جستجوی مقالات مرتبط با کلیدواژه "motif" در نشریات گروه "علوم اجتماعی"

The roots of many literary stories can be found in historical narratives. In this research, we focus on four historical and literary narratives that have a special type of deception as their motif. At first, we give a summary of each of these four narratives (descriptive level) and then we explain their commonalities and differences (analytical level). The first narrative is about a Persian man named Zopyrus, who helped Darius the Great to conquer Babylon. The second narrative tells the story of a man from the companions of the ruler of the Hephthalites, who led to the defeat of the Sassanid army by gaining the trust of Peroz I. The third narrative depicts the conflict between crows and owls which ends in favor of the first group with the cleverness and cunning of a crow. The fourth narrative is the story of a Jewish king who, with the trick of his minister, causes internal conflict and mass killing of Christians. In all these narratives, gaining the enemy’s trust by harming oneself is used as a motif, but the method of processing this motif is different in the aforementioned stories. This research, according to its topic and method, is conducted as library research. The findings of this research show that the main plot is the same in these four narratives, but their processing is different. In addition, the historical narrative of Zopyrus can be considered an ancient source for three other narratives; a source that has been neglected until now.

The talisman is a part of foreign sciences with religious roots in Islamic civilization. Hence, in most of the spell motifs, verses of the Qur'an, names or attributes of God are included. One of the essential uses of spells is clothing and jewelry. Unique clothing and jewelry have been the most critical human practical items from the past until now and have a protective function and reflect each person's religious thought. This subject has a special place in the Kurdish cultural geography of Khorasan. Accordingly, this study seeks to answer what types of spell patterns are present in clothing and jewelry of the Kurdish tribes of northeastern Khorasan Razavi (Kalat, Lain, and Zavin villages)? This research is descriptive-analytical. The collection method is library and field observations, and the analysis method is qualitative. This study studied nine cases of spell motifs of Kalat, Lain, and Zavin villages. This study shows that we can classify motifs into three categories: geometric, animal, and cosmic talismans. Also, this paper shows that the motifs are based on the imaginations and sciences of strangers arising from the beliefs of these tribes, which have the symbolic meaning of the same culture.

Associated with Sistan and Baluchestan Province in Iran, specifically Sarhad and Makran, Baluchi needlework is a prominent form of traditional arts. The purpose of this study was to classify original and frequent motifs found in Baluchi-Duzi (Baluchi embroidery) to discover their symbolic meanings. The central question was how could the motifs in Baluchi needlework be analyzed and thematically classified according to the Iranian traditional arts model. In this descriptive-analytical study, probability sampling was utilized to select Baluchi needlework motifs through field research (observation- and interview-based) and library research (indexing and image analysis). The data were analyzed by thematic classification derived from the Iranian traditional arts model. Examination of forty-four motifs demonstrated that Baluchi needlework motifs are geometrical in the main that can be classified into signify human, animal, plant and object (such as jewelry, everyday items, and places) shapes and components. These represent the realities of the Baluchis’ life and beliefs.

In archaeology rock art is human-made markings placed on natural surfaces, typically vertical stone surfaces. A high proportion of surviving historic and prehistoric rock art is found in caves or partly enclosed rock shelters; this type also may be called cave art or parietal art. A global phenomenon, rock art is found in many culturally diverse regions of the world. In Iran, evidence of rock art can be seen in most mountainous areas where nomadic or herding life takes place. The collection of ancient lithographs of Kalsir, Sir Khordoo and Mohadava are located in the northeastern region of Iran, in the city of Torqabeh Shandiz. In this area, there are a large number of petroglyphs with various subjects, and the study of these works, considering their antiquity, can reveal the dark aspects of the life of the inhabitants of this area. Since these motifs are related to livelihood, studying these motifs can reconstruct aspects of the life of the primitive inhabitants of this region. This field has a valuable rock art that has been related to each other due to the similarity of the designs. In this study, the study of rock motifs of "Shandiz Torqabeh Collection" has been done with the aim of identifying and addressing the causes and reasons for drawing rock motifs and the content analysis and matching method has been used. The data of this research have been collected from the field survey method and library studies. The results of this study indicate that the motifs are in three groups: human, animal and symbolic.

The comparative study of chlorite works' motifs of Halilroud basin and art works of Mesopotamia clarifies the fact that the images engraved on the surface of these stone works are regarded as a bridge between the ancient Iranian art and civilization and the art of neighboring civilizations, signifying the cultural relationship of these regions. Historical and literary documents of Mesopotamia in the Sumerian and Akkadian periods indicate the broad commercial, political, and cultural relationships between the rules of Mesopotamia and the geographical area of southeastern Iran. On the other hand, the form and content similarities of the epic of Gilgamesh with motifs of Halilroud basin indicate the existence of a myth similar to Gilgamesh in this cultural area. The investigation and analysis of the mythological components common between these motifs and the epic of Gilgamesh reveals similar beliefs in the mentioned geographical areas. By providing a brief description of the epic of Gilgamesh in this research, the relationship between the motifs of Jiroft civilization and the narrative fiction of this epic is investigated. The semantic analysis of motifs are also carried out using comparative symbolism.

A type of needlework known as Zoroastrian embroidery (Zartoshti-douzi) was common as decorative art in ancient Iran. The art of ornamenting womenchr('39')s clothing with patterns arranged in a coherent visual and aesthetic way prompts following question: Which visual and semantic structures were allowed to be sewn as Zoroastrian embroidery motifs onto womenchr('39')s dresses? The inquiry is particularly highlighted since they were seen as the most striking cultural symbols in the ethnic garment of the time, bearing the grave responsibility of preservation and continuation of Zoroastrian womenchr('39')s identity throughout the historical period of Islamic Iran. Accordingly, the present study attempts to conduct a formal and thematic analysis and decode these motifs. Such studies can provide a deeper insight into the dominant artistic sphere, and the resulting knowledge will serve a reliable reference for understanding other Iranian ornamental needlework in garment design. Data analysis shows that motifs were taken from natural, floral, and animal elements, which, in ancient Iranian culture and belief, carried symbolic values and meanings as eternity and immortality, recreation, thriving and growth, enlightenment, exuberance and dynamism, wisdom, blessings, and fertility. These concepts were regarded as realizations of womenchr('39')s wishes, desires, and ideal aspirations, and were sewn onto pieces of clothing one way or another in accordance with their extent of sacredness. Visually speaking, they were used in a variety of forms from realistic to abstract, and manifested colorful imagery using different sewing styles and silk threads.

Nomadic woven is an expression of the visual art of the tribes and tribes in which, weaver While considering the purpose and application of the weave, particular attention is paid to the aesthetic dimension (motif and color) as well as the ritual and symbolic aspects of the textural process. in the meantime, blanket or cover of horse are one of the different types of nomadic woven fabrics that provide a space for motif-playing. and artistic creation is a work of art by a weaver. qashqai weavers are one of the most beloved tribal and tribal artists of iran in the past, using imagination, their taste was able to create similar gems to valuable artworks in the field of tribal art. while it is a showcase of peacock art, these are examples today although limited, they are housed in world-renowned private museums and collections. in this article, the motif of peacock in aesthetic perspective will be introduced, analyzed and described. the results show that the qashqai of cover of horse Are woven often with weaving Souzani of techniques and Ghalibori(Torkaman naghsh). Also the peacock of motif in a variety ofGhalibori(Torkaman naghsh). Also the peacock of motif in a variety oAlso ariety

By understanding human activities in his ecosystem, we can recognize material cultures. It is important to see how thoughts, aspirations and imaginations emerge as cultural materials which are considered as products of crafts and artistic skills. So, nomadic and tribal handwoven products of Iran, especially killims, reflect beliefs, emotions, desires and also ecosystems of people who weave them. There is a wonderful interaction and connection between culture and ecosystem of nomads. The aim of this paper is recognition of nomadic handwoven objects in four main regions of Iran based on technical components (spinning, dyeing, weave techniques) aesthetics (design, coloring), materials, the cultural and social structures, and human resource of production (weaver artists). The case studies of the research are the killims of Bakhtiari, Qashqaei, Shahsavan and Kormanj tribes. The reason of choosing these killims is their significance in nomadic handwoven objects (due to their diversity, motifs and laborious nature) and also their common motifs. The paper is written based on a fundamental research which was conducted by a descriptive-analytical methodology; data collection was done both in field and by reviewing documents.

The Study of seals and seal impressions can make clear the dark corners of the social history of the Seleucid and Parthian. On the other hand, the analysis of personal and social position of individuals or groups for understanding the complicated relationship between human with others people or groups, also for the understanding of interactional relationships has gained special attention in historical researches. Among above mentioned topics, the position of women has attracted particular attention. In this paper 53 seal and seal-impressions of women with different designs from different parts of the Seleucid and Parthian lands are explained and analyzed. Pictures of women on the seals differ in style and motif that include images of Greek women doing various chores and social activities, of which the Greek goddesses comprise more seals impressions in this period. Samples from study centers such as Arook, Tel Kadesh, Seleucian karan Dejle, Nesa, Shoosh and Saleh Davood of Khuzestan were obtained. This article analyzes the designs, also the role and activity of women in administrative, political and social structures of Seleucid and Parthian. The most famous motifs of seals and seal-impressions include Aphrodite, Tike and Athena goddesses. It should also be noted that using women in designs were more common in the Seleucid era where as in Parthian periods other than three seals, rarely the image of women were used.