mystics originated from chemistry that was all spiritual and connected to the eternal truth. Finally, in response to what alchemy is, it can be said that alchemy is not only beyond the branch of science and art but also shapes mysticism in human civilizations, especially Islamic mysticism.

    Keywords: Mysticism, Traditional Art, Ancient Science, Alchemy
  • نجمه دستغیب*، فاطمه کاتب

    کیمیاگری حکمتی کهن بوده که علاوه بر پیوند با علوم مختلف، با دین و عرفان نیز ارتباط داشته است. در اسلام بسیاری از اذکار و اعمال مرتبط با عرفان از کیمیا نشات گرفته و عرفان نیز متقابلا تاثیر زیادی بر روند گسترش کیمیا بین مسلمانان داشته است. کیمیاگری در ماهیت با عرفان اسلامی هماهنگ است؛ زیرا از سرچشمه ای قدسی نشات می گیرد. بعد روحانی همواره ارجح بر ابعاد مادی و ملموس کیمیاگری و رکن اصلی آن محسوب می گردد که در صورت حذف، مقام کیمیا به جایگاهی پایین تر در بین انواع علوم غریبه نزول می یابد و دیگر کیمیا نخواهد بود. با توجه به اینکه عرفان در شاکله هنر اسلامی سهیم بوده، امکان تشابه و تناظر نمادهای کیمیاگری در هنر اسلامی وجود دارد؛ بنابراین شناخت نمادهای کیمیاگری و چگونگی تجلی آن ها در هنر اسلامی حایز اهمیت است. اینکه نمادهای کیمیاگری چه ویژگی هایی دارند و چه تاثیری بر هنر اسلامی داشته اند، سوال این پژوهش و دستیابی به نحوه تجلی این نمادها در هنر اسلامی، هدف این پژوهش است. در این پژوهش که به شیوه توصیفی- تحلیلی و با تاکید بر رویکرد سنت گرایانه و کلیت گرا انجام گرفته، نمادهای کیمیاگری مرتبت بندی شده و با اصول هنر و عرفان اسلامی مقایسه شده اند. درنهایت این نتیجه به دست آمد که نمادهای کیمیاگری با مفاهیم عرفانی که شکل دهنده مهم ترین ویژگی های هنر اسلامی هستند، متناظر و هماهنگ هستند. قواعدی چون نگرش توحیدی، حرکت دایره وار و حلزونی نقوش، اهمیت کمال به عنوان هدف غایی، انعکاس عالم اکبر در عالم اصغر به عنوان اصول مشترک میان هنر و عرفان اسلامی و کیمیاگری هستند. این نکته، با توجه به قدمت بیشتر کیمیا، تاثیر کیمیا را بر هنر اسلامی نشان می دهد.

    کلید واژگان: نماد, کیمیاگری, عرفان اسلامی, هنر اسلامی, مراتب کیمیایی
    Najmeh Dastgheib*, Fatemeh Kateb

    Alchemy is an ancient science that has been associated with various sciences, religions and mysticism. In Islam, many mystical prayers and practices have originated from the transcendental sciences, and mysticism has had a great impact on the spread of alchemy among Muslims. The nature of alchemy is in harmony with Islamic mysticism; because they branch out from sacred sources. If the spiritual part is eliminated, which has always prevailed over the tangible dimensions of alchemy and is the main pillar of alchemy, the status of alchemy will be reduced to a lower position among the various transcendental sciences and it will no longer be alchemy. Considering that Islamic art is formed from the rules of Islamic mysticism, it is possible to find similarities and correspondences between the symbols of alchemy in Islamic art, and therefore it is important to know the symbols of alchemy and how they manifest in Islamic art. What are the characteristics of alchemical symbols and what effect have they had on Islamic art? The question the aim of this research, and of this research is to see how the manifestation of these symbols in Islamic art is is achieved in This research has been done in a descriptive-analytical manner with a traditionalist and holistic approach. In order to reach the answer, the symbols of alchemy have been defined and ranked and compared with the principles of Islamic art and mysticism. Finally, it was concluded that the symbols of alchemy correspond and are in harmony with the mystical concepts that shape the most important features of Islamic art. Principles such as monotheistic attitude, circular and spiral movement of motifs, the importance of perfection as the ultimate goal, the reflection of the greater world in the lesser world are seen as common principles between Islamic art and mysticism and alchemy. This point, considering the older history of alchemy, shows the influence of alchemy on Islamic art.

    Keywords: symbol, alchemy, Islamic Mysticism, Islamic art, Alchemy order
  • نجمه دستغیب، فاطمه کاتب*، غلام علی حاتم
    بیان مسئله

    اساس کیمیاگری برخلاف آنچه امروزه نزد عوام مطرح می شود، جنبه ای عرفانی داشته و بدون عرفان، از مرتبت خود خارج می شده و دیگر کیمیا محسوب نمی شده است. کیمیاگری با عرفان در مذاهب توحیدی مرتبط بوده و در اسلام نیز از ارزش والایی برخوردار بوده است. عرفان سرچشمه هنر مقدس اسلامی است و از طرفی پیوندی دیرینه با کیمیاگری دارد. در بین هنرهای قدسی، محراب زرین فام یکی از جامع ترین نمونه هاست. در فن زرین فام، خشت بی ارزش با انجام عملیاتی مبدل به کاشی با جلوه زرین فام می گردد که متناظر با عمل تمثیلی کیمیاگری یعنی استحاله فلز پست به طلا است. این تناظر، به همراه پیوند عرفان اسلامی و کیمیاگری، حاکی از اهمیت مبحث کیمیاگری در ساختار هنر مقدس، به ویژه محراب زرین فام است. اینکه کیمیاگری چه نقشی در شاکله محراب های زرین فام داشته است و نمادهای کیمیاگری چگونه در این آثار متجلی شده اند؟ سوال این پژوهش است.

    هدف پژوهش

    تبیین جایگاه کیمیا، به عنوان حکمتی مرتبط با عرفان اسلامی، در تزیینات محراب های زرین فام هدف این مقاله است.

    روش تحقیق

    در این پژوهش به علت ماهیت تاریخی، از منابع کتابخانه ای استفاده شده است و محراب های زرین فام به عنوان یکی از جامع ترین آثار مقدس در هنر اسلامی ایران، به شیوه توصیفی-تحلیلی با نمادهای کیمیاگری بررسی تطبیقی شده اند.

    نتیجه گیری

    با مطالعه بصری محراب های زرین فام می توان تاثیرات کیمیاگری را به عنوان عرفانی کهن، در هنر اسلامی ایران مشاهده کرد. مفاهیم کیمیاگری در نظام بصری محراب های زرین فام، با بیانی رمزگونه و به صورت نمادهای آشکار و مخفی ظهور یافته است. این نمادها همچون خود کیمیا از گستردگی موضوعی برخوردارند. علایم کیمیایی، اصول انعکاس و ثنویت، نقوش هندسی اعم از دایره، مربع، ستاره سلیمان و نقش مار از نمادهایی هستند که هم ارتباط محراب های زرین فام با عرفان کیمیایی را آشکار می کنند و هم حضور کیمیا در نظام بصری هنر مقدس اسلامی را نشان می دهند.

    کلید واژگان: کیمیاگری, هنر مقدس, محرابهای زرین فام, هنر اسلامی ایران
    Najmeh Dastgheib, Fateme Kateb *, Gholamali Hatam
    Problem statement

    The basis of alchemy, contrary to what is presented to people today, has mystical aspects and without mysticism, alchemy is no longer considered alchemy. Alchemy is associated with mysticism in monotheistic religions and has been of great value in Islam. Mysticism is the source of Islamic sacred art and historically it has had a deep relation with alchemy. Among the sacred arts luster-ware mihrab is one of the most comprehensive examples. In the art of Luster-ware, a worthless brick is transformed into a tile with a luster-ware resplendence by performing an operation that corresponds to an alchemy allegorical action which is the transformation of a base metal into gold. This correspondence, along with the union between Islamic mysticism and alchemy, suggests the importance of alchemy in the structure of sacred art, especially in luster-ware mihrabs. The Main Question is what role did alchemy play in shaping the luster-ware mihrabs and how are the symbols of alchemy in these works manifested

    Research objective

    The main purpose of this article is to explain the importance of alchemy, as wisdom related to Islamic mysticism, in the decoration of the luster-ware mihrabs.

    Research method

    In this research, due to its historical nature, library resources are used and a comparative study of luster-ware mihrabs as one of the most comprehensive sacred works in the Islamic art of Iran, is conducted with symbols of alchemy in a descriptive-analytical manner.

    Conclusion

    By visually studying the luster-ware mihrabs, the effects of alchemy as an ancient mysticism in Islamic art of Iran can be observed. The concepts of alchemy have appeared in the visual form of the luster-ware mihrabs, with a cryptic expression and in the form of overt and covert symbols. These symbols, like alchemy itself, have a thematic scope. Alchemical symbols, laws of reflection and duality, geometric motifs such as circle, square, seal of Solomon and the figure of snake are among the symbols that reveal the connection between the luster-ware mihrabs and alchemy mysticism and also show the presence of alchemy in the visual system of Islamic sacred art.

    Keywords: Alchemy, Sacred Art, Luster-ware Mihrabs, Islamic Art of Iran
  • اباذر اسمعلی عوری*، فاطمه کاتب

    پژوهش حاضر با هدف بررسی ارتباط بین سنجه های سیمای سرزمین و الگوی فرسایش خاک در حوزه آبخیز شریف بیگلو استان اردبیل برنامه ریزی شد. ابتدا با استفاده از نرم افزار Fragstats 4.2.1، 9 سنجه سیمای سرزمین شامل تراکم لکه، شاخص بزرگ ترین لکه، حاشیه کل، تراکم حاشیه، شاخص شکل لکه، میانگین اندازه لکه، میانگین فاصله نزدیک ترین همسایه اقلیدسی، شاخص گسستگی سیما و شاخص تکه شدگی مورد محاسبه قرار گرفت. سپس شدت فرسایش خاک منطقه با استفاده از مدل پتانسیل فرسایش (EPM) با عملکرد قابل قبول بر اساس مطالعات پیشین برآورد شد. در ادامه نتایج حاصل از محاسبه ی سنجه ها و شدت فرسایش خاک وارد نرم افزار SPSS شده و رابطه معنی داری حاکم بر آن ها تعیین شد. نتایج نشان داد که در حوضه مورد مطالعه کاربری کشاورزی دارای فرسایش زیاد، کاربری های مرتع و باغ فرسایش متوسط، مسکونی فرسایش کم و بدنه آبی دارای فرسایش جزیی می باشد. در سطح سیما، برای حوضه شریف بیگلو میزان تعداد لکه 49، تراکم لکه 15/1، شاخص بزرگترین لکه 64/80، حاشیه کل 008/75508، تراکم حاشیه 75/17، شاخص شکل لکه 56/4، میانگین اندازه لکه 79/86، گسستگی سیما 34/0 و تکه شدگی 52/1 محاسبه شد. در سطح کلاس، میزان تکه تکه شدگی در بدنه آبی بالا ترین مقدار است. می توان نتیجه گرفت ارتباط آن با مجموعه هایشان قطع شده است که در نهایت با دخالت تغییرات سنجه های سیمای سرزمین، مطالعه فرسایش خاک نیز به شکل بهتری به انجام رسید به طوری که نقشه پتانسیل فرسایش نشان داد که مناطق با شدت فرسایش بالا متاثر از شاخص های سنجه به کار رفته و خصوصیات هیدروژیومورفولوژی به کار گرفته شده می باشد.

    کلید واژگان: کاربری اراضی, تخریب زمین, سیمای سرزمین, EPM, شریف بیگلو
    Abazar Esmali Ouri *, Fatemeh Kateb

    The aim of this study was to investigate the changes in land features and its role in the study of soil erosion in the Sharif Beiglou watershed. In this regard, first using Fragstats 4.2.1 software, 9 measures of land appearance including spot density (PD), largest spot index (LPI), total margin (TE), margin density (ED), spot shape index (LSI) Average spot size (AREA-MN), average distance of Euclidean nearest neighbor (ENN-MN), DIVISION index, fragmentation index (SPLIT) were calculated. Then, the intensity of soil erosion in the area was estimated using the Erosion Potential (EPM) model with acceptable performance based on previous studies. Then, the results of calculating the measures and the severity of soil erosion were entered into SPSS software and a significant relationship was determined. Then, the results of calculating the measures and the severity of soil erosion were entered into SPSS software and a significant relationship was determined. The results showed that in the study basin, agricultural use has high erosion, rangeland and garden uses have moderate erosion. At the level of landscape, for Sharif Beiglou watershed, the number of spots is 49, the spot density is 1.15, the largest spot index is 80.64, the total margin is 75508.008, the margin density is 17.75, the spot shape index is 4.56, the average spot size is 86.79 and landscape rupture was calculated to be 0.34 and fragmentation to be 1.52. At the class level, the amount of fragmentation in the water body is the highest.

    Keywords: Land use, Land degradation, Landscape, EPM, Sharif Beiglou
  • مرضیه طلایی، فاطمه کاتب*، سعید شریفی

    پژوهش حاضر با هدف پدیدار شناسی چالش های آموزش هنر مبتنی بر هنرهای جوامع محلی در حوزه عروسک های آیینی انجام گرفت. روش تحقیق به صورت کیفی از نوع اکتشافی، با رویکرد پدیدارشناسانه بود. جامعه پژوهش شامل مربیان، متخصصان و هنرمندانی بودند که از عروسک های آیینی در برنامه های آموزش هنر خود بهره بردند. روش نمونه گیری به صورت هدفمند متجانس صورت گرفت که با توجه به معیارهای ورود به پژوهش با 7 نفر به حد اشباع نظری داده ها رسید. ابزار گردآوری اطلاعات مصاحبه نیمه ساختاریافته بود. اعتبار اطلاعات گردآوری شده از معیار ارزیابی لینکن و گوبا(1985) و روش دنزین(1978) و پاتون(1999) تایید شد. روش تجزیه و تحلیل داده ها به شیوه ای استقرایی و با استفاده از روش هفت مرحله ای کولایزی(1978)، انجام گرفت. یافته ها نشان داد، چالش های آموزش هنر مبتنی بر هنرهای کامیونیتی در دو سطح درون و برون نهادی قابل دسته بندی است. در سطح درون نهادی، چالش های فقدان رویکردی جامع در آموزش هنر، مهارت های مربیگری، چالش مخاطب شناسی، تولید دیالوژیک، مهارت دانش چند فرهنگی، مهارت رهبری اجتماعی و چالش های برون نهادی، شامل چالش اقبال اجتماعی، فروکاست منزلت هنر به لذت، فرگشت معنایی، حصر آیینی، تهدید کارکردی، چالش آمیختگی نشانه ها، انتظارات بین نسلی بود.

    کلید واژگان: پدیدار شناسی, آموزش هنر جامع محور, هنرهای کامیونیتی, عروسک های آیینی
    Marzieh Talaei, Fatemeh Kateb *, Saeed Sharifi

    In their changing, complicated course within the global paradigm, the approaches and attitudes towards contemporary art education have taken new directions mainly towards broader interaction between arts and communities as well as establishing meaningful, critical connection between art programs with that of the learners' daily routines. That is why the study of culture and folk traditions of local communities and integration of such traditions into educational programs tailored to the values ​​and requirements of these communities have been taken into consideration. With a post-modernist perspective, community-based art education is one of the approaches taken to teaching and learning art in an interdisciplinary field, which perceive all types of connections between arts and communities through the elaboration of educational theories and practices. Since one of the important presuppositions of this approach is relying on the rich context of experiences, culture and art of the local/folklore communities, this study will examine the challenges of the area of Iran folklore and indigenous arts pertaining to ritual dolls and elucidate their various dimensions in a community-based art education framework. Then study has employed applied developmental research approach as well as exploratory-qualitative method with phenomenological approach. The study population consisted of educators, artists, and researchers actively involved in the field of indigenous arts, especially puppets, and engaged in art education. The sampling method used was purposeful and homogeneous which, taking into account the inclusion criteria, reached the theoretical data saturation with 9 individuals. Moreover, semi-structured interviews were used to collect data for this study. The validity of the data was confirmed by evaluative criteria of Lincoln & Guba (1985), Denzin (1978), and Patton (1999). The data was analyzed through inductive method using Collaizi's seven-step method (1978). Based on the findings, the challenges of community-based arts education were categorized into two main intra-institutional and extra-institutional levels and 18 themes. At the intra-institutional level, the challenges included the lack of a comprehensive approach to art education, coaching skills, audience analysis, dialogic production, multicultural knowledge skills, and social leadership skills. At the extra-institutional level, the challenges were the social welcome, the reduced status of art to pleasure and delight, semantic evolution, ritual confinement, functional threat, intertwining of symbols and intergenerational expectations. The results showed that the development of a community-based educational approach is considered a necessity in contemporary Iranian art education. Acknowledging the art, the culture, and the heritage of their communities and benefiting from them in their curriculums, the educators can empower learners’ cultural identity. Besides, the study outcomes indicated that the educators who, through experience, have been able to integrate folk arts such as dolls into their art education program, have experienced unintentionally the social functions of community-based arts. According to another part of the results of this study, local community-based arts should be capable of producing intellectual challenges and audience engagement as well as producing content appropriate to the audience, while this is absent in the current education process for these arts. The extra-institutional challenges section illustrates that community-based arts are not a concern for current society, and one of its important reasons is the shift in intergenerational expectations, semantic evolution, and ritual confinement, limiting the doll to the ritual field, which seems to be considered of no use in today's society. In addition, the current society has at best reduced art to a level of enjoyment and recreation; and thus, learning from arts is not much taken seriously. Community-based arts in this sense cannot be central to society.

    Keywords: Phenomenology, Community-Art Education, Folk Arts, Local Communities, Ritual Dolls
  • دکترفاطمه کاتب، سیران چوپان، رحمت نادری

    "ایزدیان" مردمانی کرد زبان در دل کوه های سنجار و شهر و اطراف موصل، دارای آیین کهنه یکتا پرستی هستند. کتابهای "مصحف سیاه" و "جلوه" دو کتاب مقدس در میان ایزدیان، به اسطوره آفرینش جهان و انسان می پردازد. این تحقیق با روش توصیفی- تحلیلی در پی پاسخ به این سوالات است: 1. ایزدیها چه کسانی هستند و خاستگاه آنها به کجا بر می گردد ؟ 2. تحلیل اسطوره آفرینش ایزدیها، در دو کتاب مقدس، چگونه است ؟ یافته ی مورد پژوهش نشان می دهد که بنا به سرنوشت ایزدیها، چه از لحاظ مذهبی و چه از لحاظ آیینی، تاریخی نامحتوم دارند که وجود طیف گسترده ای از مطالعات و پرداختن به این کتابها از سوی غربیها در زمانهای استعماری، حاکی از جذابیت آنها نسبت به کشف دیدگاه آیین ایزدیها، در مورد چگونگی آفرینش جهان است و دیگر آنکه با توجه به یافته ها و وجود اشتراکات فراوان، وجه تفاوتش را با سایر تحقیقات در این زمینه، ربط دادن آیین ایزدیها بر اساس مستندات مشاهده شده به آیین قبل از اسلام یعنی "میترا" می داند. دوم آنکه تحلیل اسطوره آفرینش ایزدیها، مانند هر آیین دیگر، دارای خاستگاه ها و دیدگاه های مردمانش است که ریشه در باورهایشان دارد.

    کلید واژگان: ایزدی, ملک طاووس, اسطوره, مصحف رش, جلوه, میترا
    Dr.Fatemeh Kateb - Siran Chupan - Rahmat Naderi

    religionThe Yazidis, a Kurdish-speaking people in the heart of the Sinjar Mountains and the city and around Mosul, have a long history of monotheism. The books “Black Mus’haf” and “Jelveh”, two holy books among the Yazidis, deal with the myth of the creation of the world and man. This research seeks to answer the following questions in a descriptive-analytical way: 1. Who are the Yazidis and where does their origin go? 2. What is the analysis of the myth of the creation of the Yazidis in the two Bibles? The findings show that Yazidis, both religiously and ritual, have a history of uncertainty about the existence of a wide range of Western reading and dealing with these books during the colonial period. Discovering the views of the Yazidi religion is about how the world was created, and that, given the findings and the many commonalities, the difference between it and other research in this field is that the Yazidi religion is related to pre-Islamic documents. Mitra knows. Second, the analysis of the myth of the creation of the Yazidis, like any other religion, has its origins and the views of its people, which are rooted in their beliefs.

    Keywords: Yazdi, Melek Taus, Myth, Blacka Mushaf, Jelveh, Mitra
  • مینو خاکپور، فاطمه کاتب*

    معماری بومی گیلان، پیش از ظهور قاجاریه، با رویکردی کاملا اقلیمی، بر این پهنه جغرافیایی سیطره داشت. با ورود معماری قاجاری که خود، تلفیقی از معماری وارداتی و معماری سبکی قبل از آن بود روش های موجود که سال ها پابرجا مانده بود به سرعت دچار دگرگونی شد. آنچه بسیار مهم جلوه می نماید این است که معمار گیلانی در تلاطم ورود الگوهای جدید تا چه اندازه با بازجستن عناصر بومی در ساخت بنا، به ماندگاری رویکرد اقلیمی معماری بومی گیلان، یاری رسانده است. به عبارت دیگر در معماری، عوامل اقلیمی بومی و عناصر وارداتی در ساخت بنا چگونه و تا چه اندازه بر بنا تاثیر گذاشته اند. سوال اصلی که پژوهش حاضر در پی پاسخگویی به آن برآمده این است که: چگونه هم نشینی الگوها می تواند سبب انطباق ترکیب نهایی معماری با نیازهای ساکنین یک بنا شد؟ اهمیت پرداخت به موضوع، در مستندسازی بناهای تاریخی بروز و ظهور می نماید که خود مقدمه ای برضرورت صیانت از آثار کهن و با ارزش معماری این مرز و بوم و نیز تطابق آن با معماری امروز منطقه، در جهت دستیابی به الگوهای پایدار در ساخت و ساز است. از مهم ترین یافته های این مطالعه می توان به تلفیق دو رویکرد اقلیمی و سبکی در معماری خانه صادقی اشاره نمود؛ چنان که با نگاهی به عوامل موجود در این بنا، ظاهرا معمار خانه های شهری گیلان، به جای تاثیر پذیری کامل از نوعی معماری که برای طبقه اعیان، نشانه های فراوانی از تظاهر به تمول و تفاخر داشت؛ تصمیم به تلفیق معماری اقلیمی گیلان و معماری وارداتی گرفته است

    کلید واژگان: معماری گیلان, معماری صفویه, معماری قاجاریه, خانه تاریخی صادقی
    Minoo Khakpour, Fatemeh Kateb *

    Before entrance of Qajar architectural style, which had an undeniable effect on architectural method of public buildings and urban houses, native architecture of the area enjoyed a unique structure, because the architect with a perfectly climatic approach arisen from climatic considerations of temperate and humid areas had created a special type of architecture with maximum efficiency and minimum costs. During Qajar period because of location of Guilan in the itinerary of European business and production of important goods such as silk, tea and rice, the area was located in the itinerary of changes in the nature and tolerated considerable transitions, which had abundant effects on its architecture.The main questions, to which the present research wants to answer, are these: What is the climatic or historical pattern of construction of Sadeghi's House (one of the historical houses of Lahijan)? In case of combination of patterns, was the final composition in conformity with the requirements of the building residents? Some of the research findings are as follows: The importance of this issue is seen in documentation of the historical monuments, which is itself an introduction to the necessity of protection of ancient and valuable architectural works of this area and its conformity with today's architecture of the area for achieving persistent construction patterns. In this research the data were collected in field method and compiled in descriptive analytic method.

    Keywords: Architecture of Guilan, Architecture of Safavid, Architecture of Qajar, Sadeghi's Historical House
  • فاطمه کاتب، آمنه مافی تبار*

    در عمده مطالعات پارچه های دست بافت ایرانی از منظر طرح و نقش، ترکیب ظاهری پارچه های ادوار مختلف به صورت مضمونی و با گروه بندی انسانی، جانوری، گیاهی، هندسی و انواع دیگر نظیر آن، بررسی شده است. بازخورد نهایی این روش، معمولا به جهت عدم قطعیت، در دایره توصیف محدود می ماند؛ چرا که با فقدان ثبات لازم برای یک طبقه بندی محرز، هر پژوهشگری برای حصول نتیجه مورد نظر، به حد بضاعت و متناسب با اهداف تحقیقی خود، آن را دگرگون می کند. برای ترمیم این نقص، نگارندگان به این پرسش می پردازند: چگونه می توان با نظر به اصول هنرهای سنتی درباره شیوه های گسترش نقش در زمینه طرح، نسبت به طبقه بندی انواع پارچه های تاریخی ایران اقدام نمود؟ این مقاله، به شیوه توصیفی تحلیلی، نشان می دهد تقسیم موضوعی به جهت ناکارآمدبودن، به نوعی پراکندگی به ظاهر باقاعده انجامیده است. درصورتی که با تاسی به طبقه بندی رایج در هنرهای سنتی، بر اساس شیوه گسترش نقش در زمینه طرح -که نتایج آن پیش تر در هنر هم عرض نساجی سنتی، یعنی قالی بافی نیز به آزمون درآمده- می توان رده بندی دقیق تر با چهارچوب ساختاری مشخص، ایجاد کرد؛ که پارچه های دست بافت ادوار مختلف ایران، تا به امروز، در آن قابل تعریف باشد. در این رویکرد، با برقراری تمایز میان اصطلاحات طرح و نقش، هر نقش، می تواند در بستر هر طرح قرار گیرد و درعین حال ، تطور بنیادی در هویت آن، ایجاد نکند.

    کلید واژگان: ایران, هنر سنتی, پارچه, طرح و نقش
    F. Kateb, A. Mafitabar *

    In a general perspective, the classification of Iranian historical textiles is subject to dispersal. This turmoil becomes more highlighted when some researchers use two terms of design and motif interchangeably. This is while, design signifies a general combination and motif is the smallest significant component of the design. Hence, each of these two concepts defines a different quality, so that their interchangeable use is not only inappropriate but also disrupts understanding of the actual meaning. The prevalence of this inadequacy is to the extent that the authors of this article, in many of their references, were compelled to modify the terms of design and motif, because in most cases, the creators of the handful of reliable sources available on Iranian hand-woven products, have ignored the difference between these two terms and have considered them equivalent. On the other hand, the classification of the types of traditional fabrics, which are usually defined differently in the ruling periods of the historical dynasties, paying attention to the gist of motifs has earned the greatest effectiveness. Therefore in most studies of Iranian hand-woven textiles in terms of designs and motifs, the composition of the textiles of different eras have been analyzed in terms of the theme and categorized as human, animal, plant, geometric and other types of designs. Due to the lack of reliable theoretical foundation in the aforementioned method, the ultimate feedback is limited to description only. On the other hand, because of the shortcomings resulting from the certainty of this method, there is a tendency for each research to add a few imaginative categories to the type of historical textile which it is related to. In fact, due to lack of stability required for a clear categorization, each researcher make adjustments to their study according to its goals in order to achieve the desired results. To mend this flaw which originates from the concern of most researchers in areas other than applied arts, the authors of this article attempted to find the answer to the following question: How can various types of textiles be classified with regard to the principles of traditional arts on the methods of adding motif to the design? This analysis by utilizing library studies proves analytical descriptive that thematic classification, due to its inefficiency, has led to a seemingly organized but fake dispersion. However, following the common classification in traditional arts by the method of adding motifs to the design which results have already been tested in carpet weaving which is an art parallel to traditional textile art, a more precise classification can be achieved with a structural framework in which handmade textiles of different historical eras can be defined. In this approach, by making a distinction between the terms design and motif, each base image can be in the context of each design and yet avoid making fundamental changes in its identity. In order to overcome this defect and organize things, using the same method of classification of other traditional arts such as different types of carpets seems efficient. In this approach, the types of fabrics are categorized from a different perspective and according to the manner in which the motifs are spread in the design. Accordingly, the types of these textiles can be categorized to (1) story (2) inscription, (3) scattered, (4) altar, (5) medallion, (6) Vagireh or tangled, (7) framed, (8) Muharramat or striped and (9) combined, based on the ways the main design is executed, including independent, axial symmetry (reflexive) and repetitive symmetry (thorough). This is a nine-part classification, capable of covering all historical textiles and ending the disorganized status in the field, with no manipulation needed. In this method, considering the differences between design and motif, any motif is introduced under the name of the main design, such as Shah Abbasi scattered or shrub tangled. Ultimately, this paper distinguished between the applied and effective terms of design and motif and created a reliable categorization, which put an end to subjectivity in scientific researches on future studies (report, comparative or approach-oriented studies) about traditional textiles.

    Keywords: textile, design, motif, Iranian
  • فرنوش شمیلی*، فاطمه کاتب
    ادراک فرایندی است که از طریق آن، احساس، یعنی اطلاعاتی که از اندامهای حسی گرفته شده است، به کل سازمان یافته و معناداری تبدیل می شود. اهمیت ادراک از آن جهت است که دنیای اطراف ما را منظم و زمینه را برای شناخت فراهم می کند. هدف از انجام این پژوهش مطالعه بررسی نقش آموزش هنر نقاشی بر کیفیت سازمان ادراکی افراد می باشد. فرض ما بر آن است که ادراک هنرمند به واسطه ی انجام برخی تمرینات که در متن بدان ها اشاره خواهد شد، بهبود می یابد. جهت اثبات این فرضیه در این پژوهش سعی شده است در محیطی آزمایشگاهی سنجشی انجام گیرد که نتایج آن در واقع پاسخی به سوال اصلی این پژوهش خواهد بود. این که "آموزش هنر چه تاثیری بر سازمان ادراکی افراد دارد؟ این آزمون، "آزمون کپی و بازپدیدآوری اشکال هندسی پیچیده ی آندره ری" نام دارد. 60 آزمودنی شامل 30 نفر هنرجوی نقاشی و 30 نفر از میان افراد غیرهنری در این پژوهش شرکت کرده اند. روش تحقیق، علی- مقایسه ای پس رویدادی می باشد. برای تحلیل داده های پژوهش از روش های آماری استفاده شده است. مقایسه ی نمرات تفاوت معنی داری را در معیارهای سازمان ادراکی نشان می دهد. بر اساس این نتایج معیارهای مختلف سازمان ادراکی افراد ، شامل کیفیت و غنای ترسیم، سبک ترسیم و همچنین طول مدت ترسیم در گروه غیرهنری، نمرات کمتری را نسبت به گروه هنری نشان می دهند.
    کلید واژگان: سازمان ادراکی, هنر, نقاشی, آزمون اشکال پیچیده ی آندره ری
    Farnoush Shamili *, Fatemeh Kateb
    Perception is the process by which the sensation, that is, the information taken from the sensory organs, becomes organized and meaningful in the whole. The significance of perception is that the world around us provides a regular basis for knowledge. The purpose of this research is to investigate the effect of art of painting education on the perceptional organization of individuals. Our assumption is that the artist’s perception is improved by doing some of the themes that will be mentioned in the text. To prove this hypothesis, this study attempts to be conducted in an experimental laboratory environment whose results will actually be the answer to the main question of this research. What is the impact of painting education on the perceptual organization of individuals? This test is a test, copy and re-examination of the complex Andrei Ray’s geometric shapes. Sixty subjects including thirty students of painting and thirty non-artistic subjects participated in this research. The research method is causal-comparative after-event. Statistical analysis has been used to analyze the research data. Comparison of meaningful scores shows the perceptual organization’s criteria. Based on these results, the different criteria of the perceptual organization of the people, including the quality and richness of the drawing, the drawing style, as well as the length of the drawing in the non-artistic group, show less scores than the artistic group.
    Keywords: Perceptual Organization, Art, Painting, Andrei Ray’s Complex Shape Test
  • اکرم نوری*، فاطمه کاتب
    آیین ها و رسوم همواره از عقاید، فرهنگ و تاریخ ریشه می گیرند، مانند آیین های سوگواری که از عقاید کهن بر می خیزند. یکی از سنت های سوگواری در خراسان، پهن کردن قالی بر روی قبر است که هنگام جمع آمدن افراد بر گرد قبر متوفی و در روزهای مناسبتی انجام می شود. قالی نیز به عنوان یکی از اصلی ترین و مهم ترین هنرهای سنتی ایران، وجه دیگر این آیین است که بر اهمیت آن می افزاید. محور و هدف این پژوهش، مفهوم قالی بر روی قبر در سوگواری های خراسان است و این سوالات مطرح می شوند که معنا و مفهوم این سنت چیست؟ و قالی بر روی قبر چه مفهومی را به ذهن می رساند؟ این پژوهش به روش توصیفی و تاریخی انجام شده که اطلاعات آن از منابع کتابخانه ای، اینترنتی و مصاحبه با افراد سالخورده و آگاه به این سنت، گردآوری شده است. قالی که نمادهای تصویری بسیاری را در خود جای داده است در این آیین، خود به نماد تبدیل می شود. در این پژوهش این یافته و نتیجه حاصل می شود که قالی بر روی قبر در آیین های سوگواری خراسان، نماد خانه جدید و ابدی انسان است. خانه ای که انسان در آن برای آخرین بار با دوستان و آشنایان خود وداع می کند.
    کلید واژگان: : آیین سوگواری, رسوم خراسان, قالی, نماد, قبر
    Akram Noori *, Fateme Kuteb
    Rites and traditions are rooted in beliefs, culture and history, such as the rituals of the mourning of ancient beliefs. One of the mourning traditions in Khorasan is the spreading of a carpet on the grave, which occurs when people gather around the deceased grave and on the days of the occasion. Carpet as one of the most important and most important traditional arts in Iran is another aspect of this ritual which adds to its importance. The purpose and purpose of this research is the concept of carpet on the grave in the mourns of Khorasan, and these questions are raised about what the meaning of this tradition is. What does the concept of carpet on the grave bring to mind? This research has been carried out in a descriptive and historical manner, which has been gathered from library resources, internet and interviews with elderly people who are aware of this tradition. The carpet that holds many image icons in this ritual turns into an icon. In this research, it is found that carpet on the grave in Khorasan mourning rituals is the symbol of a new and eternal human home. A house where the man farewell to his friends and acquaintances for the last time.
    Keywords: mourning ritual, Khorasan customs, carpet, symbol, tomb
  • مریم یزدان پناه*، فاطمه کاتب، ابوالقاسم دادور، منصور حسامی
    ژرراژنت هر نوع رابطه میان یک متن با متن دیگر را ترامتنیت نامید و آن را به پنج دسته شامل بینامتنیت، پیرامتنیت، فرامتنیت، سر متنیت و بیش متنیت تقسیم کرد. در این مقاله با استفاده از نظریه ترامتنیت ژرار ژنت و به خصوص با تاکید بر بخش بیش متنیت به مطالعه موردی چهار اثر از آثار آیدین آغداشلو، نقاش معاصر ایرانی پرداخته شده است. این چهار اثر متعلق به مجموعه شرقی ها و چهار پرتره از فتح علی شاه قاجار می باشند. تحقیق حاضر براساس روش اسنادی و به شیوه تطبیقی- تحلیلی انجام شده است. هدف پژوهش، ارزیابی دلایلی است که نظریه ترامتنیت ژرار ژنت را به شیوه مناسبی برای نقد آثار آغداشلو تبدیل کرده است. بررسی پنج دسته از روابط ترامتنی در چهار اثر مورد نظر به خصوص با تاکید بر بخش بیش متنیت ژنتی هدف دیگر پژوهش است. نتایج یافته ها حاکی از آن است که آثار آغداشلو نمونه کاملی از آثار دارای روابط ترامتنی است.
    کلید واژگان: آیدین آغداشلو, بیش متنیت, ترامتنیت, ژرار ژنت, فتح علی شاه قاجار
    Maryam Yazdanpanah*, Fatemeh Kateb, Abolghasem Dadvar, Mansour Hessami
    Gérard Genette named any relationship between one text and other texts “Transtextuality” and divided it into five categories; including intertextuality, paratextuality, metatextuality, architextuality and hypertextuality. We have conducted a case study of four paintings of the Iranian contemporary painter, Aydin Aghdashloo by using the theory of “transtextuality”. These four artworks belong to “the Orientals” series and they depict the Qajar king, Fath Ali Shah. The completion of subject matter and data used in this essay is extracted from library, record and thesis materials and the conduction of the theme is comparative and analytical. The aim of the essay is to evaluate the reasons, which made the theory of “transtextuality” an appropriate critical method for artworks of Aghdashloo. The other aim is to study the five categories of “transtextual” relationship in these four paintings, by focusing on “hypertextuality”. The findings show that the artworks of Aghdashloo are a perfect example of transtextual relations.
    Keywords: transtextuality, hypertextuality, Gérard Genette, Aydin Aghdashloo, the Qajar king, Fath Ali shah
  • اعظم حکیم *، فاطمه کاتب
    جودیت شخصیت زنی در کتاب مقدس عهد عتیق است که با قتل هولوفرنس فرمانده آشوری، توانست شهر تصرف شده خود را آزاد سازد. این روایت، موضوع آثار بی شماری در طول تاریخ هنر بوده است. یکی از مهم ترین و بحث برانگیزترین نمونه های این مجموعه، آثاری از آرتمیزیا جنتیلسکی، زن نقاش دوره باروک می باشد. این نقاش چهار نسخه تایید شده با این موضوع را در کارنامه خود دارد، که نسخه فلورانسی بیش از بقیه در این مقاله، مد نظر است. پژوهش حاضر قصد دارد، چگونگی روایت پردازی تصویری این مضمون را در چند اثر متفاوت از چند نقاش، و همین طور در آثار آرتمیزیا، بر اساس بافت تاریخیشان تحلیل و با یکدیگر مقایسه کند. یکی از این نقاشان، کاراوادجو است که آرتمیزیا، از پیروان او محسوب می شود. سوالی که مطرح می شود، این است که: جنسیت آرتمیزیا و حوادث زندگی او چگونه در انتخاب و بیان این موضوع نسبت به دیگر نقاش ها موثر بوده است؟ نتایج نشان داد، با وجود ثابت بودن داستان، عوامل دیگری به غیر از شرایط تاریخی و سبکی، همچون جنسیت و سرگذشت مولف نیز در شکل گیری متفاوت نسخه فلورانسی آرتمیزیا، موثر بوده است؛ به ویژه که موضوع این اثر، در گروه موضوعات قدرت و قهرمانان زن قرار می گیرد.
    کلید واژگان: جودیت و هولوفرنس, آرتمیزیا جنتیلسکی, کاراوادجو, باروک, جنسیت
    azam hakim, fatemeh kateb
    Judith is a female character in the Bible, the Old Testament who was able to free her occupied city by killing Holofernes, the Assyrian general. This narration has been the subject of numerous works of art throughout history. One of the most important and most controversial example of this collection are the works by Artemisia Gentileschi, female painter of the Baroque era. The painter has four approved versions of it in her repertoire, and the Florentines version is the main focus point in present paper. Present study aims to analysis and compare visual narrations of such theme in various works of several painters and works of Artemisia based on their historical context. One of this painters is Caravaggio whom Artemisia is his fallower. The question that arises is: in comparison to other painters, how Artemisia`s gender and her life`s events affected her choice and expression of such subject? Despite the solidarity of the story, the results indicated that besides stylistic and historical circumstances, other factors including gender and author`s biography have been effective in formation of her Florentine version; Especially considering the fact that this subject is considered among the power and heroines subject`s category.
    Keywords: Judith, Holofernes, Artemisia Gentileschi, Caravaggio, Baroque, Gender
  • آمنه مافی تبار*، فاطمه کاتب، منصور حسامی کرمانی
    براساس نظریه گشتالت، در لحظه مشاهده هر نوع تصویر توسط مخاطب، ترکیب آن در ذهن؛ به سوی ساده ترین و آشناترین ساختار ممکن، سوق پیدا می کند. در این رخداد، اصل هم گونی، مشتمل بر مشابهت اندازه، رنگ، شکل، جای گیری و جهتمندی فضایی، عمده ترین نقش را دارد اما بنا به نظر رودلف آرنهایم، برقراری مشابهت به تنهایی منجر به خوانش درست تصویر نمی شود. او پیش شرط دیگری را تحت عنوان تمایزیابی مطرح می کند و مدعی می شود تشابه در حضور تفاوت، معنی پیدا می کند. برای آزمون این منظر، مقاله پیش رو به دنبال این پرسش است: «مطابق با اصل تمایزیابی رودلف آرنهایم، شباهت بسیار انگاره های شهریاری در تصاویر شاهنامه عمادالکتاب، چگونه ارزیابی می شود؟» به این منظور، شش تصویر از نسخه عمادالکتاب، به شیوه تطبیقی تحلیلی و با بهره گیری از مطالعات اسنادی مورد مداقه قرار گرفت. نتیجه بررسی ها نشان داد در این تصاویر به دلیل جایگزینی معنی به عوض مصداق؛ تشابه بر تفاوت پیشی دارد پس تمایزیابی به اختلال دچار می شود. درحقیقت چون نقاش این نسخه، پادشاهان را متعهد به زیبایی شناسی فتحعلی شاهی و عاری از ویژگی های شخصی به تصویر درمی آورد؛ مفهوم شهریاری به عوض فردیت هر پادشاه می نشیند. گویی همه حاکمان اساطیری این متن ادبی در قالب شخصیت واحدی تحت عنوان فرمانروا تعریف می شوند به گونه ای که برقراری تمایز میان آنها به سادگی ممکن نیست.
    کلید واژگان: قاجار, شاهنامه عمادالکتاب, گشتالت, رودلف آرنهایم, مشابهت, تمایزیابی
    mansour hessami, amene mafitabar *
    According to Pregnanz principle in Gestaltian psychology every visual pattern leans towards the simplest structural pattern. Here, the basic principle of assimilation which includes similarities in size, color, shape, positioning and spatial orientation, all affecting the generative quality of imagination, plays the most significant and influential role. Rudolf Arnheim, a major thinker in this field, questions another precondition under the principle of differentiation. He asserts that similarity is meaningful only when it is linked to division and difference since in the absence of such link, due to the many common features among the visual patterns, any chance of differentiation and recognition is impossible. Through the lens of this theoretical framework, images in the Mongolian Shahnameh, Imad Al Kottab, because of their integrity and compatibility with the criteria’s of the aforementioned point view, seem suited for this analysis. Therefore, this paper seeks the answer the answer to the question that how will the similarities in the idea of monarchy presented in the images of Imad Al Kottab’s Shahnameh be analyzed using Rudolf Arnheim’s differentiation principle? To better understand how rulers were pictured in the Qajar Shahnameh, six pictures out of this special edition will be studied using analytical comparative methods and library research. The result confirms that in all research subjects, because of replacing applicability with meaning, similarity surpasses division and the ability to differentiate is disrupted. In fact, the painter of this edition has pictured the kings by commitment to Fath Ali Shah’s aesthetics and devoid of any personal characteristics and the result is that the concept of monarchy replaces the personhood of each monarch. It is as if all the kings in this mythological literary text are defined, all the while to the end, as a single figure, the ruler, and it is not possible to make distinctions among them. In fact, it can be claimed that when monarchy is described in this Qajar relic meaning always comes before the title and is superior to it. Unintentionally, the painter, committed one-sidedly to the homogeneity in simplification principle, when demonstrating monarchy has left behind the differentiation principle. To do so he has used exaggeration, warm colors, arraying and other useful details, and replaced the various monarchy examples with what it means to be a monarch. As a result, one can claim that, when analyzed using Arnheim’s differentiation principle, the pictures in this version of Shahnameh turn out to be faulted and lead the viewer’s mind to amplify the similarity principle during its simplification process. It replaces all of them with the image of monarchy and ruling and puts meaning in the place of applicability. Moreover, it is worth mentioning that since this paper uses Gestalt’s psychology of visual perception in visual arts, scrutinizes Arnheim’s differentiation principle, and accommodates a scientific and practical theoretical framework to Iranian study subjects, the obsolete Imad Al Kottab’s Shahnameh, it maps new horizons for future researchers who plan to rely on any of these mentioned poles to break new grounds in a world of knowledge.
    Keywords: Qajar, Imad Al Kottab’s Shahnameh, Gestalt, Rudolf Arnheim, Similarity, Differentation
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  • مهندس فاطمه کاتب
    مهندس فاطمه کاتب
    دانشجوی دکتری علوم و مهندسی آبخیزداری (حفاظت از آب و خاک)، دانشگاه تربیت مدرس، تهران، ایران
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