ناهید جعفری دهکردی

Mural painting is one of the prominent and noble arts of the Qajar period, which was formed in the form of painting on surfaces such as tiles, plaster and wood. Attention to antiquarianism and religious issues in this period led to the creation of works in which the role of Ahriman and Demon drew most of the attention of artists and rulers of the time. Patterns that can be investigated not only in regards to their narrative aspect but also in terms of morphology. The purpose of this research is to investigate the shape and anatomy of the images of demons in the public art of wall paintings of the Qajar period. By examining 14 selected samples from Qajar wall paintings through documentaries and field data in a qualitative manner, based on a descriptive-analytical approach and visual sources, the authors intend to answer the following question: What kind of thoughts and beliefs is the cast and body of the demon in the general art of the Qajar period based on? The findings show that the motifs that adorned public buildings such as shrines, baths, and religious buildings in the Qajar era did not have a scary and dark image. In other words, the idea of a demon in people’s minds being imagined as a formidable, terrifying and scary creature, suddenly changed and it was seen as a gentle, harmless, compassionate, humorous, smiling creature, sometimes with female erotic organs and even being well-dressed beings who were decorated with beautiful colors and even hung ornaments on themselves. This was an expression of traditionalism in women’s social life in this period. The findings of the research show that the four concepts of women, nature, primitive and alien transcendental beliefs underwent deep changes in the mind and thought of Iranians during the Qajar period.

Decoration in Iranian-Islamic architecture talks about the emergence of beliefs and ideals that have been localized and embodied in the body of buildings. Maknoon’s thoughts in these arrays reflect the concepts and beliefs of the spirit of the times. The presence of all kinds of motifs in architecture represents eternal ideas in a conceptual field that have emerged through symbolic motifs. Among the multitude of motifs, plant motifs have played a major role in the decorations of Iranian Islamic architecture. The cypress pattern is one of the ancient symbols that has always been manifested in various forms in the buildings of Iran from the ancient times to the Islamic era. Due to the rich content of this motif in the native architecture of Mazandaran, many and original examples of it can be seen on the structure of buildings, which indicates the valuable position of this symbol among the people of the region. The current research has been carried out with the aim of discovering the hidden and semantic layers of the role of cedar in the architecture of Mazandaran during the Qajar era, and it analyzes 18 Qajar buildings of this region with a developmental excavation based on a qualitative method and a descriptive-analytical approach. The authors are trying to answer this question by using documentary and field studies, what are the hidden and semantic layers of the role of cedar in the architectural decorations of Mazandaran during the Qajar period? The findings show that the mental motifs of the cypress pattern originated from mythological narratives, ritual beliefs and religious beliefs of the people of the region, and in combination with motifs such as animal, vegetable, geometric, asemani and calligraphy, according to the use of Qajar buildings in Mazandaran, have been expressed in the form of concepts such as fertility, blessing, immortality, freedom, uprightness and rebirth, and artists have used the symbolic aspects of this motif. Furthermore, the conscious selection of other motifs in combination with it has made a wonderful combination of pictorial codes and exemplary images objectified by using various techniques.

Apart from negative environmental consequences, modern animal husbandry has also created unfortunate moral consequences. Studies show that the relationship between humans and domestic animals in the past was based on a moralistic spiritual background, and although humans kept domestic animals for their edible and non-edible consumption, the relationship between them has never been degraded to the existing level. In folk literature, there has been a very sentimental view of livestock. Although some cases suggest that they are derived from the official literature, there are many cases that show a very clear difference between the two. Metaphors in which friends are likened to deer and gazelles are familiar in Persian literature; But in folk literature, this case is rare, and the metaphor of romantic beauty is used from domestic animals. In their descriptive and analytical study, using documentary sources, the authors have addressed the issue of romantic metaphors in the oral literature of the native regions of Iran with the aim of understanding the place of animals in the native culture of Iran, and have focused their attention on the case example of Kerman district in the early 13th century. In a qualitative study, 383 local songs from the mentioned region were selected and analyzed from a specific source. The result of this point is that in Iranian culture, despite all the problems that nature has raised in front of man, animals, especially animals that live with him, have had a spiritual and spiritual place.

Susa area is one of the areas in southwestern Iran that has been the cradle or center of the Elamite dynasties during the Bronze Age; Another important civilization of the Bronze Age of Iran is Jiroft on the outskirts of Halilrud; Which has been known for the past few decades; The connection between East and West through each of these sites can undoubtedly be assessed from the works of art discovered. The purpose of this study is to identify the causes of the formation of celestial bodies on the works in question. The authors try to answer the question with descriptive-historical method and documentary studies: The celestial bodies on the works of Susa and Jiroft are based on what intellectual ideas in the Bronze Age of the Iranian plateau are engraved on the works? The findings show that the people of this time turned to worshiping the heavenly gods due to turning to agriculture; Because they estimated the changes of the seasons with the help of the sun's position in the sky, they prayed for rain or sun from the sky and through the gods from the sky, and for this reason, the use of celestial objects on their works of art is abundant. However, the place of written sources about the works of Jiroft isas empty as Susa; However, due to the application of these motifs on the works of Jiroft, the dark spots of this ancient region can be clarified from the works of neighboringcultures such as Susa.

Along with various heroic epics that were inspired by Ferdowsi’s masterpiece or created independently of it, religious epics deserve attention. Therefore, not enough attention has been paid to them and many of them have remained in the shadows. The main reasons can be found in these points: 1) Many of them have crude texts and were written by religious and pious people, but without familiarity with the literary codes of Persian poetry. 2) Unlike royal and heroic epics, their artists often lacked wealthy and powerful patrons. 3) Dreaming in the religious epic is not very acceptable and desirable and contradicts the official religious history. Therefore, this point can find angry critics in the circle of knowledgeable believers and jurists. Some religious epic works were lucky enough to attract talented artists to decorate them as art. Khavaran Nameh was in this issue and was painted many times, only one of which is kept in the collection of Golestan Palace Museum under number 7075.The depiction of religious subjects in the history of Iranian art has a long history and can be traced back to the first manifestations of civilization in the corners of Iranian civilization. Artists paid attention to the fact that art can be a good vehicle for conveying religious messages and influencing the audience. An image can communicate with its audience beyond the text and establish a connection between the viewer and their characters and feelings. In the visual works of the 4th Youth Visual Arts Festival, which was held for 16 days (November 14-30) in 1387 Shamsi, religious themes related to the literary version of Khavaran Nameh, which is derived from the wisdom of the First Shiite Imam, can be seen. The current research has explored the works of two collections (painting and illustration) and is based on the opinion that between the art of contemporary illustration and the above-mentioned paintings, there is a delicate thread that brings both of them in line with a single line of Iranian painting art (in its comprehensive sense). It should be said that the artists of today and yesterday, although they are different in their styles, ways, beliefs and raw materials from their previous counterparts, but they are still on the same approach and routine and principles can be found that it can be said from their perspective: the door still turns on the same hinge!The purpose of this research is to evaluate the influence of contemporary illustrations from the illustrated version of Khavaran Nameh of Golestan Palace and the style and experiences used in it; The authors try to answer the following questions.1- What elements did the illustrator borrow from Khavaran Nameh paintings and with what techniques did he display them in his work?2- What are the similarities and differences between these works of contemporary visual arts and Shiraz Turkmen style painting with the same subject?Based on this, images in two different artistic spectrums are analyzed in order to present concepts, so that by addressing the characteristics of the images according to the cultural values of both societies, the background and cultural context can be made evident in the works with visual characteristics.This research has a fundamental approach in terms of goal and is descriptive-analytical in nature. The method of collecting documentary information and the tool of collecting information is the note sheet. The authors have purposefully selected eight images with a single theme among the paintings of the Golestan Palace Museum's Khavaran Nameh edition numbered 7075, eight paintings, and from the works of contemporary visual arts taken from the collection of illustrations of the 4th Visual Arts Festival in November 2017, and they are trying to use a comparative approach and qualitative method to analyse the intended works. The current research process is based on three stages of description, interpretation and explanation.In the description stage, the available information about the picture or image is expressed; in such a way that the reader can imagine the work through the text. Information that can answer questions about the subject and guide us to the qualities that tell the meaning of the work. At this stage, it is not possible to prevent the entry of judgment into aesthetic perception, or at least it is not possible to overcome the qualitative analysis that occurs in the first encounter with the work. In the second stage, which is called interpretation, we identify the components of the work, examine the structural, thematic, and content characteristics, and finally, the relationships between the elements. The last part, which is called explanation, is the result of the previous two stages. The dignity and elegance of the work of art in comparison with similar works, the ability and art of the artist in conveying his subject and purpose, or his power in stimulating the mind of the audience is recognized without personal judgment, at this stage. Explanation, as a foundation in the social axis, deals with the contextual reproduction of a text by changing the contextual knowledge.The results show that Khavaran Nameh is the result of an artistic trend among writers and religious artists who thought that the right of speech and art about the Islamic epic had not been fulfilled; and of course, this example is not the only one of its kind. In the paintings of Khavaran Nameh of Golestan Palace, realism exists to a great extent and the obvious difference between Hazrat and others is in his aura. In other cases, his ornate clothes, the meaningful colour of his clothes, avoiding war defense tools (which is a sign of caution), ignoring the spectators and the war situation of the battlefield, submission, humility and seriousness can be seen in most of the pictures.The focus of the artist on the body of the Holy Prophet, in some cases, has caused the artist to neglect other visual elements in terms of artistic principles and even physical laws. Archetypes and indebtedness of text and art to the external environment are seen a lot, and both in the text itself (Ibn Hussam's poems) and in the art itself (Farhad's paintings), it is clear that the goal is to attract the general audience and express its existence and value against non-religious rivals; and of course, from this point of view, their abilities should not be underestimated. If we look at it from this point of view that Khavaran Nameh paintings were in line with the competition and show with the epic paintings of their time, we can count the contemporary depiction of those scenes in the same direction and say that the artists wanted to reach the level of Khavaran Nameh art from another angle. The important point is that the contemporary artists, almost certainly, have considered these pictures themselves or at least similar pictures of these subjects in some other illustrated versions. This point has caused artists to avoid innovation and dreaming to a great extent, and putting in a new design and breaking the ceiling of the sky. However, innovation, multiple techniques and matching elements with contemporary intellectual trends, are abundant in them. This means that the illustrations in question, like the pictures of Khavaran Nameh, are a result of their time. Another change in them is the emphasis on the compassionate face of the Islamic hero, instead of his bold and warlike face, following a trend in the art of iconography, which has started since the Qajar era. The same point can be seen in the adherence of the paintings to the principles of iconography (especially in the form of halos and the silence and stillness of the icon).

The political actions of the Safavid kings and the formalization of the Shia religion in this period created fundamental changes in the political, social and cultural fields. Due to these developments, the society's attitude towards the role of women in society changed, which has emerged in works of art, including painting. Ahsan al-Kebar is one of the Shiite illustrated manuscripts in the Safavid era, whose illustrations are based on the artist's vision and attitude towards religious teachings. In this research, 6 selected pictures from Ahsan-al-Kebar's manuscript, in which women played a role, are examined with the aim of identifying the image position of women in accordance with her social and religious status. The research method in this study is descriptive-analytical and the data were collected based on documentary studies. The findings show that the painter has depicted women's bodies according to their religious and social status; therefore, he depicted the holy women with white veils and in the picture of the marriage of Hazrat Fatima (S) and Hazrat Ali (AS), he even avoided depicting the blessed figure of the beloved daughter of the Prophet (S). In other paintings, women are depicted in a simple and unimpaired outfit and in a dignified state.

This study tries to explore the role of Dolls in the process of their connection with the other self in the human psyche. The symbolic nature of the relationship between the doll owners and the dolls themselves conveys the message that puppetry is more than just an aesthetic behavior, it is related to the spiritual needs and shortcomings of the puppet owners. By examining in-depth the human spiritual actions and various functions of the doll, it can be seen that the dolls have been a reflection and continuation of their bonding process and the transformation of themselves and human beings over the course of history. This concept can be thought of as the passage of the spectra of the mentioned process through the human psyche, which, in the end, all forms of ego and Alter Ego, are embodied in existing, ideal or imaginary forms. The information in this qualitative case study is documented and fielded and organized through phishing. The descriptive-analytical readings reveal that traditional and ethnic Iranian puppets have evolved in at least three ways for their owners: the ideal character (for example, the functioning of the Behik and Leily, Lal, Gulen, and Goraken and Baz); Forgiveness (such as Chehel Gis and Panbehei), and redemption (such as Choobi, Bazandeh and Abu Darda).

The Qur'an of Ibn al-Bawwāb is one of the finest illuminated manuscripts in existence preserved at the Chester Beatty Library in Dublin. It is transcribed by Ali ibn-Hilal, Abu'l-Hasan, the leading calligrapher and illuminator of the fifth century, known as Ibn al-Bawwāb. The copy contains the earliest examples of patterns of an illuminated Qur'an manuscript. Thus, the present paper aims to compare the Qur'an's 171 illuminated patterns with seven motifs of early Islamic monuments. Studying a descriptive-analytical method, we seek to address the raised question: What motifs of Islamic arts have mostly influenced the patterns in Ibn al-Bawwāb's Qur'an ?    Analyzing qualitative data entails reading a large number of transcripts and looking for similarities or differences, the authors conclude that since Ibn al-Bawwāb worked as a home decorator before beginning book illumination and calligraphy, his patterns in illumination are derived from his earlier architectural designs which were inspired by the decorative motifs of early Islamic architectures such as al-Abbasi alter in Baghdad, Raqqa, Samarra, Jāme' Mosque of Isfahān, the Jāmeh Mosque of Nā'īn, Noh Gonbad Mosque (Mosque of Nine Cupolas) in Balkh, and Seymareh. Therefore, the earliest Islamic illumination patterns are inspired by the architectural decorative motifs of the early Islamic centuries.

Problem Definition: 

«Darab-Namah» is a folk legend about Darab, the hero, and his son Firuz Shah, during which the love of an Iranian prince for a Yemeni princess is narrated. This story is of interest among the Iran-oriented tendencies of the Gurkans of India, and it was included in the painting projects of Akbar Shah's court.

For this purpose, in this research, it is decided to ask the question; What is the shape, pictorial signs and compositions, in the illustrations of Darab Nama Tarsusi manuscript of the British Library should be answered.

This research is fundamental in nature and is formed using a descriptive-analytical method based on documentary studies and a visual semiotics framework. The sampling method is purposeful, and the number of 7 elected Majlis out of 157 paintings of Darab-Namah of Tarsus is used for the qualitative analysis.

The visual elements of the British Library manuscript are rich in cultural markers. Factors such as applying3w the symbolic and expressive aspects of colors, organizing visual elements in line with the story event, emphasizing the central character through the position on the page, and the type of angle of view have played an effective role in the meaning generation process.

The most significant handwritten and illustrated work of the Ilkhanid era is the version of Jame al-Tawarikh by Rashid al-Din Fazlullah Hamadani in Rashidiyeh of Tabriz, which was completed in the age of Uljaito. This book contains subjects from the history of the prophets from Adam to the Prophet of Islam, the history of Iran until the end of the Sassanids and other nations. The purpose of this research is to identify how to depict the life of the Prophet of Islam in the comprehensive version of Rashidi's Chronicles based on the framework of visual semiotics. The life of the Prophet of Islam is painted in the comprehensive version of Rashidi's Chronicles based on what principles of semiotics? It is a question that is answered during the research. Based on this, in the framework of visual semiotics and historical descriptive method, the authors examine 9 examples of paintings of Illustrated Chronicles preserved in the Edinburgh Library and Khalili with the subject of the life of the Holy Prophet from infancy to middle age.Until the Ilkhanid era, the depiction of the images of prophets and saints in Iran faced limitations, which mainly stemmed from jurisprudential opinions. Jame al-Tavarikh contains the history of the world and mentions the events and the history of its characters. This history was written by order of the Mughal rulers and its main purpose was to clearly show the history and conquest of the Mughals along with great historical movements. Along with the description of historical events, the chronicles of the prophets are also described in detail. The paintings of the Holy Prophet in Jami al-Tawarikh are not very different from other figures in the painting. These pictures, rather than paying attention to the spiritual dignity of these people, have expressed a part of their life history. As a sign that these paintings are among the first illustrations of saints' faces, they do not have the characteristics of a religious icon and introduce them like other people. This is perhaps the reason that painting in this era is more than anything else after an illustrated narrative of history and has no other purpose. The adaptation of the living space, geography, clothes and tradition of the writer's time with the age of saints and prophets, although it existed before in the painting of the Shahnameh or other versions, but it had no precedent in iconography, and thanks to the art of the annalists, the painters of later eras were able to use their contemporary characteristics to create Use the living space of icons. Although the icons of the Holy Prophet do not have a halo of light around their head, unlike other holy icons illustrated in later eras, and the artist's intention was to show the historical era of these persons; But the painters have been able; in terms of composition and other visual elements, especially in the face and figure; place the Prophet in a higher position than others.

Iranian carpets from the Safavid Era, especially regarding their motifs, designs, compositions, and even themes, manifest visual glory. Some of their motifs resemble the style and patterns of Chinese art, having been borrowed since the Sasanid Era. Among these remarkable carpets, one can refer to a silk animal carpet from the 16th century in New York’s Metropolitan Museum of Art. This carpet, which has been attributed to Kashan, depicts some Chinese traditional visual elements-- such as dragons, lion-dog, spongy plants and clouds, birds, or pheasants-- which can be considered as a precursor to the formation of Iranian desired carpets. Accordingly, this research has tried to answer this question how the motifs from Chinese traditional art can appear as a pre-text for Metropolitan Museum’s animal carpet. To this end, Genette’s theory of intertextuality has been adopted to investigate the effects of Chinese motifs as a pre-text on the animal carpet in the Metropolitan Museum. This article is a library-based study which has deployed a descriptive-historical method while using Genette’s theory of intertextuality. The findings of this study has illustrated that Chinese motifs, as a traditional pre-text, has been adopted explicitly and implicitly in the carpet through elements such as entanglement in plants and animals, Chinese Tai and clouds, the image of dragon and its meanings, Lion-dog or the Budhist funding, as well as pheasants.

Symbolism as one of the tools of visual expression of the transfer of concepts, has been able to bring many works of Iranian painting closer in form and meaning.Findings from library studies show that the painting in question consists of prominent effects that with various symbolic features, maintain their relationship with tangible reality, in other words, the Iranian painter using the valuable context of the symbolic poetry of Shahnameh and , the concepts of Iranian wisdom and Islamic mysticism, by different features, have brought visual elements with different functions, and provide connections and connections with intangible meanings and concepts in the space of images with symbolic arrangements. By examining the types of symbols in this article, it can be said that the invention and use of symbolic elements in this painting include visual elements of nature, animal shapes, birds, colors and geometric patterns.Research aims 1- Identifying the codes and codes used in the painting assembly of Sohrab being killed by Rostam in the Shahnameh 1028 AH Walters Museum2- Identifying different types of symbols in the painting assembly of Sohrab being killed by Rostam in the Shahnameh 1028 AH Walters Museumresearch questions:1- On what basis were the secrets used in the painting assembly of Sohrab killed by Rostam in the Shahnameh 1028 AH in the Walters Museum?2- What are the symbolic elements in the painting assembly of Sohrab being killed by Rostam in the Shahnameh 1028 AH Walters Museum?

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

One of the most important manuscripts related to the Safavid period are the Falnamas. Although the fortunes are among the first copies formed in Qazvin School of Painting, The drawings depicted in it have a high study value and cognitive style.The Paintings in the fortune-tellers, which are depicted under different themes, are kept scattered in collections abroad. One of the Paintings of the fortune teller that was formed in Qazvin painting school by a person named Mohammad is related to Imam Zaman And is kept in the Topkapi Museum. This Painting has a meaningful multi-layered structure Thus, the question that arises in this research is that What layers of obvious and hidden meanings are there in the painting related to Imam Zaman in Tahmaspi's Falnama? In the present study, an attempt has been made to: Using descriptive-analytical method as well as collecting Documentary method was used ,The image of Imam Zaman in Tahmaspi's fortune -telling should be read according to the iconology model and analyzed in three related stages. As a result, fortune-tellers were used to predict misfortunes. The level of people's belief in divination and prophecy in the Safavid period was high and because it was outside the custom of Islam, The painters decided to include images with religious and sacred themes in the fortune-telling drawings To justify their work. In reading the falnamas, there has been an attempt to reveal the meanings of The good and the bad of the future affairs That In the painting of Imam Zaman by analyzing the three stages of iconology, images, signs and also writings, which include verses of Persian poetry in Nasta'liq script and Arabic verses of the Holy Quran. An attempt has been made to grasp the existing concepts From the image as an image copy of a horoscope, it is a kind of herald of hope and the establishment of justice and the eradication of oppression and evil.

The concept of the perfect man or ideal man, as the ultimate stage of self-construction or spiritual conduct, has been considered in most religions and schools of thought and in many cases, is intertwined with the concept of the promised savior. In these concepts, characteristics for the physical crystallization of the concept in question are stated. In the art of Iranian religious painting, the subject of Imam Zaman has been very important and prominent artists have dealt with this subject. In the present study, twelve paintings by five famous contemporary painters on the subject of Imam Zaman (as) have been selected and studied in a descriptive-analytical manner.The purpose of this study is to assess the relationship between Imam Zaman's paintings and related beliefs in religion with the "focus of the perfect enlightened man in Islam." The question of this research is to what extent do the paintings with the subject of Imam Zaman in the contemporary era depend on religious literature and sacred texts in religious sources? The results of library studies show that all the cases studied correspond to the main characteristics of this concept (in the two case options of "being light" and "the appearance of the promised savior in the dark"). From this point of view, the studied paintings, apart from certain religious features and symbols, can be considered as works of extra-religious art and in line with man's attempt to imagine his ideal form at the end of history.

The first immigration wave of Persians to India dates back to around 705-706 AD (Azargoshasb, 1968: 60), probably due to the disappointment of Zoroastrian community in Iran after Arab invasion and lack of hope to regain their fortune in a near future. After many Iranians converted to Islam religion, and harassment of Zoroastrians by Muslim rulers and followers was increased, some groups of Zoroastrians began moving to India and stayed there for good. The got settled in several spots within the North of India and formed local communities which were called Persians. They played an active role in Indian society until their lands were taken again by Muslims. Despite all unfair difficulties, challenges, and restrictions, Persian managed to survive in the subcontinent. When Europeans arrived in India, since they had relatively more fair and easy going policies regarding religions, Persian used this opportunity to involve in trade and business more than ever and hence, successfully expanded their communities (Azargoshasb, 1968: 60, Shahmardan, 1970:22).This period, in which so many foreigners were present in India, provided Persians a chance to express themselves; not only they reformed the Persian community of India, but also introduced their religion and ethics to the Western world by opening their doors to orientalists and gave them access to Avestan & Pahlavi books for the first time. They also could stablish more connections with people inside Iranian borders, especially with those Zoroastrians who had remained there. Moreover, years later these Persians played a positive role in India’s independence and civil wars which led to the disintegration of India in favor of the mainland. Their efforts were appreciated by Indian government and people. (Azargoshasb, 1968: 74-77). The growth of Persian literature during those centuries was dramatic and many books were written in Persian, Gujarati and Sanskrit languages including the versified Ardavirafnameh and Denkardnameh; the illustrated versions of their transcriptions are viewed in this research. With the aim of studying the place of Ardavirafnameh in Zoroastrian religious literature and analyzing its illustrations in comparison to the judicial system of Zoroastrian Jurisprudence, 15 images were selected from 4 handwritten illustrated versions plus the lithographed Indian Ardaviraf Nameh and then were subjected to description and analysis. Retelling a number of undue rulings added to Zoroastrianism by some magi (priests), a background is provided to distinguish pure from impure within the theology of Zoroastrianism.

This research is among the basic theoretical researches in terms of purpose and is considered descriptive-analytical in nature. Gathering library and documentary information and collecting tools is also phishing. The statistical population of the study is 15 selected manuscripts and lithographs of Ardavirafnameh and Dinkardnameh of India that have been selected. 

As well as there are various transcriptions from the original text of Ardavirafnameh, several Zoroastrian artists have also tried to illustrate them.There is no doubt that public attentions and enthusiasm towards Ardaviraf's story has been the most important reason for Zoroastrian writers and artists to approach this subject; but while studying these works, one must consider other social reasons associated with religious propaganda and competing with other religions and schools of thought as side motivations. The history of Zoroastrian art (after Islam) is largely obscure, and the exact number of illustrated copies of Ardaviraf's story is not known; more importantly, the artists who created these copies have remained mostly unknown.The sequence and continuity of the images of the story caused those artists not to follow the usual rules and frameworks of drawing and common depiction. The product of their efforts should rather be considered imagery, which usually does not pay much attention to the details. From these illustrations, we know four works, some of which are manuscripts and some are lithographs, and most likely all of them were made in India.

Ardavirafnameh is a literary-religious book. The narrations of Vandidad and some similar cases are often considered to be in contrary to the essence of Zarathustra’s teachings and several attempts have been made to exclude them from Zoroastrianism. This literary feature not only saved Ardavirafnameh from being lost and forgotten in the history, but also drew more and more attention to it. During the British domination of the Indian subcontinent, Muslim austerity on the Persian-speaking communities of India was somewhat reduced and therefore a noticeable progress was made for them in terms of culture and economy. It was during this period of time that Zoroastrian artists illustrated Ardavirafnameh versions. Not only they did not try to soften the text, but also drew dreadful illustrations for them as much as they could; and again, the woman -the Zoroastrian woman- was the main victim. They mostly focused on women. Women were being tortured and suffering from punishments which were generally related to their gender and sexuality; therefore sometimes pictures were degraded to rudimentary pornography level. This may have been influenced by India's larger society at the time, when both Muslim and Hindu groups were insisting on the traditional role of women, and Persians didn’t want to present themselves as ignorant and indulgent people regarding the sexual affairs of their small community. To address the questions of the present study, it should be clarified that the depictions of Indian manuscripts of Ardavirafnameh are largely influenced by non-court or traditional Indian painting style, which Zoroastrian painters used according to the text and based on the same principles and rules. It can be assumed that if these books were illustrated among the Zoroastrians of Iran, the result could have been quite different. Therefore, the relationship between these illustrations and Zoroastrian jurisprudence is an innovative and transversal one; hence, they cannot be considered as cases of Zoroastrian art. Similarly, the relationship between artists and the text of Ardavirafnameh is a relative one in which the artist intends to warn his audience and thus he hasn’t paid much attention to the aesthetic aspects of his work. One of the biggest points that the illustrators have overlooked is that they have not paid enough attention to the temporal and spatial environment of the story; the character faces are similar to the Indians of recent centuries, and certainly not the pre-Islamic Iranians. Ardaviraf himself and his companions are also dressed like the affluent and elite class of India of that time. So, overall it can be concluded that these illustrations are mainly independent from the literary text of Ardavirafnameh, and they should be studied separately. A total of four illustrated copies have been identified, all of which emphasize on the severe torments and suffering of human souls in Hell; the use of cold and bright colors in colorful drawings has added to the negative psychological aspect of them. Artists tried not to depict nudity of body organs as far as they could, especially those of women; but they did portray naked bodies without any cover only for the purpose of showing their helplessness versus their punishments.  

This research seeks to recognize the mind-healer ritual dolls in Iran. These dolls are made or destroyed in rituals to reduce the psychological burden, stimulate a sympathetic sense. This article is a development and historical descriptive study. The data collection was document and fieldwork. The statistical population of the research was the Iranian mind-healer ritual dolls. The studied cases can be divided into two general historical and imaginary groups. The historical dolls are divided into two categories: Dolls from the Iranian history, and Dolls derived from the history of Islam. Also, among the imaginary dolls, one can specify three categories: Dolls derived from the mythological creatures, the ones from the literary characters, and the dolls used to meet every day needs. The use of dolls as a replication of a strong "Other", or the symbol of supernatural forces, has been a method to express all the words that nature, political power, ruling religion, or general beliefs have made them inexpressible for the doll maker. The ritualistic destruction of these dolls has led to the complaints of nature, abandonment of anger, and relaxation from the psychological burden.

This paper aims to identify, describe and analyze the effective factors in creating visual order in Jiroft soapstone works based on documentary studies and with the aim of identifying different types of painted works. Accordingly, the authors try to answer the question with documentary studies and descriptive-analytical method in order to answer the question: Artist or craftsman of Halilrood archaeological site, heir or founder of which artistic experience? Since the designs performed on these works are ultimately designed and executed in beauty, balance, fit and balance, it can be assumed that their creators, in addition to being aware of the artistic application of lines and designs, also have little knowledge of visual knowledge and basics in the field. Findings show that engineering and visual understanding of elements at the level of objects, in the direction of structural interaction of their line and role, and achieving unity in works of art has been one of the most important goals of their construction. The artist / craftsman of Halilrood has a relatively clear knowledge of his work as a work of art and has tried to create a relationship between design and background, perspective, diversity and statism by repeating figures and elements.

Ever since , poets have tried to improve the society by following the ethical and educational guidelines in their poem. With the formation of constitution and the prevailing policies , the people of society neded to be educated and ethical. This research is based on a descriptive-analytical method of library studies and its main purpose is to explain the educational implications in the poems of Farrokhi and Iraj .Farrokhi and Iraj including erdddon-loving poets of the constitutional era and have focused on educating people. Studing of the poems of these two poets shows that their social insights and their different position have been greatly influenced by their social class. In fact , because of the family, intellectual, and political differences between the two poets , the themes in their poetry are moving in two defferent directions.One the them, (Farrokhi) is a prominent political activit, a journalist deprived of the right to enter the society who, due to her profession and character , and under the influence of constitutional developments, demand the creation of a political open space and a struggle for the transformation of society towards freedom. and another (Iraj) is a prince who does not tolerate the transition from the institutionalized political fashions of the Qajar era but who wants fundamental cultural changes.

New temporal structures in Cinema are considered a special kind of storytelling and narration in cinema that can be contrasted with the simple narratives of classical cinema. In such works - also known as cinematic modular narratives - the filmmaker intends to challenge the viewer, arousing his/her imagination and curiosity. The multifaceted space, Split screen and the simultaneous presentation of diverse narratives and the infinity of qualitative and non-linear place and time can be considered to be the components of Iranian painting.. It is noteworthy that these features were represented properly in the paintings of Tahmasebi era (Shahnamah and Falnamah) and these components can be identified in new temporal structure films. This study aims to investigate the characteristics of new temporal structure films and compare them with Iranian painting with an emphasis on the paintings of the Safavid period. The main question of this paper was: "What are the common features of new temporal structure films and Iranian painting?" Night on Earth and Timecode Films, and Shahnamah and Falnamah Tahmasebi were used as the sample. A descriptive-analytical and comparative research method was employed in this study and data were collected through written documents and observation. Findings suggest that features such as creation of complex space, simultaneous presentation of events, multifaceted and multi-level space, lack of focus on a single character, and multiplicity of characters present in the new temporal structure films are similar to the paintings of Shahnamah and Falnamah Tahmasebi.

One of the methods used to understand and analyze a text is the use of semiotic principles. Visual semiotics can visualize and shape, and in a set such as contrast, proportion, balance, angle of view, etc., the position of symbols in a visual text can be examined. In the history of Iran, artistic and literary creations have always led to the formation of many illustrated forms. In this illustrated version, there are always artistic transformations of the poet and painter, which is based on the worldview of visual art. So that despite the beauties in this world, there is an internal link between Persian literature and Iranian art, which has led to the creation of various themes in these artistic fields based on a unique vision and the same mentality. Therefore, the conformity of imaginary forms in Persian poetry and Iranian painting causes the same pure descriptions that speakers give of human elements to nature and objects, this meaning can be found in the illustration of painters' work. Just as the painter visualizes the characters and scenes of the story and the inner themes with the language of calligraphy and color. Such a connection can be seen between the written and visual text in Tahmasepi's Shahnameh. This work is based on Ferdowsi's Shahnameh and according to the worldview of the illustrator, in which he shows the cultural and artistic influences of Iran related to the Safavid era. Throughout human history, the writing of forms and shapes has helped to induce concepts and describe stories and narratives, this has led to a mutual commitment of literature and art and gives a unique crystallization to culture. Several factors that are the main feature of Iranian culture and civilization, caused the illustration of literary manuscripts, especially the Shahnameh, to become a stable tradition, and accordingly, many manuscripts were written and illustrated in previous periods. One of these valuable copies is the Shahnameh called Tahmasepi, which was written in the Safavid era in Tabriz in 928 AH. Written. One of the prominent features in this collection is the use of visual elements that are commonly related in the drawings and has led to the compilation and visual completion of a narrative.One of the most influential narratives from the great book of Shahnameh is the story of the killing of Rostam and Sohrab. This tragedy has not passed by the painters and they have illustrated several pictures of it; Tahmasepi Shahnameh is one of the illustrated copies that include the artistic-literary masterpiece of Tabriz II School. This story has been illustrated from the beginning to the end by famous painters.In general, seven illustrations related to this story have been illustrated, which are: 1- Sohrab taking a horse, 2- Sohrab's battle with Gerd Afrid, 3- Kikavous asking Rustam to go to war with Sohrab, 4- The first day of Rustam With Sohrab, 5- throwing Sohrab into Rostam, 6- Sohrab's death, 7- Rostam's lament in Sohrab's death can be mentioned. Among these assemblies, 3 images of the battle of Rostam and Sohrab are studied based on visual semiotics; these drawings will be interpreted and examined based on the original text and visual semiotics. It is worth mentioning that the use of visual cues in the form of visual messages in the visual text plays a decisive role. Because the image has an extraordinary effect on multiple meanings and creates innumerable and different meanings. Therefore, by reading the visual cues from the text of the drawings, the semantic layers of them are revealed and the messages hidden inside the text and the image are analyzed and examined.The purpose of this study is to investigate the visual cues used in 3 pictures of Rostam's battle with Sohrab; the authors try to use the descriptive-analytical method of library studies as well as the underlying concepts and structural relationships that examine the artist and answer the following questions.1- What method of visual semiotics have the painters of the illustrated version of Tahmasepi Shahnameh used to convey the inner meaning of the text in the image in the composition of the drawings?2- How did the painters of the illustrated version of Tahmasepi Shahnameh use the system of visual semiotics to convey concepts in the painting so that the audience receives the concept from those meaningful signs?By examining the structure of visual symbols in 3 drawings of Tahmasepi Shahnameh, it indicates that the artist has been able to formulate a clear message based on perceptual quality to make the drawings tangible and understandable in the compositions. Even the meaning of the image, which is a sign between the subject and the composition, has led to a coherent process in how the image is configured. Therefore, in this research, by identifying the structural and visual elements in the drawings, that complexity can be revealed beyond simplicity through visual and visual cues. Since there is a clear connection between the subject of the drawing and the visual cues and the combined elements; To convey the meaning through visual cues, the painter uses items such as 1) using the same angle of view with the audience in all 3 drawings and even referring to the inner force of the two main characters in the story, 2) the proportion of elements based on the subject In all 3 drawings, they are illustrated in order to quickly transfer the concepts and the subject. 3) Contradiction of the forces of good and evil that is used to focus and continue the story and these dependent variables attract the audience's attention; And despite the many variables in the main subject, but a balanced balance between the elements and visual signs is presented, 5) the use of far and near space, which indicates the direct presence of the audience on the events of the story and the same in the general story in all 3 The painting is presented and even provides the audience with the use of repetition of free space without showing the architecture on the breadth and variety of the subject, all of which the painters have used in the best way in the composition of their works.Results of the aspects of visual and visual signs in the concept of the elements of the composition of the three images of the battle of Rostam and Sohrab, which can be presented as follows:1- The visual signs in the paintings are mostly based on the artist's worldview and are inspired by the original story in the paintings, which can be referred to as the image of Rostam, Sohrab, Kikavous, and other people who had a role in this story; But the painter has only paid attention to the main members of the story and has shown them in the picture, and has established a kind of connection between the signifier and the signified between the two written and visual texts.2- The elements of the visual signs are used in the form of geometric patterns and arrays such as the art of gilding, which are well executed and combined in the war costumes of the heroes and other people present and the war equipment in the painting. The variety of colors has been used in the paintings, which, like the variety of colors in the painting of the first day of the battle of Rostam and Sohrab, has overcome excitement and movement on the battlefield.The features of the visual signs of natural elements in the paintings, such as clouds, shrubs, and shrubs by the water, indicate the greenness and continuity of the story, and the water itself, which means freshness and vitality, and in a way eliminates any impurity. Is that in all 3 drawings has a role on the image and in each of them shows a different side of the subject of the drawing. The painting of the third day of the battle between Rostam and Sohrab, the element of water in the composition, covers a small part of the bottom of the painting, which the painter uses as a visual sign for the end of Sohrab's life and is somehow related to death and the end of the story; In this sense, semiotics is a kind of sign created from elements to related conventions whose meanings are attributed to the visual meanings in the drawings.

The Safavid kings had a fairly influential role in Iran’s cultural, economic and social prosperity after a long era of turmoil and recession. The art of weaving silk fabrics is one of the examples that grew up in light of the attention and support of the Safavid officials. During the Achaemenid era, Iranians were aware of the mystery of silkworm and silk threads that came from China to Iran. Such a material was converted to woolen fabrics, colorful flax and silk textiles in weaving centers such as Balkh, Hamadan and Shushtar. In any case, it is certain that silk came from China to Iran. It should also be noted that the life of such products in Iran was much shorter than that of other fibers, but the taste and skills of the Iranian and the use of the designs by creative painters as well as the growing support of the royal court brought about the creation of great masterpieces. Such woven fabrics were not only attractive as gifts, but also as ceremonial and basic commodities for the evaluation of other products. The Safavid kings actually supported this craftsmanship, and they regarded this material as the majesty of their kingdom and glory.
Another important feature in the Safavid era was the creation of artistic centers under the authority of the court and the close connection between miniature painting and textiles. Recognizing how silk weaving developed in the Safavid era helps us understand this industry better. Therefore, the present study investigates the weaving of such fabrics under the full support of the officials of the Safavid dynasty through a descriptive-analytical methodology.  
The questions to be answered in this research are as follows: How did the support of the aristocracy and the princes of Safavids lead to the development of silk industry in this period? How did the events during the Safavid era affect the development of the fabrics? The statistical population of this study consists of 13 samples of Safavid silk fabrics collected from select collections and museums abroad.
The results indicate that the tendency of the Safavid kings to revive the glory of ancient Iran and the ambitions of officials and the elite, as well as the needs of the domestic and foreign markets added to the prosperity of silk weaving at that time. In the meantime, Shāh Abbās’s role was most influential in raising the quality and quantity of silk, and by his full support and, of course, the export of such woven fabrics, besides patronizing this traditional art, he managed to add to his country’s credit and wealth. Here some factors are considered so important in the growth and development of this industry, namely the domestic, regional and international realtions.

In the history of the Turkish literature of Azerbaijan, we are witnessing great literary figures, each of which has somehow helped in understanding Islamic literature and culture and culminating in it. One of these distinguished characters and of course the founder of the Indian literary genre, Mohammad Fuzuli, is the greatest poet of the Azerbaijani Turkish in the 10th century. Illustrated manuscript of this literature is full of paintings taken from his contemporary painting schools, Baghdad, Ottoman and Tabriz. The purpose of this research is to analyze the illustrations of Fuzuli literary books and to investigate the influence of Iranian art of painting on the images of Baghdad and Ottoman schools and the influence of Shiite themes on Fuzuli literary works and finally to illustrate them and to try to answer the questions whether the illustrations of books have affected Iranian Islamic culture or not? And according to which basis are the Shiite themes based on the paintings? Accordingly, in this study we first describe Fuzlui's life, then introduce Baghdad's school of painting and the impact of Iranian painting on the school, and finally analyze Fuzlui's works. At the same time as the Safavid dynasty, we are seeing the development of Iranian book-making art in Istanbul because Sultan Salim I was fully aware of the history of Iranian painting. At this time, Sultan Salim I first went to Tabriz after the victory in the Chaldoran War and collected all the works of art and artists and moved to Istanbul. Over the course of the first half of the 10th century, artists and other artworks were plundered from Iran and turned to Istanbul's Topkapi. In addition, with the capture of areas such as Iraq, a kind of art was discovered in Ottoman Empire under the influence of the Baghdadi School, which had a strong background in book art. These art arrays are very similar to Iranian paintings, which can be said to be imitated the Persian art. Fuzuli has written his works in three languages: Turkish, Persian and Arabic. All these three languages were spoken in Baghdad those days. Although he was a Sunni believer, he respected Shiite beliefs. His works reflect his attention to Shiite beliefs. His Turkish poems include: Shah and beggar, Layla and Majnun, Masnavi of Bang and Badah, Rozah, Hadiqa al-Soada, Suhbat Al-Asmar, Complaint and Riddle Treatise. Divan of Persian Poetry includes Divan of Poetry, Rand and Zahed, Health and Disease, Anis al-Qalb, Saqiqnameh (The Seven Cups), Ruhnameh (Spirit Travelogue or Husn and Ishq) and Arabic works include Matla’ Al-Eteghad, Divan of Poetry, Kalam and Falsafa.  According to the purpose of this research, it is related to fundamental research in theory because of its dependence on epistemic domain and its knowledge-making aspect is considered, but it is descriptive-analytic in nature. Therefore, after explaining the subject, the state of the problem and its dimensions are concerned and explored and the rationales are drawn by linking the visual elements of the Baghdad and Ottoman schools with the style of the Tabriz school of painting and the impact of the Shiite themes on the literary and visual works. In this way, the qualitative method of the criterion is certainly in place. The information needed to start the research was provided by the library, the documents and the collection tool was taking notes. The statistical population of the study consisted of selecting 17 pictures of existing manuscripts in overseas libraries. The results show the studied works in terms of content, text, painting, and book-keeping are influenced by Islamic mysticism, religion and literature, and in fact, the field of thought is a ground for the understanding and consensus of the three Islamic-Iranian and Turkish worlds. Another point is that despite Fuzuli’s religion which was Sunni, his works were influenced by Shiite culture. Persians, Ottoman and Arabs could live together in love and exchange, trade, education, and even bragging, but in the upper classes of the society, the kingdoms and sultans, could not tolerate the presence of each other at a parallel time. At the community level, the situation was different; the citizen of Hillah, regardless of the Ottoman and Safavid sovereignty, and disregarding the linguistic and racial political realities, understood that what is lasting is art, humanity, and the spirit of the regime and this is the essence of all, the foundation of not Royal is eternal. As all those hegemony and majesty fell into neglect in the dust of history, but what remained was a beautiful feeling that was decorated with the water and other colors of the artisans. Today's world and most importantly, today's Iraq is thirsty and eager to repeat such experiences that it has gone through.

English, German, Russian and French were the most important languages ​​to which Hafez's poems were translated to. Many translators have translated directly from the Persian original (literary translation) and some have used intermediate languages. Although acceptable translations of the sonnets gradually emerged, none of them were able to express the literary subtleties contained in them. In German, the translation of Hammer Purgstall became the basis for many literatures acquainted with the poems of this Eastern poet. Goethe – the German poet and literary man – made a strange acquaintance with them by reading the poets translations and composed a collection of heartwarming poems called "The Eastern Court of the West" and became a supplement to Hafez's Divan in the West under the influence of these lyric poetries.

The logo of the World Health Organization is often used to symbolize a snake. The prevalence of this myth has led to the centuries-old snake being considered a source of pharmacy as a healing elixir and used by traditional pharmacists, physicians. Until the discovery of ancient Eastern civilizations over the past few centuries, the motifs found in these areas were thought to be the oldest source of current symbolism, and even considered Greek anecdote to be homage to Mesopotamia. After the unveiling of the nature of Jiroft, we came across motifs that preceded the Greek and Mesopotamian examples. The similarity of the earlier symbols with the found Jiroft's symbols in the creation of this living tree is a healing fluid in the cup and its relatively obscure role in interacting with the hero. However, some believe that this symbol is rooted in ancient Greek mythology. But the research hypothesis is that the snake myth is rooted in Jiroft. The purpose of this study is, first, to identify the sign foundations used in the World Health and Medical Organizations Index, and, on the other hand, to identify the origin of the mythological and ancient mythical, ancient constellations and snakes. Studies show through a descriptive-analytic method of library studies; this symbol is familiar not only in ancient Greece, but also in Mesopotamia, in the Bible and in ancient Iran, and used in literary, scholarly, artistic works. The constellation of the snake and the serpent have been associated. Studying the motifs obtained from Jiroft and comparing them with other Mesopotamian and Greek motifs and related texts, it becomes clear that the symbol in question is rooted in this civilization and that the myth associated with the snake is connected to stars, familiar to ancient Jiroftians. And have been mentioned in their myths.