یعقوب آژند

One of the most valuable practical and essential elements used in mosques is the pulpit. It is clear that this hand-made work has somehow been effective in the promotion and expansion of religion. A major part of the researches about minbars has been about the history of its construction, and few discussions have dealt with the aesthetic features and motifs used in it. are in Iran, where the study of the decorative and structural dimensions of these pulpits is the aim of the present research. This research has a qualitative nature and describes and analyzes the two pulpits and visually compares the roles in a descriptive-analytical and comparative method with reference to the data obtained through library and field methods. The answer to this question is what is the difference between the two minbars (Berzroud and Farizhand) in terms of appearance characteristics, patterns, inscriptions, construction, materials, etc.? In these works, there are various designs and motifs, decorations with geometric motifs. and plants, as well as inscriptions carved in Kufi and Naskh script can be seen. The execution method of the motifs is first meshed using the grid method, and then it is pasted on a background and then the inlay work is done on it. In the Borzroud pulpit, most of the designs have ½ mirror repetition, and in the Farizhand pulpit, the method of repetition is transmissive or ½ and ¼ mirror. The mentioned pulpits are in conflict in terms of seating, the form of the Frizhand pulpit is an altar shape and the Borzroud pulpit has a simpler structure, but it is more elaborate in terms of decorations.

Engelbert Kampfer (1651-1716) was born in Lemgo. Kampfer was a German traveler known for his tour of Persia between 1683 and 1693. In 1681, he visited Upsala in Sweden, where he was offered inducements to settle. His desire for foreign travel led him to become secretary to the second embassy of the Swedish ambassador, whom Charles XI sent through Russia to Persia in 1683.He wrote a book about his travels (later translated into Persian) published in 1712. This book is important for its Persian observations and description of the Persian court of Shah Suleyman Safavi. His book was a chief source of Western knowledge about Persia and Persian society during the Safavid period. Kampfer also collected materials and information on Isfahan society.He mixed careful observation with a strong desire to make these observations confirm the European conception of Persia. Of all early travelers in Persia, Kampfer was probably the most acute observer. He came to Isfahan in 1684 as a physician in the service Swedish mission. He stayed in Isfahan for twenty months. He dedicated his time to all sorts of scholarly activities, Including Cartography, Botanical studies, and medical observations.When he stayed in Isfahan, he wanted Jani -ibn Bahram Farangi-saz, a painter, to make him an album. His album is known as Album of Persian Costumes and Animals with some Drawings by Kampfer. This Album contains 44 paintings and drawings.Its technique is painted ink and opaque watercolor on paper. This Album was produced in Isfahan, 1096 AH. Its size is 42,32cm* 20,26cm. Bounded in brown leather with gold gilt decoration. This article created a visual interpretation of paintings and drawings of the Album (Muraqqa). This article features two categories: one for paintings of men and women and another for paintings of animals. The first category interprets representations of humans, while the second focuses on animals.1- Scene of two men dancing; the right man plays a stringed instrument while the other holds the scarf around his neck. Both men are wearing short clothes with decorations tied below each knee. Feathered hats adorn their heads.2- Portraits of a Qizilbash and a woman; The man gazes opposite towards the woman seated upon cushions while placing a strand of flowers into her hair.3- Portrait of Cavalryman; On horseback is depicted a man aiming his bow and arrow toward a Snake.4- Trainer watching a competition between two wrestlers; To the left, the wrestlers are entangled, bare-chested, shaved heads, and shoeless, while the fully clothed trainer stands aside, holding a cloth in one hand. A purse hangs from the sash tied around his waist, while a large turban covers his head.5- Double portraits palace usher on the right and the royal bodyguard on the left. Usher strands legs widely separated, holding an axe-like object in one hand while resting his other hand upon the sash tied around his waist. On opposite strands, the royal bodyguard is leaning against a long cane held in one hand while the other plays with the mustache. The bodyguard is dressed in a long robe with an elaborate, feathered headdress.6- Doubled portraits of an Indian woman and a Georgian woman. Indian woman, left, holds a small, shallow cup in one hand and a large vessel in the other. A turban wraps around her head and a long shawl extends to the ground. Three strands of beads hang from her neck. While a translucent skirt drops over her pants tied at her waist by a long sash. The Georgian woman holds a piece of fruit in one hand and the other clutches her sash, tied around her waist. She wears a triangular-shaped hat, jacket, skirt pants, and heeled shoes.7- Qalandar speaking to a young devotee. Qalandar, an itinerant Sufi, who learns and teaches during his travels, is shown bare cheated with strings of beads hanging around his neck and resting against a tree with his belongings (hat, stick, and reeded musical instrument) placed in front.8- Portrait of a Sakinah, painted in a circular vignette. She gazes towards the right.9 – Leyli tending to an emaciated Majnun, covered by only a cloth around his waist, lays upon Leyli, gazing up at her. Leyli dressed in a printed jacket, skirt, and pants, sits cross-legged, Supporting Majnun. Surrounding them rests a dog, gazelle, and rabbit.The animal category examples are, 1 – Tow Antelopes, shown side by side. One stands tall, while the other lays on the ground, head turned facing upwards. 2 – A performing goat and spectators. This painting depicts five Tabrizi Men and a dog surrounding the performing goat. One man kneels playing a drum, while another sits beside a column with a goat balancing on top. Three other men gaze upon the event from either side. 3 – Two resting goats, the goats face each other, right goat rests on all fours with large antlers spread widely apart, while the other stands opposite grazing above, painted with significantly smaller antlers. 4 – Fighting rams, two men watch eagerly as the two rams hook horns. 5 – Two Iraqi (Tabrizi) goats are shown standing side by side, one stands tall, while the other bends down to eat some leaves. 6 – Rhinoceros standing in profile. 7- Two mountain rams are shown facing each other. The left ram appears smaller, kneeling submissively before the larger ram who stands tall with horns well defined. All of these paintings are inscribed.

Kilim-weaving has a long history and is widely woven in rural life and some urban communities of Kerman. Having diverse kilim-weaving technique, one of the most famous and valuable kilims of this province is “Chehel-Māshūleh” of Bidkordūiyeh village, which was registered nationally in 2017. The special and unique weaves, diverse motifs and designs are subjective, abstract, among the most important characteristics of this kilim. The main objective of this article is to identify the technical features of the weaving method, the reasons for the naming and the factors affecting the formation and variety of the use of hand-weaves, motifs and designs of “Chehel-Māshūleh” of Bidkordūiyeh village. The information in this article was collected using field and library surveys with descriptive-analytical method. This research seeks to answer the question “what are the significance and unique characteristics of the technique and associated motifs that have been registered nationally”. The results of this research show that the innovation and skill of the Afshār tribe weavers have led to the formation of a rare weaving technique, in the form of “left-weave”, which has contributed the preservation and sustainable use in their personal and daily life to provide design and decoration of the their every-day objects in their life, work and even rest.According to archaeological discoveries, the history of weaving in Kerman dates back to more than 5000 BC. Motifs are the most important element in decorating these types of kilims, which have a great deal of originality. The results imply that most of these motifs are the result of the mentality of nomadic and rural women which are adopted from their life and environment, and ethnic traditions. In other words, these motifs are the abstracts of various elements and thoughts of the weavers, which are formed according to Iranian mysticism and Islamic civilization. They have woven these motifs with great skill on the carpet with an abstract and geometric style, but over time, they have undergone gradual changes and have evolved from simple to complex patterns. This process has created a lot of diversity in motifs, designs, and their use. The mental weaving and repetition of motifs have caused the diversity and multiplicity of motifs colors and names in the Chehel-Māshūleh kilim. In other words, it can be said that any work or artistic field, which has appropriate, logical, orderly, balanced structure and is rooted in the tradition, is picturesque. Therefore, most of the nomadic and rural handwoven with the Chehel-Māshūleh kilim style has the same characteristics while preserving the native identity and regional authenticity. As a result, it should be said that the nomadic art of this region is a pure, amazing, beautiful and useful/practical art.

The long story of The Snake and The Man (1976-1978) is a work by Simin Daneshvar that is derived from religious narratives, sacred texts, and mythical narratives. Laurent Genie's theoretical definition of the concept of intertextuality in the article “Strategy of Forms” serves as the theoretical foundation for this paper’s examination of the intertextual contribution of the narrations mentioned in the construction and payment of that literary work. In this article, Genie proposes that the intertextuality should be referenced when elements beyond the lexical unit of the prototext can be retrieved in the new text, a distinction between his conception of intertextuality, known as soft intertextuality, and Julia Kristeva’s intertextuality, known as hard intertextuality. In other words, the relationship between the texts is not limited to lexical and formal relationships; the intertextual relationship of two texts is not determined by the vague and mysterious sum of the effects of one on the other, but rather by the degree of interconnection between the two texts and how one influences the other. This underscores the two types of intertextuality: strong and weak. In his opinion, “weak intertextuality” is established when two texts communicate in at least two formal and thematic aspects, and “strong intertextuality” is established when texts cease to communicate on one of these two levels. The present study isqualitative in nature.

The shrine of Sahl ibn Ali is a religious building in Iran, located in Astaneh, southwest of Markazi province. Sahl ibn Ali is one of the descendants of Zayn al-Abedin. Nevertheless, many historical documents give us some information about this building, but there is no evidence of its exact time of construction. However, according to historical documents, it was built before the Safavid dynasty. The old inscription above the door of the portico has a date belonging to the first decade of the twelfth century and it shows us the name of its architect: Ali Akbar-e Isfahani, and Mohammad Reza as the inscription’s calligrapher. Similar to other religious buildings, it has many historical decorations such as murals, mirrors, and inscriptions that belong to the Qajar and the Safavid eras. Notwithstanding, a few contemporary studies have been carried out about this shrine, but there isn’t any specific research about its artistic characteristics. Since murals have the biggest area among other decorations, this research focuses on them that are located throughout the tomb and include “Gol o Morgh” (the flower and the bird), arabesque, and realistic paintings of buildings. Unfortunately, these paintings and their colors are damaged and faded mainly because of human destruction. The first painting which is located under the roof of the porch includes an inscription and two kinds of paintings such as abstract floral patterns and realistic paintings of birds (Gol o Morgh), which paled and damaged when the building was restored. The inscription that is surrounded by realistic patterns of birds is a verse of Taha (Surah from the Qur’an). According to the basic law of Islam, which prohibits the illustration of living beings in religious buildings, this research aims to answer this question: what was the purpose of using these patterns in this building? In addition, we are trying to recognize the date of these murals and to introduce their properties using a descriptive-analytical method. For recognizing the cause of using realistic paintings of birds besides the verse of the Qur’an, if we refer to the meaning of the verse and try to find the meaning of birds according to their meanings in the Mantiq ut-Tayr (The Conference of the Birds), which is one of the biggest Persian symbolic literary works, we will find a specific link between them that can be an evidence of the artists’ aim to symbolize the verse based on literary works. The second painting is located under the roof of the loggia and it is thoroughly decorated with the Muqarnas which is colored red and has floral patterns. Also, there are many realistic paintings in many unknown buildings. In addition, there are many scripts on the wall of loggia, one of which indicates the date of restoring the building and the name of three artists, but unfortunately, there is no name of the paintings artists. The most interesting and meaningful painting is a realistic painting of birds through the flowers and arabesque patterns on a light blue background located in the portico. The last part of the building with a painting is the space under the dome which includes floral patterns and Gol o Morgh. Also, if we accept the relationship between the inscription and the bird's meaning on the porch and other birds in other parts of the building, we will find a relation between the count of birds mentioned in the Mantiq ut-Tayr and those painted in this building. Furthermore, in this research, we find and present many historical documents for the first time that conform to the dominance of the monastery in the Astanah which means using Mantiq ut-Tayr by artist(s) as a reference for choosing the birds. In summary, as a result of this research, we can say that the paintings are a reflection of the mystical thoughts of the society in Asanah that was under the mystical ideology. The painters may have tried to illustrate and symbolize a verse of Taha (Surah from Qur’an) based on mystical Persian literature works; especially Mantiq ut-Tayr. According to the historical evidence and comparison of these murals with similar cases of the Qajar dynasty, we can infer that these paintings belong to this period. Another result of this research is that there are many different types of quality in these paintings which gives us three possible sources for them. The first possibility is that there were many artists with various skills that worked at the same time. Second, there was a skillful man with many assistants, and third, the paintings were done at different times. The last result of the research could be finding a part of the old monochrome painting in a room above the porch that was covered with plaster. It could be the evidence of more hidden paintings in other parts of this building.

Some historical stories, especially because of their religious themes, appeal to the ordinary people in some societies and have been retold in different ways during the time. One of these stories is the story of Prophet Yusuf, which has been frequently considered not only in the history of the Qur'an interpretational tradition by commentators and authors in the field of ethics but also in the history of Iranian poetry, art, and literature. The two important scenes of this story are Yusuf escaping from Zulaykha and also Zulaykha`s party which are considered the two tempting climaxes of Yusuf's story as well. These two scenes refer to moral aspects, on the one hand, and to sexuality on the other. These dramatic and figural scenes have been repeatedly represented in the history of Iranian painting, especially in the Safavid and Qajar eras. There are many paintings in the Qajar era also seemingly referring to and evoking this scene for audience. As a social fantasy, discussed in this paper, the Naranjborii Majlis or Zulaykha`s party somehow discards moral aspects for the sake of sexuality. This scene, not mentioned in the Torah at all and briefly mentioned in the Qur'an, is highly taken into consideration by commentators, poets, writers, painters, and the ordinary people in post-Qur'anic literature in all historical periods, especially in Iran. Therefore, one can question this importance and look for its historical and cultural roots; the visual functions of it can be questioned as well. This essay, with a descriptive and synthetic analytical method, tries to gene-analyze this scene in a social and psychoanalytical approach regarding the collective unconscious of Iranian people. Gene-analysis in this paper provides a theoretical and conceptual framework alongside a methodological and targeted combination of myth-analysis, psycho-analysis, and discourse analysis, with the help of which one can find the mythological origin of this scene and comparatively analyse them in terms of discourse, and expectedly, in terms of psychoanalysis, to know about the conscious and unconscious psychological investment of the collective subject. The results justified that the Creation Myth scene in Bondahish, one of the holy books in Zoroastrianism in the late Sassanian era, is the figural model of Zulaykha's party, also Nerse and Jahi are the archetypal characters of Yusuf and Zulaykha with the same roles and characteristics. The paintings of Zulaykha`s party can present dense and multiple and at the same time contradictory scenarios and can also be a suitable scene for the collective subject`s projection and fantasy; consequently, it causes the multi-faceted circulation of desires and anxiety in an unconscious way. What is considered to be the most significant point of this study is that Yusuf is deemed an attractive prototype for kings, beautiful men and women; like Fath Ali Shah, due to the correlation of power (holiness) and beauty (connected with sexuality). Finally, what can be inferred from this paper is that, this scene due to some indigenous reasons, rooted in Iranian culture and history, has been repeatedly represented in the history of Iranian painting.

There are many cultural and artistic documents of the natives of Musian culture, people who have lived in parts of the south of ancient Iran before history. Among these, special imaging images on pottery have been discovered from this culture which attracts a lot of attention. What makes these portraits seem to be indicators is the excerbated motifs on those Pottery with human focus. Drawing these experiential and specific motifs cannot be meaningless. The fundamental question here is what meaning, concepts and hidden messages do these images have and convey? Considering this main problem of this study, receiving hidden meaning in these images according to applied visual elements in them. The method of this study was qualitative-analytical and its data were prepared by historical approach and using library tools. The aim of this study was to study the neglected part of visual arts in prehistoric Iranian culture to prove the homogeneity of these figures in one order and with a name based on receiving the hidden meaning of the visual semantics from the belief-social and trans-narrative worldview in prehistoric culture. This important will be achieved by relying on the recognition and recognition of the social-cultural biology of prehistoric peoples and its generalization to the visual elements of the images of Musian culture.

Myths and legends, as the aspects of each nation’s culture, have direct relationship with the nation’s creativity. Myth and art are two sides of the same coin and have similar origins and aims. The lithographed book’s illustrations, as an arena for the representation of popular art, add the social aspects to the Persian art. Religious illustration, which is intertwined with myths and symbols, creates some remarkable illustrations in the Persian lithographed books. We can find some notable samples of such creation in Tuhfat Al-Majalis. This book, which retells a bunch of miracles done by holy men, being full of marvels, seems a proper arena for the creation of imaginary beings’ portraits.This research, by monitoring the presence rate of imaginary beings in the lithographed copies of Tuhfat Al-Majalis, aims to understand the Tuhfat Al-Majalis illustrator’s attitude toward imaginary beings; if the artist fills his works of art by imaginary beings, in order to attract the thrill seeker reader, or vice versa; he avoids portraying imaginary beings; or showing loyalty toward the exact text of each miracle, he just illustrates the characters and elements which are mentioned in the text, neither more nor less. In order to study this, at first, we go through a brief introduction of the book; Tuhfat Al-Majalis. Then, the bibliography of the lithographed copies (the lithographed copies of Tuhfat Al-Majalis which are kept in the Tehran public libraries) would be represented. After that, the introduction of the three illustrators who had signed their works in these copies would stand. And at last, through a comparative study of miracles’ text and illustrations, we will find out if the Qajar artist has created an art work which goes beyond the miracles’ text.By studing the lithographed copies of Tuhfat Al-Majalis which are kept in the Tehran public libraries, this research represents 22 copies; 8 illustrated and 14 nonillustrated lithographed copies. By doing a comparative study of miracles’ text and illustrated images, the research concludes that the illustrators mostly prefer to illustrate the miracles’ exact texts. There are just few samples of creating an art work which is somehow beyond a visual translation of the miracle’s exact text. In fact, among all of the lithographed copies and dozens of stories studied, just in illustrating 5 miracles the Qajar artist, by omitting or adding imaginary beings, presents an illustration which differs from the exact miracle text’s visual translation. The Tuhfat Al-Majalis illustrator, doesn’t load the visual representation of the religious myth with angels and devils, but he just tries to picture the mythological story in the most intelligible way possible. In other words, each of story characters would be illustrated by the artist, if it is needed in order to create a more communicative illustration.

The following article examines the nature of appropriation and adaptation of Abbaseh, king's sister play from the story of Neam and Nemat in the book of One Thousand and One Night based on Gerard Genet's theory of Hypertextuality. The author aims to prove or reject the hypothesis that the play bears certain expressionist dramatic characters using library sources with a descriptive-analytical approach. Gennet's theory and narrative elements are explained, then the stylistic changes and transformations are analyzed. In the end, the result is that the play has been approached to the style of expressionism by faithfully preserving some characteristics of Iranian stories.

Safavieh era, as the longest and the most effective era of post-Islamic history, was the flourishing age of industrial arts and handicrafts. Throughout this period, areas of society, religion, economy, and politics gained distinguishable structures; the need for distinction from other countries by officializing the Shi’a religion and defending Safavieh dynasty against other rivals/competitors, reinforced some preliminaries that their outcomes were alterations in the approaches and procedures of craftsmen, artists, and industries in Iran. Despite the gradual development of industry after the rule of king Abbas Safavi, establishing and renewing the industrial workshops in Safavieh era, provided the art with some opportunities to enjoy innovative and creative elements in line with religious, political, social evolutions and commercial relationships with eastern and western territories. In addition, coincidence of this long period of time with the rising of some prominent Persian artists and literary and Iranian Muslim scientists and philosophers, as well as paying attention to and influencing on cultural and commercial relationships with Europeans provided excellent occasions for a significant historical transmission from middle century to a new Iran. Metalworking is reckoned as an important branch of industrial arts that underwent many considerable changes due to its long background in manufacturing and producing through the different historical periods. Clearly, during the Safavieh era, these changes due to effective factors on structures of government and society became more solid and distinctive. It seems that industrial arts in the Safavieh era had a direct relationship with the condition of unions and social-religious conditions of society. Different classes of society, from market to mosque, Saqakhaneh and Zurkhaneh, from palace and seraglio to fortune tellers’ astrolabes, all contributed to forming metalworking art and its revolutions. These revolutions emerged from the heart of social, religious, economic, and political structures and in this study two of them- social and religious approaches- will be analyzed. The purpose of the present study is to identify underpinnings of evolutions in the structure of form and function of metalworking arts on the flow of two important approaches throughout the Safavieh era, that are religious and social ones, as well as verification of significant and unified content of metalworking art in this era in metallic bowls and cups. The proposed research questions are as follows: 1. How are the effects of religious and social approaches on metalworking in the Safavieh era defined? 2. What are the contents of the form and function of evolutions in metallic objects throughout the Safavieh era? Research design is descriptive-analytic with a qualitative approach. The data collection method is libertarian and field study. Case studies are metallic bowls and cups and the sampling method was studying private collections, museum samples, and field research. Analysis was performed on details of form, function, and symbols of Safavieh-era bowls and cups, and comparative analogy with other samples would define them. The results of the present study show that defining evolution affected by a religious factor during the Safavieh era appears like Shi’a concepts in epigraphs and images. At once, a social indicator that exhibits those ancient Iranian concepts evolves in both form and meaning among unions and craftsmen. However, what leads these results to a different direction regarding the metallic objects of this era is the similarity with the meaning of objects’ role that apparently has different forms and functions. Deeper layers of meaningful content in different historical sections especially in the Safavieh era can be investigated. To respond to the first research question, it is noteworthy that both social and religious approaches had some impact on each other and on metalworking art during the Safavieh era as well. Analyzing indicators of both approaches identifies a kind of evolution that refers to diversity in the metallic bowls. That means throughout an age when artists are ritualistic and myth-centered, they utilize metallic bowls for magic and hex, ancient medicinal sorcery, or evoking evil spirits from the human body. When we reach an era in which they do not believe in myths, and ritualistic and religious beliefs have been replaced, the form of the bowls and their type change. The second research question has been responded in such a way that in the Safavieh era old beliefs existed in lower layers of the implications of bowls and there was the belief that metal and incantation could eliminate evil and wickedness and conflict with them. Simultaneously, a number of ayahs of holly Quran and some prayers written in Arabic-numerical letters (Abjad) along with some particular symbols were inscribed on bowls in order to conflict with evil and spiritual forces; such as the bowls that were supposed to help people to get married, to eliminate illness from sick people, or to be used to drink water in shrines. Therefore, pictorial elements have a symbolic nature and determine the manner of connecting to an immaterial world.

In critical discourse analysis theory, there is a tendency to analyze images as if they are linguistic texts. In the Qajar era, the institution of court painting (Naghashkhaneh) was the place of creation and supervision of various genres of the arts of illustrations, which Single-Page watercolor paintings were one of them. Some of these paintings show the royal family and courtiers; therefore, they directly relate to power relations and structures, and contain ideological indications that were often creating to represent the regnant power and to consolidate its ideological content. The watercolor painting from “Nasir al-Din shah Qajar” and two courtiers” which created by the court painter, Mohammad Hassan Afshar, and the support of an anonymous court patron- both as the participants in creation stage- is one of the artworks of Nasir al-Din shah period, which is studied in this article as a discourse based on Norman Fairclough’s theory of “Critical discourse analysis”. Fairclough’s theory is one of the important and reference theories in the field of “discourse” in which he has discussed linguistic phenomena and discourse actions, ideological processes of discourse, relations between language and power, dominance and power relations, and social reproduction in inter-discourse and inter-textual relations. According to him, discourse is an interwoven set of three dimensions of social action, discursive action (production, distribution and consumption of text) and text. As a result, the analysis of a specific discourse requires the analysis of each of these three dimensions and the relationships between them. In this discourse, there are verbal text in the composition of the image that describe the characters, so the image has an interdiscoursive space and both verbal and visual text and their interaction with each other have been analyzed. In this painting, the painter, in a symmetrical composition of asymmetry, places the minister, Mirza Aga Khan Nouri, sitting on the floor on a  hypothetical vertical line in the middle of the image as a traditional symbol of power, the king, Nasir al-Din, on the left side and Seif al-mulk who was Iran’s ambassador to Russia and a general on the right side; so according to the rules and concepts of Persian painting which always were showing the king as the source of power in the middle of the image, the painter based on his background knowledge from political situation of court, Has started the process of making denaturalization and has revealed a hidden power struggle between the king and the prime minister The main question of the present study is what is the hegemonic and dominant ideology in this discourse and whether the orders of discourses influencing this discourse has taken steps to consolidate, weaken or change the hegemonic ideology and power? To answer this question, based on Fairclough’s three-dimensional model, this painting has been studied in three stages: textual description, discourse interpretation and social explanation, which, as a matter of necessity, and as Fairclough has argued in his theory, the authors have been constantly moving between these three stages. It seems that this painting in the stage of social explanation shows that the painter- in the position of both an activist and a creative commentator- has attracted the opinion of the possible patron of the artwork, Mirza Aga Khan Nouri, in order to show his great power on one hand, and on the other hand, he identified a secret conflict that by presenting multifaceted signs that no one except Nasir al-Din Shah could win finally, because of his absolute power as the shadow of God in Iran!      Therefore, the achievement of this research is that in this struggle, contrary to the first semantic layer, which seems to show the Prime minister as the source of power and the symbol of traditional ideology, in the hidden layers of meaning, the dominant ideology still emphasizes the absolute power of shah. But this absolute authority follows a new structure based on a mixture of discourse orders of modernism and westernization, archaic thought based on the concept of charisma and royal charisma, and the utilization of religion; Also it can be said that Hassan Afshar’s view as the artist who has worked in the institution of the Painting House of the court, was not only a reflection of the orders of discourses in political and social institutions and structures, but also it has done a hidden change in the orders of discourses of painting institution in the court. According to this perspective, in a dialectical relationship, the artist as a discourse activist in this visual text has been effective on the changes on orders of discourses in the field of court politics in a small level.

Persian painting, in all historical periods, has been institutionally affiliated with the royal palaces and courts in which pleasure, amusement, and sexual desires were highly regarded leading the painters to sometimes reflect them in their works. A psychoanalytic reading over the past centuries, especially in its socio-historical context, has been rarely considered by researchers; therefore, this kind of research is necessitated significantly. Yusuf and Zulaikha painting by Behzad in 1488A.D is one of the acme points of the history of Persian painting and that is why it has been highly taken into consideration by researchers. Here, a question might be raised and that is: why? Does the importance of this painting depend on the form and technical features? Or is it related to the transcendental attitude towards Yusuf as a prophet in the story itself? Apart from chronological and descriptive research regarding this painting and Behzad`s life and techniques as a painter, most of the previous analytical research mainly considered this painting through mystical and religious studies and analyzed it accordingly, since it is a highly important story in the Torah and Quran. However, if, regardless of these metaphysical considerations, one sees this scene as a fantasy in the subconscious or unconscious and emphasizes materialistic, mundane, and sexual features, what would the result be? Moreover, what do the results cause in Persian painting in further periods? To achieve this goal, a different theoretical foundation is necessitated. Psychoanalytical theories, as the approach of this research, provide an appropriate point of view for analyzing this painting and it also helps the readers understand the scene differently. The conceptual framework of this paper is based on Freud`s and especially Lacan`s psychological ideas. Authors try to do a descriptive and then a synthetic analysis to find more about the subject critically. The visual culture of a society regarding paintings, as historical and cultural texts, is an appropriate ground for scrutinizing sexual terms and relations; provided that, we consider visuality as an equivalent for discourse, not only regarding the text and speech but deeming visual cases as well. Results suggest that this painting, due to the visual features and structure as well as special characteristics of the history of visual culture concerning the representation of sexuality, provides a specific image or a fantasy for the desire and anxiety of the subject dialectically (viewer, individual, or collective) based on the imaginary and symbolic order, as Lacan suggested, according to all psychological process behind that. Having all the visual effects in a historical path, the scene is a turning point to form a sexual visuality dominated in further periods in the history of Persian painting, especially in the mid-Safavid era. The final purpose of this essay is to propose a new idea and provide a different position for relevant subjects such as sexuality, representation, and sexual identity in historical Persian paintings. From this point of view, other Persian paintings of later periods can be psychoanalytically studied in their social, cultural, and historical contexts regarding sex and sexuality.

The period of Mughal Emperor Akbar (16th century) is considered one of the most flourishing historical periods of India, which witnessed the creation of numerous literary-historical manuscripts. Court artists created many paintings by adapting Iranian works of art. Among these art works, we can mention two different illustrated versions of Jāmiʿ al-Tawārīkh (Compendium of chronicles), which are the result of this period. One of the illustrated images of these two manuscripts is on the subject of "Birth of Ghazan Khan" and has a pretext from the Timurid period.The purpose of present research is to study the relationship between above art works and the “Ghazan Khan's birth scene” painting (Hypertext) in Paris Jame al-Tawarikh (Timurid period) and tries to find answer to these questions: How is the form of adapting relationships explained in the examined paintings? What changes have been made in the process of adapting these art works from the Paris image?This study is done in descriptive-analytical method and hyper-textual approach. Information has been achieved from textual library sources, specialist articles in credible scientific and information databases, as well as some field resources. The conclusion of this study shows that the relationship between the hypotext and the hypertext is diachronic and cross-cultural, and the later texts, both the Rampur painting and the Worcester Museum version, were created with changes and trans-textuality in the pretext.Gérard Genet's theories have been used to compare the two mentioned images. Both of images were depicted in emperor Akbar’s royal atelier (1004 and 1005AH/ 1596 and 1597 CE). The images are depicted by inspiration and adaptation of the "Birth of Ghazan Khan” painting in the Paris Jami-al-Tawarikh.The common feature of mentioned paintings is the written-verbal pretext of the Jami-al-Tawarikh context as well as the pictorial pretext of the Paris version. In this process, the differences and similarities, the way of interactions and the level of derivation of these two works from the painting "Birth of Ghazan Khan" in the Paris version, have been discussed and the innovations of Mughal artists have been examined and analyzed separately.The current research includes the texts that were created based on the relationship of derivation from other texts. This means that the influence of the type of derivation of one text from another text and not necessarily its presence is investigated. In the topic of Palimpsests, Genette has expressed his opinion that any relationship that connects the second text to the pretext forms a polytextual relationship.In this case, the second text is completely derived from the first text. If the first text does not exist, the existence of the second text becomes impossible. This article studies the intertextual relationships between two "Birth of Ghazan Khan" paintings belonging to the illustrated version of Rampur and "Birth of Ghazan Khan" preserved in the Worcester Museum, which were depicted in the period of emperor Akbar Shah. Also, their creation being inspired by and adapted from a painting with the same theme (depicted in the Ilkhani period) will be analyzed.All three images (hypertexts and pretexts) are depicted based on a historical written text. The Rampur painting was illustrated by an unknown artist, and the Worcester museum painting was illustrated in a group by artists such as Basavan, Bhim Gujarati and Dharmdas.This study's findings reveal that Emperor Akbar’s royal painting workshop artists have created the subjects of this study, according to the written and visual pretext of the painting of the Paris Jami-al-Tawarikh of the Timurid period.This pretext has the aesthetic system and structural features of painting of the Timurid period, which is rooted in Iranian-Islamic culture. Despite the fact that Mughal period was considered an Islamic territory, but due to its different cultural background, it had many cultural differences with Iran in that era. Therefore, Emperor Akbar and his royal atelier painters were interested in Persian painting and literature.Hence, the artist of the Rampur painting (the first hypertext) created his work based on the Paris painting and adapted from it. The importance of this is due to the fact that in the hyper-textual relations and derivation, a kind of cultural and artistic transfer has also taken place, which is from Iran to Mughal territory. Due to the subject of this painting and its narration which is about birth events and the life of Ghazan Khan, aggrandize the importance of its illustration and addressing the scene of his birth has also increased its importance. So it can be considered a reason for derivation from pretext painting.The analysis of hyper-textual relationships presented in this article shows that despite the relationship between diachronic and intercultural perspective, the influence of para-textual factors (differences in the background and cultural context), in the first hyper-textual (Rampur version painting) compared to the second hyper-textual (Worcester Museum painting) has been encountered, with small differences by the way of adaptation and borrowing from the original text (painting of the Paris edition).The reason for this can be found in several factors. It seems that since the Rampur version was taken from Iran to India, the Mughal painters somehow wanted to create harmony with the other images of the Rampur version in the illustration of "Birth of Ghazan Khan". Therefore, they have applied less transformations and changes. But in the second hypertext (Worcester painting) which is illustrated after the Rampur version, Basavan and his fellow artists have preferred to create a completely independent art work of the Rampur painting in a new style and fully compatible with the Mughal culture. Therefore, these changes and transformations, which show the metamorphosis of pretexts, are mostly based on structural features (cultural, narrative, temporal, environmental changes). Also, internal changes include removal, increase and transposition.This has caused both a change in the structure and a stylistic evolution compared to the pretext (Paris painting). In fact, Mughal artists have created art works that transformed the formal structure and written content of the pretexts to a certain extent by creating various variations and changes by changing the style and visual elements. They have been able to create a new art work which represents and reflects the cultural conditions and the art of that era.

Caricature is a distorted representation of a person or exaggerated way through artistic drawing. Caricature had always been expressionist, for the Caricaturist plays with likeness of his figure, and distorts it to express just what he feels about his fellow man. As long as these distortions of nature sailed under the flag of satire and humor nobody seemed to find them different to understand. Humorous art was a field in which everything was permitted, because people did not approach it with the prejudices, they reserved for art with a thing. In Persian art, Caricature can be insulting (Heja) or complimentary, and serve a social and political purpose. Some of the earliest Caricature are found in the works of Kamal al-Din Bihzad master painter of Sultan Husayn Bayqara court. Contemporary Historians all speak with glowing praise about Bihzad‘s skill. Some compare and poet in Herat during the reign of Sultan Husayn Bayqara, has told many ascendancies at court of Sultan Husayn. He writes that Bihzad always took with him different illustrations on such occasions. Mostly he took poses. The said Amir had an unusual face and a strange figure. Bihzad with this illustration, such that as soon as Sultan Husayn cast his eye on it his depression and unhappiness turned to delight. Can be told that these illustrations were Caricatures that delighted Sultan Husayn. Such accounts indicate two important facts. Firstly, Bihzad was capable of illustrating subjects naturalistically; secondly, his illustrations can simply be a form of Caricature and amusement. In which case, Bihzad was a pioneer of Caricature in the world.A milestone in formally defining Caricature was Mir Seyyed Ali, Court in India. In his story, Caricature was formalized as the process of exaggerating differences from Ghazali (the poet) figure. This Caricature satirizing Ghazali’s figure with exaggerating pose. Beside the public-figure satire, many artists’ Caricature, used as gifts for a patron. Sultan Muhammad’s painting called as “allegory of drunkenness” was a Popular at street fairs often with humorous results. During Safavid period we can explore a range of topics and techniques, from figure drawing to sketching animals, life of people as humorous entertainment and so on.We discover different drawing style like comics, for example “man attacked By a Bear” by Reza Abbasi. In Safavid time, artists added the depiction of actual events to their repertoire of portraits. Riza Abbasi’s style had matured. His more insight for portraits from this Period is those of figures, such as” Nashmi Kamangar”. Riza in this figure Satirizing a political leader of Qizilbash. A remarkable series of drawings of Anguished men in the wilderness reflect the artist’s troubled state of mind and a reaction against the claustrophobic life of court. Qalandar darvish could, when in ecstatic mood, display deadly violence. Some of Qalandar darvish wandered in steppe or scene of cities in states of heroic self-mortification to achieve communion with universal spirit. Qalandar darvishes lived in cemeteries, even graves, as signs of self-annihilation. They during initiation only ate herbs and were clad in foliage (of the Fig-tree). They went bare foot, a feather expressively Shown in our painter’s works. These works like Caricature and humorous one. The shaven scalp and face of some of Muhammad Siyah Qalam as well as other representations rite of Qalandar darvishes. This article expresses Caricature and humor in Persian painting with this conclusion that Bihzad was one of pioneer Caricaturists in the world

At the beginning of the tenth century, the first Safavid ruler, Ismail I, captured Shiraz. We know Little about the history of Shiraz in the first century of Safavid rule. The transfer of the city from the Aq Quyunlu to the Safavid dynasty appears to have been relatively calm. The sources report that the Sunni Sufi orders suffered from the Safavid takeover. Shiraz, before the takeover, had been a city of learning (Dar al-Ilm) and a center of Sufism. The Qizilbash, who had a crucial role in the conquest of Shiraz, was rewarded with critical posts and continued to maintain a monopoly over influential military positions for almost a century, the region of Fars was assigned to the Turkman tribe called the Zolghadr immediately after the Safavid conquest. Shiraz was a prominent manuscript production center from at least the Al- Inju period, being a home for the most noteworthy manuscripts in the history of Iran. Artists of Shiraz continued practicing the established art of local traditions of the art of a book in the Safavid period. The early Safavid rule’s style was rooted in the Aq Qoyunlu style. In the succeeding years, this style was eliminated and the Qizilbash style was established. Two artists in this realm seriously worked. The illuminator Ruzbihan and the calligrapher Mun’im al-Din al-Auhadi. It is known that these two artists collaborated in the production of the manuscripts. Ruzbihan muzahhib (illuminator) was one of the most noteworthy Shiraz artists of the first half of the tenth century. A new style following the Tabriz style more closely, developed in Shiraz attesting to increasing connections between Shiraz and Safavid capital. It differs substantially from the style favored at Shiraz during the first two decades of the century. Shiraz artists abandoned the old style and adopted the new. The old style completely disappeared within a decade and was replaced by the new one. Significant changes are evident in the proportions of figures and their garments, hats, the use of patterns, landscape features, and architectural elements. We named this style Qizilbash style of Shiraz painting school. A group of associated Shiraz artists and artisans appears to have taken the lead in the new style of painting. The manuscripts signed by them contain the most innovative features in the new style. The characteristics that gave distinctive shape to the new style all appear in paintings signed by an artist named Qasim. The paintings that carry Qasim’s signature established the fundamental factors for the new style. Contemporary sources refer to a Shiraz artist named Qasim. Sam Miza mentions Malik Qasim the painter of Shiraz. Doost Muhammad writes he was an able calligrapher and painter. Mustafa Ali Afandi also mentions a painter Qasim and refers to him as Qasim Iraqi (Tabrizi). Qasim’s new and distinct figures reflect traits used in Tabriz’s paintings. Murshid al–katib, known as Attar, was another famous Shiraz artist. He was a calligrapher and painter. The illustrations of the manuscripts he copied show many similarities to Qasim,s work. The manuscripts of the Shiraz school of the Safavid period witnessed an increase in the Tabriz features used by Shiraz artists. This article digs into the impact of these two styles of the Safavid period.

Statement of Problem: 

The national design histories have been both popular and challenged framework. This dual aspect has also intensified in the context of globalization. The dominant Functionalist approach limits the identity of products to their usability purposes; On the other hand, vanguard design historians based on Postcolonial approach consider product design to be inspired by different climatic and socio-cultural conditions. Therefore, how could product design, as a part of the nation's material culture, mean national or regional recognition? How does product design convey a particular national character to users?

In response to the above questions, the article is a qualitative study that has been done in descriptive-analytical method based on library sources. The study has examined the macro-essentialist methods to create a national design based on identifying the concept of national character in design.

Recognizing the role of the national design and its Essentialist approach in global design history and to identify the methods and techniques applied to form a national design based on the creation of a national character.

In this study, by examining the valid documents of the national design history, five general effective methods in establishing national character in product design were identified: Extraction of aesthetic features according to national character, Specific functional characteristics of the product derived from the national character, Designing products based on the citizens` lifestyle as a national brand, Constructing the product using native materials and its special manufacturing method and finally, a national design thinking that is rooted in the various worldviews.In all the methods, achieving an essential identity and creating a national character in design has been done by relying on two factors: "specific element or phenomenon of design" and "historical durability" of that element.

Architecture in the Islamic era is like a museum of diverse lines and patterns in religious and non-religious monuments. The present study scrutinizes the patterns used in the Jame'a Mosque of Isfahan due to its historical value and diversity of patterns, especially in the Safavid era, since it is a proper place to re-read the Islamic-Iranian patterns. It seeks to answer how the symmetry in these patterns is compatible with graphic symmetry and what are the potentials of these patterns. The research methodology is descriptive-analytical and data is collected through photography and pattern drawing by the author which is eventually analyzed graphically. In doing so, all patterns used in this mosque, including geometric, arabesque, and Khatai (floral), are studied in the light of the fundamentals of visual arts (spots, lines, surface, symmetry, composition, and size), and the energy governing them. The present article endeavors to demonstrate that Jame’a Mosque of Isfahan’s patterns and motifs can be considered as a foundation for decorative arts in Iran’s contemporary graphics and can create a unified and coherent order in these works. These patterns, which are underpinned by Moslem artists observing the fundamentals of visual arts, have a logical criterion accompanied by their creator’s innovation and mental creativity. It is supposed that using these patterns, which are compatible with the present culture and situation, can exhibit a part of Iran’s culture and civilization and in turn, satisfy a part of today’s graphical demands.

Parviz Tanavoli is one of the most prominent Iranian sculptor artists and one of the founders of the Saqqakhaneh movement. He is the creator of many works of art inside and outside Iran, especially in the field of sculpture, which the study of these works reveals his preoccupation with traditional Iran. This study intends to provide an interdisciplinary reading of Parviz Tanavoli’s volumes with the psychological approach of Charles Mauron and to identify the hidden and unstudied layers of his works and, more importantly, to recognize his “personal myth”. His works, as a leading and creative artist, should have been criticized psychologically. Psychocritique is based on the knowledge of psychology and the basic principles of this knowledge and among the various streams of psychology, it is the most follower of Freudianism. Accordingly, it emphasizes on individual and personal unconscious pronouns. One of the most important figures of psychological criticism is Charles Mauron, who, as one of the founders of psychocritique criticism, identifies and introduces four stages for the study of art and literary works. The first step is to identify imaginary image networks: by collecting and studying all of the works of an artist, the formal networks of that artist are identified. At this stage, the critic seeks to identify the common elements of an artist’s works and extract their repetitive forms into research. The second step is to identify dramatic situations: networks of imaginary images lead the critic to some still images in the artist’s work. Images that manifest themselves in different forms and in different texts. The third step is to identify the author’s “personal myth”: by putting together these still images, the face of a large, hidden image that sometimes manifests itself is formed, which is the artist’s “personal myth.” In order to determine the personal mythology of each artist, one must refer to the mythology of the artist’s own culture, and from the set of myths in each artist’s culture, it is merely one of his personal mythology. The last step is to assess the authenticity of the “personal myth” with the study of the artist’s biography: Finally, to be more confident about the result of the criticism, the results obtained from the previous stages are matched with the artist’s biography. Mauron means more of his professional life than the artist’s life. My subscription chapter is social and I am creative and I am unaware that any artist in a professional life can be scouted, not in his personal life. With this approach in this paper, the question is, what effect does the artist’s mentality have on the dominant choice and content of his works? Is the artist directed towards his inner and unconscious consciousness with personal awareness? To answer these questions, the first part of the article first examines Charles Mauron’s psychometric approach and the four stages of his theory that lead to the discovery of the artist’s personal myth. In the second part of the article, using Mauron’s four steps, Tanavoli sculptures are reviewed step by step in order to achieve his personal myth. The present study is an interdisciplinary study and has used the “case study” method to analyze and understand the data. Case study is one of the most common qualitative research methods and has been conducted using documentary and library studies. Since the works of Tanavoli are very numerous and scattered in museums and public and private collections; Therefore, the authors’ priority has been to select works from books written by the artist himself. However, according to the theoretical framework of the research, all the works of the artist should be studied; But this was practically not possible due to the myriad and scattered statistical population of Tanavoli works. On the other hand, according to the second step of theoretical foundations, the critic seeks to find common metaphors of the artist’s works, so the authors have chosen repetitive themes and elements from among the diverse and numerous works of the artist; After collecting and filing the information, they organized the data to answer the research question. In addition to retrieving Tanavoli’s personal myth, this reading reveals the possibility of better understanding the works and the artist’s hidden view of the world around him and the unconscious pronoun affecting the creation of his works, an unconscious that indicates the artist’s belonging and inner searches to the indigenous and national roots, as well as the depth of the artist’s inner conversation with himself.

The Sovar al-kavakeb of Abd al-Rahman Sufi is one of the most significant Arabic treatises on astronomy of the Islamic era. Written in the middle of the fourth century AH, this work contains an extensive list of stars in a stellar table for 48 constellations12 constellations belong to the zodiac, 21 constellations belong to the northern forms and 15 constellations belong to the southern forms., which are inspired by Almagest of Ptolemy. Sovar al-kavakeb has had considerable influence on the history of astronomy and has been copied and illustrated by many scientists and enthusiasts in different eras. The aim of this article is to investigate the criteria for illustrating the Perseus constellation in Sovar-al-kavakeb. To achieve this goal, the form and the content of the Perseus constellation in previous resources have been studied and analyzed based on the comparative method. This study is an attempt to find the similarities and differences in the image of the Perseus constellation in accordance with the original text and to obtain the criteria of its form and content. The findings reveal that the scientific illustration of Perseus was according to the descriptions of Perseus constellation in Almagest as the main source and in terms of form and content, it was influenced by the images and descriptions of star Mars in the works earlier than Sovar al-kavakeb. The methodology of this research is descriptive-comparative, and the information about the mythological background and the effective patterns on the formation of images of Perseus constellation at different times and places has been gathered based on a case study. The correspondence between Perseus constellation and some myths in the East and West has been accomplished by analyzing the configuration and investigating the visual resemblance as well as differences of this constellation in various resources. Keywords: Abd al-Rahman Sufi, Sovar-al-kavakeb, the Perseus constellation, star Mars.

The present article is an attempt to comparatively study two different versions of Jāmiʿ al-tawārīkh (Compendium of chronicles). The Rampour Library version has been illustrated over three centuries. The illustrations of this version were embellished in the Timurid, Safavid royal courts. After that, they were transferred to India, and were merged and re-illustrated in the royal court of Mughal Emperor Akbar. The work was finally left unaccomplished in 1003 AH (1604 AD). Therefore, this version of the book contains illustrations from the school of Herat, the school of Tabriz and the Indo-Iranian school. Jāmiʿ al-tawārīkh (the Golestan Palace version) was written and illustrated during the Emperor Akbar period in 1004 AH (1605 AD). The author of the present article believes that the painters of the Mongol royal court were influenced by the interactive discourse dominant over the elements of power and consequently over the royal library and painting galleries, as well as the influence of religion on Akbar Shah's "Din-e Elahi" ) Divine Religion( as a greater cultural framework. This project led to invitation of artists with different perspectives from different parts of India and other countries such as Iran, whose contribution to the project is truly represented by the artwork under study. In other words, artists freely created artworks using the interactive discourse created within the context of "Din-e Elahi" propounded by Akbar Shah.According to Norman Fairclough, the fate of art texts is decided by discourses. In other words, discourse determines the type of text to be produced, the manner in which it is distributed, the manner in which it is consumed, and the extent to which it is consumed. Finally, a series of statements and ideas interact. Discourse can be personal or institutional, but when carried out within the society it falls within the category of institutional discourse. The interaction of various institutional discourses in society leads to the emergence of a discourse that is dominant over other discourses and is referred to as dominant discourse. The first step in the process of critical discourse analysis proposed by Fairclough deals with text description which is associated with the first act of the artwork. According to Fairclough, every work of art or literature covers three kinds of value: experiential values, relational values, recitative values. In more specific words, in an attempt to trace these three values ​​in an artwork, one can correspond them with styles, schools and theories, which refer to individuals, an institution of related individuals, and the society as a whole, respectively.The second stage of Fairclough's critical discourse analysis is referred to as discourse interpretation that is related to the second act of the artwork. According to Fairclough, discourse should, under ideal conditions, be distributed based on common sense or common-sense principles, but ideologies often break this rule. Fairclough believes that discourses can move either horizontally (diachronically), or vertically, (synchronically). Finally, the third stage of Fairclough's critical discourse analysis deals with the social explanation that is related to the third act of the artwork. In this study, Fairclough discourse analysis is used to figure out why a manuscript was reproduced (Jāmiʿ al-tawārīkh the KAkh-e Golestan version), while another version of the manuscript (Rampour version) had already been completed one year before. the results showed that Emperor Akbar could only show his connection with history by merging new illustrations into the primary illustrations of the historical narrative as part of an attempt to reproduce a new version of the artwork. By moving to the heart of history and by illustrating the course of history, he probably sought to create a kind of important genealogy for himself and consequently show his conscientiousness towards his Mongol ancestors. Moreover, taking into account the "Din-e Elahi " and Akbar Shah's unrestrained attitude, religions and ideas, and his unbiased attitude towards monarchy, it can be argued that painters were able to work with free will and create works as they wished. On the other hand, since illustrative sources, including Indian, Iranian, Turkmen, European sources were abundant, the creation of artworks with complete freedom in using personal styles was deemed to be much more appealing.After analyzing the visual and written texts, this article, succeeded in deciphering the hidden layers of the texts, and finally, using the relations within the text, situational, social and political context, he found that the interactive discourse of the royal painting institute derived from religion was made by Akbarshah. "It led to the invitation of artists with different perspectives, and this was reflected in their works.Thus, it seems that both reviewed versions gave Mughal artists a unique opportunity to artistically revive their patron role as the revivalist of interactive Islam and the herald of the millennium. Discussed, using old patches and adding roles in their contemporary style, Not through imitation but by emphasizing the characteristics from which they separate their work, they enter a historical lineage. In this version, the historical nature of the text and its drawings are particularly striking. A series of historical periods from a not so distant past, as the lineage and ancestors of the Mughals. It can be an explanation for using the old part in the drawings of Rampour version. In doing so, they emphasized the historical uniqueness of the appendages of the image, and in a way served to emphasize the contemporary or newness; of Mughal artistic term. This time writing and illustrating a complete version in a new representational way, that is, based on the new discourse that was created in the institution of the monarchy and in the nature of the institution of the painting. These stylistic elements and features have freed themselves from the distinctive features of Iranian painting to such an extent that it has become an independent style that affects various European, Indian, and Iranian-born schools. That is, it is the combination of different styles, including being influenced by European paintings, and achieving a style that, while almost freeing itself from the Iranian style and trying to be independent in style. Create a work of art together. In the Rampour version, of course, due to the single style of different periods, it cannot create the purity of the new style in all images. This, it seems, could be a reason to abandon the Rampur version and create another version of Jamiut- Tawarikh in the new "contemporary" style of Mughal. The product of this new creation, of course, was the version of Golestan Palace, which is completely pure in Mughal style, and opens with the desired arrangement and intended by the patron (Akbarshah) of the images. We find out how the artist can determine the fate of a work of art according to his position and the position of the supporting power. Thus, in the end, Akbar Shah succeeded in showing his selfishness towards his ancestors in showing power-oriented in illustrating historical narrations.

It is known that more than any cultural product, a work of art can represent how the world around us is organized and conceptualized by the human mind. Therefore, if we can read the artistic texts on the basis of a systematic way, we can better appreciate the ideas of the period in which the work of art has been created. Carpets are known as one of such texts; among these cultural products, Niche or Mihrabi rug is of particular importance. Niche or Mihrabi rug can be regarded as one of the handicrafts that has a religious aspect as well as beauty. As one of the characteristics of these rugs, we can refer to the use of the Quranic verses in them, motifs such as lotus, mica and khatai inside the altar; also, we can see these rugs have a regular and accurate geometric structure. The vast majority of the Niche rugs  made during the Safavid period begin with Amin Al-Rasool or the verse of Al-Kursi. However, in between there are a number of rugs that begin with the name of Solomon, part of the verse 30 of Surah An-Naml. Then part of verses 83 and 84 of Surah al-An'am is placed; also, the use is made of the verse of Noor in the third margin, in addition to the cypress tree and the lotus flower inside the altar. Since this accompaniment can be found in a large number of rugs, it seems, therefore, that these texts have been created   with a special order and purpose, giving the carpet a multi-faceted and multi-layered personality. Now the question arising is why this text has replaced other texts in certain periods of history? How can this replacement be explained? To find the answer, it is necessary to explore the meaning of these texts. This transition from the apparent representation of the rug to the exploration of the meaning underlying it is a process that can be studied according to an iconological way. After studying the rug in a descriptive-analytical method and collecting the necessary information according to the documents available in the libraries and the Internet sites, using the iconological method, a network of meanings is created; then, an interconnected chain of meanings in relation to the whole work could be developed.  Therefore, we can reveal the expression of the ritualistic-mythical thoughts with an Islamic meaning in these texts. Then, on the basis of the interconnected chain of meanings, it is possible to achieve the important thing that the designer-artist has created a work that could express the journey and behavior of the mystic. Therefore, the conclusions that can be drawn is that the presence of Solomon’s name on the margin and next to a part of Surah al-An'am and mythological themes and the form of the Mihrab, in addition to expressing the behavior and ultimately ascension, can imply the concept of kingship in its Iranian-Islamic meaning, thus legitimizing the rule of the Safavid kings.

The present article intends to read the logo of the University of Tehran - as a visual text - using Gerard Genette’s transtextual approach. In this approach, by following the relations between the texts, the meanings of the constituent of the text are explained and, as a result, its connotation meanings are revealed. Genette is from the second generation of intertextuality, whose theory is known as transtextuality. In this approach, the relationship between hypotext and hypertext is examined from different perspectives to explain the multiple meanings of the texts. Genette describes transtextuality as all that sets the text in a relationship whether obvious or concealed, with other texts. Transtextuality can be include a variety types of text relationships: Intertextuality, Paratextuality, Metatextuality, Architextuality and Hypertextuality. -Intertextuality is as a relationship of copresence between two texts or among several texts.- A tittle, a subtitle, intertitles, prefaces, postfaces, notices, forewords and etc. are paratext. - Metatextuality is the relationship most often labeled commentary. -By architextuality Genette means the entire set of general or transcendent categories types of discourse, modes of enunciation, literary geners from which emerges each singular text. - By Hypertextuality he means any relationship uniting a text B (hypertext) to an earlier text A (hypotext) upon which it is grafted in a manner that is not that of commentary.In addition to, Genette calls the reduction or expansion relation between hypotext and hypertext as quantitative transformation which can be done in two ways: reduction of hypotext or expansion of it. Both of them is done by three ways: Reduction: Excision, Concision and Digest Expansion: Extension, Expansion and Amplification In return, pragmatic transformation deal with meaning changes between hypotext and hypertext. This function is done in three ways too: Transvaluation, Transmotivation and Transmodalization. In order to read the logo of the University of Tehran, it was examined in four stages: - Terms of intertextual studies: in this stage, the terms of study body were examined to be suitable for intertextual study. - Analysis: in this stage, the study body was analyzed into its constituent. - Intertextual relations: in this stage, the intertextual relations of constituent were described. - meaning significations: in this stage, the significations of component were explained. In this article, after explaining the transtextuality of Genette, the logo of the University of Tehran was analyzed and then read based on transtextuality. In reading this visual text, by explaining the intertextual relations of the constituent elements of the logo, its significations and connotations were explained. The general method of this article is fundamental in terms of purpose and descriptive-analytical in terms of method, and its data are gathered via library method. The results of the article indicate that the logo of the University of Tehran is an intersign text in which a combination of the symbols of the two pre-Islamic and Islamic periods can be seen; from the other hand, the pursuit of intertextual relations in this logo shows the implications of this logo on completeness and intellectual perfection, victory and thoughtful awareness, dynamism and mobility.

The purpose of this study is to examine the structure of the library and other cultural institutions, how they are managed and the selection and use of human resources in the Ilkhanid period.

In this study, artistic management theory is used to evaluate inductively, using Ilkhan's practices, management and planning, and their success in transforming ideas into action or defining values and goals to the stage of implementation of library outputs (works). To be consolidated. The sources of this library research and images are from digital sources in museums.

The importance and value of preserving ancestral information among the Mongols led to the writing of books on Mongol history as well as an increase in historiography during this period. The Mongols, by gaining military and political power and conquering vast territories, not only needed to run the country but also had to build cultural infrastructure. Art and writing were two essential elements for introducing, propagating, justifying and bringing cultures together by combining them. The purpose of the Ilkhanid is clearly stated in the Ghazan reforms and Oljaito's words about combining the law and policy of Genghis with Islamic laws. It is considered to be the most important duties and deeds of the Mongol and Ilkhanid rulers. The design and painting of patterns in this period began and expanded in relation to architectural decorations. Then, from the Ghazan period onwards, the same colors, patterns and ritual values ​​manifested in the art of architecture were transferred to the art of book decoration. The subjects of the paintings are inspired by the subjects of books written, translated and compiled by the Ilkhanid. Paintings are intersexual works and are the same subjects that the Ilkhanid were interested in or wanted to visualize in order to become familiar with religious subjects. The predominance of dark blue, light blue and gold colors in gilding is precisely related to the colors mentioned in the description of the values ​​of the Ilkhanate religion. Attention to geometric patterns and support of geometric sciences, which led to an increase in patterns in this period. Geometric patterns expressing the sun and Khaqan in a symbolic pattern can be found not only in gilding but in all works of this period. These motifs have found Islamic meanings after Ilkhan became a Muslim. To implement the cultural composition strategy, they likely selected and employed artists and writers tailored to the organization's goals. This first affects the transfer and implementation of values ​​and also facilitates the institutionalization of values.

The results show that speech values are compiled. Topics such as astronomy, geometry, wisdom, medicine and history were supported. Religious values were used in architectural decoration, then combined in Islamic design and painting.

The administrational body of Iranian governments affected the Architecture in various ways. We do not know much about the details of this relationship. But one of the channels of this relationship was the concept of Kharādj, the land tax, and its regulations. Kharadj was depended on the income of the property and the income of the property depended on the balance between prosperity and destruction. Basically they did not collect Kharadj from the ruins at all. The implementation of this simple law had technical and preliminary requirements. They should have had statistics on the country's properties in which the prosperous and ruinous part of each settlement was dealt with separately. But in Iran, the situation of properties was changing over time and the factors of destruction were constantly in place. The settlements were destroyed and the ruins were settled over and over again. Consecutive surveys and a broad surveying office were necessary with many learned surveyors. Some people showed their property in ruins to escape the tax. Hence, the recognition of prosperous and ruinous was one of the key issues of the Divān-e Kharādj. The government should train experts to identify and measure the ruins and update the accounts. In addition, the government exempted newly farmed lands in order to encourage the people to farm the barren lands. These exemptions had precise rules and special implications. Rewriting the tax books and considering barrens and ruined in the accounts were among the most important reforms of the governments. The accounts of these reforms are found in Iranian history and even in Iranian myths. But In times of hardship, Kharādj itself could be the cause of destruction, and the demand for taxes from barren lands drove people out of settlements. The relationship between kharādj and destruction and the direct impact it had on people's everyday life has caused this duality to find a lasting place in Iranian culture and mind. This duality found its way into the works of the speakers of Iranian culture; as they say "Kharādj on the ruins" like a proverb and used it to convey lyrical and mystical concepts. In this article, relying on the Persian texts from tenth to fourteenth centuries, we will explore different aspects of the relationship between Kharādj and ruins and its technical requirements. The insights obtained from these texts will be used in understanding the legal system of architecture in medieval Islamic Iran; an area that has been more or less neglected so far

Gemology is one of the first sciences about which ancient scholars and scientists of Iran and the Islamic world have written treatises. The economic, administrative and documentary aspects of gems in Islamic governments and before them show the importance of this part of science in different periods. The main part of Jawāher-namās (books of gems) has always been dedicated to methods of identifying and valuing gems. But in the meanwhile, the subjects of civilization, medical sciences, hadith sciences and technical aspects of stone engraving and polishing have also been considered. In Jawāher-namās, the methods of cutting and polishing each type of gems has been specifically described. Such descriptions are sometimes accompanied with specialized or forgotten words. Therefore, understanding and discovering the knowledge of our predecessors in this regard has been remained ambiguous and in some cases, the exact meaning of the authors would not be understood. These include a variety of engraving and polishing wheels (instruments). In most gems the types of wheels used have been referred to; however there is no mention of the general structure of them, i.e. the devices used. Therefore, the main question of the present research would be as follows: What characteristics do the engraving wheels mentioned in Persian Jawaher-namas have in terms of meaning, appearance, structure and function? Looking for sources other than books on gems, and reviewing the remained examples and pictures used to describe this work in the 9th and 10th centuries AH/AD 15th and 16th centuries, an attempt has been made to give an overview of the construction of such devices and the function of each. Examining some images and tools left from the Qajar period in Iran, India and Europe, the results demonstrate that these wheels were based on relatively similar structures at that time. However, there are three types of lapidary wheels that require three different types of machines. In this article, besides having a review of such devices, other technical features and the history of each has been considered as well. These features show that each lapidary wheel applied a certain device with different function, depending on their operation. This matter proved to be decisive in the diverse production of gem stones.