مقالات رزومه لاله آهنی

Artistic traditions are generally transformed following temporal and spatial changes. The artworks reflect cultural and social events. In many cases, a change in the political system in a country can change artistic tendencies. War carpets have been woven since the early 1980 s at the same as many wars in Afghanistan. The innovation that happened in these carpets is mainly related to their design. In the design of these carpets, war tools such as Kalashnikovs, tanks, helicopters, bombs etc. have been used. In this research, a sample of these carpets has been examined, in which the tree of life design is also used in addition to these motifs related to war. The purpose of this research is to investigate the reasons for the appearance of motif of the tree of life in the Afghan war carpets. Therefor this motif among the tribes which wearing carpet in Afghanistan. The main question of research is that the war carpet with the content and theme of war and full of war elements that representing the atmosphere of war, for which reasons the tree of life used newt to these elements? This research method is descriptive- analytical and library gathering method. Consequences show that, the most important subject investigated in this carpet is the motif of a tree in its center. If we interpret this tree as the tree of life, the Afghan carpet weaver has used this pattern in the war carpet as a symbol of life and vitality, in a time that they are struggling with war and death. Life again is a topic that occupied the mind of weaver more than all other concepts during the war.

This article examines violence against art. Nowadays in many cases, the artwork is used as a commodity without considering its artistic value. Ignoring the value of the artwork in anyway constitutes violence against art and over time, causes the artwork to disappear and become a commodity. The main purpose of this study is to study examples of violence against art and its consequences; In this research, we are trying to introduce a new category in the field of art by raising this issue; violence against art means that art is not for art, the discussion of violence against art can be a new topic in relation to art. In violence against art, the discussion of the commodification and instrumental use of art or the dominance of the material dimension of art over its spiritual dimension can be identified. In this article, violence against art in the field of pictorial carpets is studied in a specialized way and resulting damages in the field of pictorial carpets are examined. The results of research show that coordinating pictorial carpets with other home appliances and having a capital view on it and its commodification are examples of violence against art. The main discussion in these results is the discussion of significant developments in the field of pictorial carpets consumption. Over time, the artistic dimension in the field of pictorial carpets has diminished and the precedence of commodification over the cultural aspects of pictorial carpets can be seen. This article examines violence against art. Nowadays in many cases, the artwork is used as a commodity without considering its artistic value. Ignoring the value of the artwork in anyway constitutes violence against art and over time, causes the artwork to disappear and become a commodity. The main purpose of this study is to study examples of violence against art and its consequences; In this research, we are trying to introduce a new category in the field of art by raising this issue; violence against art means that art is not for art, the discussion of violence against art can be a new topic in relation to art. In violence against art, the discussion of the commodification and instrumental use of art or the dominance of the material dimension of art over its spiritual dimension can be identified. In this article, violence against art in the field of pictorial carpets is studied in a specialized way and resulting damages in the field of pictorial carpets are examined. The results of research show that coordinating pictorial carpets with other home appliances and having a capital view on it and its commodification are examples of violence against art. The main discussion in these results is the discussion of significant developments in the field of pictorial carpets consumption. Over time, the artistic dimension in the field of pictorial carpets has diminished and the precedence of commodification over the cultural aspects of pictorial carpets can be seen. . The results of research show that coordinating pictorial carpets with other home appliances and having a capital view on it and its commodification are examples of violence against art. The main discussion in these results is the discussion of significant developments in the field of pictorial carpets consumption. Over time, the artistic dimension in the field of pictorial carpets has diminished and the precedence of commodification over the cultural aspects of pictorial carpets can be seen.

Carpets in Iran have always had a function beyond a mere hand-woven carpet. Examining the designs and motifs of this valuable Iranian handicraft, we can say that the designs and structures have some kind of roots in the culture of this land. The carpet can also be called the cultural identity of Iran. Qajar carpets are one of the richest artistic treasures of Iran. One of the most interesting functions of Iranian carpets in the Qajar period is to use it as a medium to express the image of people and princes. During this period, kings in various arts have taken great political advantage to show their authority and domination to the Iranian people. In this research, we seek to examine the symbols and signs that directly or indirectly show the concept of power in the carpet. In line with this, in this study, four pictorial carpets from the Qajar era were investigated using a descriptive-analytical method. This investigation was conducted using a descriptive-analytical method, and the data were collected through library research and close observation. The results indicate that the carpet was considered and used by the Qajar kings as a new medium to convey the concept of power. It can be said that pictorial carpets have been one of the preferred visual methods to convey the political goals of the Qajar kings. Since there is a close relationship between art and politics in this period, kings wanted to maintain power and gain legitimacy in society, using images of kings in the carpets or in other pictorial symbols such as a bird in the hands of the king, or a crown and an umbrella and feathers or the motif of Bothe as visual symbols to convey the concepts of power.

Tekyeh Moaven al-molk is a historic Tekyeh located in Kermanshah city of Iran. It was built during Qajar era as a Shia mourning space. It was registered as National monument of Iran in 1975. It is well known for its exclusive tiling, picturing Islamic era events as well as Iranian kings. In this research, one of the tiles of the mentioned architectural heritage entitled “Majles Dervishan” related to the 14th century AH, has been studied. This tile depicts a scene related to Dervishes and their symbolic tools, ancient sports equipment and shoemaking tools in a space similar to a Zurkhaneh. Thus, apparently not so related elements are gathered in this picture. The purpose of this study is to interpret the semantics of drawn elements, discover their relationship and the reasons for performing this painting. The research method is descriptive- analytical and the date is collected through library studies. The results of this research show that the profession of shoemaking is one of the guilds considered by Ajam sect. The ritual of chivalry has long been associated with Sufism, meaning that the behavior of ancient athletes has always been based on the principles of the Fotovat customs. For this reason, the painting of Majles Dervishan is depicted the Zurkhaneh space, which is very similar to the Sufi prayers and is related to Sufism.

Among the genres, stories because of imagination, poetic descriptions and also due to their content always motivate imagination and the sense of beauty of artists. Artists with the study, diagnosis and assessment of artistic capacity and capability of content of this works adopted from them. The story of sheikh like whole of poem is full of symbolic aspects. In this survey with the descriptive- analytical method we compare the samples in various field of art. This survey in addition to introduce the visual examples of this story, is trying to answer the following questions: which scene of the story is used in creation of art works? To what extent is illustration consistent with the literary text? And to what extent is committed to literary text in representation of the story and its content? And to what extent did they have creativity? Results show that artists, due to their imager mind and due to the content of the story and with the aim of induction of message, the top scene of story are the most used. And also they used visualization features of their era in reinvented visual.