جستجوی مقالات مرتبط با کلیدواژه "نقوش" در نشریات گروه "هنر و معماری"

This article examines and compares the motifs used in the textiles of the Timurid period (14th to 16th century AD) and the Safavid period (16th to 18th century AD). Its purpose is to reveal the differences and similarities of these motifs and explain their reflection on the developments. The cultural and artistic aspects of these two periods are indicators of the history of Islamic art. The present research has been carried out by using the descriptive-analytical method and gathering information from library and documentary sources. In this regard, the motifs in the textiles of both periods, including carpets, rugs, and clothes, have been carefully examined and compared. In this article, we are looking for an answer to this question, what are the differences and similarities in the motifs of the exquisite textiles of the Timurid and Safavid periods? The results of the research show that, despite the general similarities in some basic elements and concepts, the motifs of Timurid and Safavid textiles show significant differences in terms of elegance, complexity, variety, and semantic load. In the Timurid period, Khatai geometric motifs were used with a special elegance and were a symbol of growth, life, and divine order. On the contrary, in the Safavid period, we witness the predominance of Islamic motifs with more elegance and complexity, which were considered a symbol of divine unity, perfection, and absolute beauty. These developments in motifs are a reflection of the intellectual, religious, and political transformations in these two periods, as well as the tendencies and artistic tastes of the rulers and people of that time.

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.

Buttons, like common coins of any era, contain various data whose study is important from different perspectives. With the arrival of military forces and advisers of western countries to Iran, the shape and form of the clothes of employees of Iranian institutions changed from the Qajar period onwards. Among these changes, which were considered as a kind of identification for the employees of an institution, were the ornamented buttons that adorned the clothes of the employees of each organization. From this point of view, the examination of the buttons of the clothing of the employees and the Khadims of Astan Quds Razavi based on the examples found in the "Saberi Collection" can introduce us to the course of their change and evolution. Due to the fact that no article or book has been written about Iranian buttons and the author has all kinds of samples available in his collection, therefore, he has researched about their procurement, construction place and composition, shape and alloy, quality, and variety in a descriptive-comparative-analytical method.

Pateh is a type of needlework in Kerman city. This art is a manifestation of the religious and cultural beliefs of the people of this region while preserving its artistic and symbolic values. With their skills, female artists of Kermani make the shawl a stage for manifesting their needs, ideals, pains, and desires, which are rooted in their beliefs. Baluchi embroidery is one of the oldest arts with a long history in different nations. For example, among the Baloch people in Iran, this art has been used beautifully in different ways; in addition to the various techniques, they have used other motifs in its design. These plans and roles have deep roots in their culture and way of life. Based on the hypothesis that motifs in the art of Baluchi embroidery are formed based on the culture and climate of the region’s people, this research studies and examines those motifs with a symbological approach and tries to find a meaningful relationship between the motifs. This research has analyzed and discovered their concepts by referring to the culture, beliefs, and shared beliefs of the people of Kerman and Baluchistan. Collecting the materials and data used by the library was done with a descriptive and analytical approach. Finally, the research findings show that most characters are derived from imaginations and imaginations; the characters and images are popular and usually do not have specific names.

Geometric patterns are one of the most prominent aspects of Islamic Art. The geometry of Islamic patterns with its secrets and mysteries has always been discussed and thought by many philosophers and experts who have expressed their views on how to create the geometry of patterns and discover the mysteries hidden in these works. Thinkers and experts in art have chosen different methods and approaches in examining the existence of geometric patterns and from their point of view have given a reason for the existence of these geometric patterns, for instance scholars such as Oleg Grabar, Richard Ettinghausen and Gulru Necipoglu consider Islamic geometric patterns a decoration. What have been mentioned so far about geometric patterns are the studies that the authors have looked at with a historical and theoretical approach. But this research, with a completely different perspective, has constructed a bridge between Islamic art and science, and talks about the existence of the geometry of Islamic patterns with a scientific approach. One of the important concerns of researchers and artists is to decipher the works of art to understand the artwork and the reason it exists. This research, by presenting a different idea from what has been expressed so far in the history of Islamic art, tries to reveal a higher object and a view beyond the common definitions of the Islamic geometric patterns. This research seeks to discover a relationship between the geometry of Islamic patterns with other sciences especially chemistry and believes that a bridge can be established between these two to find out what the Islamic geometric patterns are. In order to achieve this theory, we make adaption between Islamic geometric patterns and structure of chemical formulas.The purpose of this article is to achieve a more complete knowledge of geometric patterns in Islamic art with a scientific approach; an approach that has not been addressed so far and requires a lot of research in this area. Therefore, the main questions of the research are: 1- Does the structure of chemical elements, materials and formulas correspond to geometric patterns? 2- What is the degree of conformity of geometric patterns with the structure of materials and chemical formulas?The research method is descriptive-comparative and its inference is based on analogy. The method of analyzing qualitative information and collecting data is from library data. Since the author has spent part of his artistic activities learning, drawing and practicing, teaching and researching in the field of geometry of Islamic patterns, by watching the structure of chemical formulas understood that there is a similarity between these two field. He immediately started researching and looking through the encyclopedias and reference books of chemistry, he searched for the forms of chemical formulas that are formed like geometric designs and patterns as documented in the archive of reference books. There are some important reference books about the geometry of Islamic patterns such as Gereh-Chini at Islamic architecture and handicrafs, Hossein Zomrashidi (1986) and the five-volume collections of Iranian Tiling, Mahmoud MaheroNaghsh (1982). Then, the executed examples had been classified into tables to lead to a better adaption; the first column of which shows the costruction of chemical formulas. The secend column is for islamic geometric patterns which is followed by a picture of geometric pattern in the architectural space of Iranian architecture.The necessity and importance of this research is based on the fact that since so far, all theoretical discussions about the geometry of Islamic patterns have been raised by Western and non-Muslim scholars and philosophers, the truth about the importance and decipherment of secrets in geometric Islamic patterns are not well pursued. Therefore, it is necessary for a Muslim artist to present a different theory in this regard.In response to the research questions, we conclude that the geometry of Islamic patterns is directly related to chemistry. 65 comparative samples in the form of 6 tables were presented in this research. First, those chemical bonds that were structurally simple and unmanipulated were adapted to the geometry of Islamic patterns. In the following tables, more complex and diverse chemical bonds and those images that showed chemical bonds under a microscope were mentioned and adapted to geometric designs and patterns. In the last table, the evolved samples of chemical bonds were presented under the title of dendrimers, which corresponded to the types of Shamsa under the arches and domes. In all samples, one hundred percent correspondence between the geometry of Islamic patterns and the chemical structure of the materials was evident. This adaptation can be seen either in the structure of unmanipulated or advanced chemical bonds with Islamic geometric patterns and designs. The degree of conformity in the samples presented in this research was one hundred percent and the theory of matching between the geometry of Islamic patterns and the structure of chemical bonds was complete and established.

One of the important factors in the beauty of Iranian architecture works in many historical periods is their decorations and designs. Meanwhile, Afifabad mansion in Shiraz is one of the valuable works of Iranian Islamic architecture in the Qajar period, in terms of decorations and especially paintings. For this reason, studying the designs of this building can lead to the recognition of cultural identity and the effective contexts in their formation. The purpose of this research is to know how the art and architecture of different periods of history affect the designs of this building. In this research, descriptive-analytical method has been used and data collection has been done in the form of libraries and documents and also the field method. The results indicate that the designs mansion, which are mostly ceiling paintings and in some parts of the building are plaster and tile reliefs, taken from ancient Iranian designs Achaemenid-Sassanid reliefs and post-period designs is from Islam and most The motifs of Western and European designs are taken from postcard architecture. because Iranian art during the Qajar period, due to the connection of this period with the West, the arrival of European countries goods and products to Iran and the presence of many artists in this period to Europe caused the spread of Western art and culture in Qajar architecture.

Afsharid and Zand arts have long been neglected as the artistic achievements of the Safavids and the Qajar in Iran have been under the spotlight. As the currency for business transactions among nations, coins can be studied from a cultural and artistic perspective in addition to their economic dimension. As the time passes, coins, banknotes, and other tools for transactions have gained a function beyond their initial purpose and as documents, they contain valuable information. Preliminary studies showed the difference in the shape and content of legends, framing and patterns of coins minted during the reigns of Nader Shah Afshar and Karim Khan Zand in Iran. Accordingly, this comparative study aimed to examine the inscription, framing and patterns of coins minted during the Afsharid and Zand periods and analyze the roots of their differences. The central question was raised as follows: What were the influential elements in the formation of the legends on coins during the reigns of Nader Shah Afshar and Karim Khan Zand? In this regard, the main purpose of the study was understanding the similarities and differences of the coins in their inscriptions, framing and patterns. There is a lacuna of research on the works remaining from some historical eras although they are temporally closer to the contemporary era. As artistic texts, coins can be read within different discourses. There is an evident change in the legends, framing and patterns of coins minted during Afsharid and Zand periods in Iran. In addition to providing a social study through analysis of coins, the significance of this study lies in expanding the specialized knowledge in the neglected artistic fields of 17th century AD/12th century AH in Iran. Therefore, the analysis of legends, framing and patterns during the Naderi and Zand eras can fill this research gap. It seems that various socio-cultural aspects of the Afsharid and Zand eras were reflected in the various dimensions of the coins minted by the shahs at the time.This qualitative descriptive-analytical study was conducted through library research and observing the coins remaining from the reigns of Nader Shah Afshar and Karim Khan Zand. The writing system (legends) and the visual system (framing and patterns) were examined and the coins were studied comparatively to find the similarities and differences of the samples. The data were collected through library research and the studied samples were selected through convenience sampling. Through non-probability sampling and according to the components of the study (legends, framing, and patterns), a total of 10 coins were selected from the coins minted in Isfahan, Shiraz, Tabriz, Mazandaran, and Qazvin, Iran. The collected index cards were reliable instruments for this study.The comparative study of the legends on the coins minted during the reigns of Nader Shah Afshar and Karim Khan Zand indicated considerable differences in the writing systems of the eras. Given Iran-India relations during the reign of Nader Shah Afshar and his military campaign reaching to the border of India, Iran’s art was influenced by Indian art and culture at that time. However, Karim Khan Zand was much more influenced by ancient Persian arts, Safavid art and even the actions of temporary rulers before him in the field of coinage than the artistic and cultural models of the Naderi era.  It seems that Nader Shah Afshar and Karim Khan Zand saw coins as tools to propagate religious rites and political beliefs. It is interesting to note the variety and development of rites in Naderi coins during his twelve-year reign. Only in the limited studied coins in five mints of Isfahan, Shiraz, Tabriz, Qazvin and Mazandaran during the Naderi era, the legends were selected variously as in the following.“Sekkeh bar zar kard nām-e saltanat-rā dar jahan/Nader-e Iran zamin o Khosrow-e giti-setan” [The Nader of the land of Iran, the sultan who seizes the world, coin in precious metal broadcast the name of this sultanate throughout the world].“Hast soltan bar salatin-e jahan / Shah-e shahan, Nader-e sahibqiran” [He is the ruler over all the rulers of the world/Nader, the king of the kings, the owner of the Qiran].“Az Khorasan sekkeh bar zar shod be toufiq-e khoda/Nosrat emdad-e shah-e din Ali-Musa Reza” [The coin was struck in Khorasan with blessing of God/With help from the king of religion Ali ibn Musa al-Reza (al-Rida)].On the contrary, only a single legend was inscribed on the similar coins during the reign of Karim Khan Zand: “Shod aftab o mah zar o sim dar jahan/az sekke-ye emam bar haqq saheb zaman” [Of the coin of Imam Zaman /Sun and the moon became gold and silver]. Selection of such a legend on Karim Khan coins is rooted in his policy. Karim Khan outwardly kept his links with Ismail III, the last of the Safavids, and the ulema. To gain the political legitimacy he needed to continue his rule, he assumed the title “Wakil-al Raʿāyā” [deputy of the people] and minted coins with the name of the twelfth Shia Imam, Muhammad al-Mahdi (Ṣāhib az-Zamān). In this way, he received the support of the clerics and the ulema to gain legitimacy. Karim Khan tried to continue the discourse of Mahdism propounded during Safavid era. His selected legend on the coins led them to be known as “Ṣāhib az-Zamān” coins. Adherence to this legend could indicate the universality and rootedness of the belief and discourse of Mahdism during the Zand era. Such an approach may have been for the revival of Mahdism, which is one of the initial principles in the formation of the Safavid government, or the need for the support of a savior after the hardships and sufferings the Iranian society went through following the fall of the Safavids. Although these causes may seem correct, lack of social, religious, and political base of the Zands within the Iranian society and Karim Khan’s attempt to gain the trust of the ulema and clerics account for him using the “Ṣāhib az-Zamān” legends on coins.The comparative study of the writing system of coins during the reigns of Nader Shah and Karim Khan showed that the legends had more variety during the Afsharid peiod. The forming principle of inscriptions on Naderi coins were representing Iranianism, displaying power, and endeavoring to eliminate Shia conflicts. However, Karim Khan sought to continue the tradition of legend selection similar to the past rulers, particularly the Safavids.The framing as the overall structure and form of Afsharid coins minted in five mints under study can be categorized into three groups including “pearl-shaped”, ‘simple circle”, and “Tughra”. On the other hand, the framing had more variety in the coins of Karim Khan’s era for which seven types were identified: “Stigma-shaped”, “pearl-shaped”, “simple pomegranate flower”, “four-armed”, “crescent-shaped pomegranate flower”, “citron-shaped with stigma”, and “epigraphic”.The patterns of the coins from both periods were pretty much similar and had no substantial difference. However, the decorations and patterning of Karim Khan coins were greater in number compared with Naderi coins. Two types of patterns, namely connected and broken, were identified in terms of the connectedness of the patterns, and in the studied coins, there were only floral and geometrical patterns. Floral patterns, particularly simple round flowers (seven-, six-, five-, four-, and three-petal flowers) and geometrical patterns such as simple small circles were the most frequent patterns observed on the coins of both periods. Arabesque pattern was observed only on a Karim Khan coin minted in Shiraz. The comparative study of the coins revealed greater variety in the legends of Naderi era coins compared with those of Karim Khan era. A single legend or maximum two types of legends were identified for the Zand period. Framing had more variety in Karim Khan coins. The coins from both periods were most similar in their patterns. The only difference was that connected and highly-decorated patterns were found more on the coins from Karim Khan’s reign. Overall, simple round flowers in floral patterns and simple small circles in geometrical patterns were the most frequent patterns found on the studied coins.

Pottery is one of the arts of the Islamic period. Pottery with the beginning of the Islamic era and Islamic art in Iran, due to having the spirit of simplicity, unity in role, color and full adaptation to the lifestyle, beliefs and culture of Islamic art paid special attention to it.In order to know more deeply thepatterns and their meanings in this sublime art, pottery of Meybod region, which is one of the most prestigious regions and the center of pottery in Iran, is culturally and historically ancient and economically very effective in the livelihood of its peopleIs selected as a sample of studies and seeks to answer the question that, what is the meaning and symbolic meanings of pottery motifs based on the symbolic language of Islamic art?The purpose of this research is to know the characteristics of form and color of Meybod pottery motifs based on the symbolism of Islamic arts,in order to pay more attention to the motifs used in the pottery of this regionand also the symbolic meanings of its motifs.The results show that pottery is a suitable platform for embossing human beliefs and ideas and the patterns and colors used in pottery are all symbolic and abstract derived from religious beliefs, social,cultural conditions and daily life of the people of this region and have Strong concepts of symbolism are in line with the culture and characteristics of Islamic art, which is the language of symbolism, purity and unity.Accordance with culture.And are characteristic of Islamic art.

The first archaeological evidence of Iranian textiles dates back to the fifth millennium BC. In the Safavid period, Iranian textile weaving, like other branches of art, was influenced by the policies of the rulers of that period. One of the most important artistic characteristics of this period is the formation of art centers under the patronage of the court and the close connection between art disciplines, especially textile weaving and painting. In this research, using the comparative and analytical method, referring to the library and visual sources, the fabrics of the Safavid and Qajar periods are examined. Covering was one of the most basic human needs that the first humans, covered themselves with the leaves of plants, and little by little, in different eras, this type of cover improved in such a way that meeting its need became one of the most fundamental concerns of humans and governments and the type of cover, sex Fabrics, and motifs sometimes represented the social class of people and distinguished the rich from the poor. During the Safavid period, which had a stable government, and during the time of Shah Abbas II in Isfahan, a special way of weaving cloth was created in terms of the way of weaving and the use of motifs, and it caused the “golden age of weaving” of Iran to be registered. During the Qajar period, many traditions and customs of the Iranians in the Safavid era still existed. The motifs used in the fabrics of these two periods can be classified into the human, animal, plant, and geometric motifs. The results of this research show that the human figure was used more in the Safavid period, just like the geometric motifs in the Qajar period, sometimes they both use the figure of an angel, but sometimes Western figures adorn their fabrics. The fabric material is very similar in the two periods. Safavid silk textiles were world-famous; As the Qajar penman was unique.

The stone lion (Bardshir) is one of the cultural symbols of the Bakhtiari tribe, and as a sign of courage, they are placed on the graves of young people, athletes, and great and famous people. These statues were built in the Zagros mountains and outside this domain in a vast area called Bakhtiari, which today includes several provinces, over several centuries. These statues, which have been made from the past to the present, with different forms and modes, are decorated with motifs that originate from the cultural, social, and religious history of the people of these regions. With the aim of knowing the periods of the stone lion, this article attempts to investigate the similarities and differences between the stone lions in Ardal and Bazoft regions in terms of the form and carved motifs and examine the concepts which these forms and motifs represent. The present research used the descriptive-analytical method and employed the comparative approach Library and field studies were conducted to evaluate and compare the stone lions of these regions. The results of the investigations show that the forms and motifs of stone lions are different in every family and clan. Also, the results show that the stone lions in Ardal region are older than the stone lions in Bazoft region, and the carved motifs on them are more detailed. Repetition of motifs carved on stone lions shows that a specific pattern dominates the decoration of stone lions. Also, the theme of these motifs and the forms of stone lions reflect the spirit of Bakhtiari people and their cultural and religious values.

Bistoon relief is the only Achaemenid art-historical work that symbolically depicts the victory of the Achaemenid kings. This relief, along with its trilingual inscription, commemorates the victories of Darius I over his opponents and enemies, which are engraved on the wall of Mount Bistoon in the beginning of his reign (around 520 BC). Bistoon illustrated memorial is the first outstanding work of art of Darius's time in which some motifs and visual-symbolic features of Achaemenid art were displayed for the first time and were repeated and represented in their next works. Therefore, except for the early Achaemenid art that was created in Susa during the time of Cyrus, and now there is a little remnants of it, Bistoon relief can be considered as the foundation of Achaemenid formal art (except for statues). Many of Bistoon's motifs and visual features are taken from the motifs and art of previous civilizations and nations, which are shown in a new and different frame. The purpose of this study is to identify and track the visual and symbolic features of the Bistoon relief and how they are displayed. The questions of this research are as follows: The motifs and the visual and symbolic features of the Bistoon relief are more representations of the motifs and art of which of the earlier civilizations and nations, and which visual feature of the Bistoon’s carving distinguishes it from previous examples? According to the visual features included in the image of the winged circle’s body, which possible hypothesis does this symbol indicate? The research method of this article is descriptive-analytical with a comparative approach and the method of collecting information is library-based. The focus of this research is on the visual artistic aspect of Bistoon's relief (not the historical aspect (.This article is not written in opposition to previous research and opinions, but seeks to systematically examine some of the features that have received less attention in previous research and to examine new concerns from a particular angle. The method of analysis of this research is qualitative.Bistoon relief is a symbolic depiction of the victories of Darius I over his enemies, whose plan and narrative are influenced by Anubanini's relief plan. Despite this, several motifs and visual features can be seen in Bistoon's relief map, which have been taken from the motifs and art of other civilizations. The use of these different and numerous visual and symbolic elements together creates a distinct framework of the victory of the kings, which has unique features. This difference is in line with the characteristics of Achaemenid art and Darius's government-propaganda ideology.Figurative motif of stepping on the body of the enemy is a representation of this motif in Anubanini relief, but some visual features of Neo-Assyrian art are also included in it. The role of the winged circle with the body and the type of its relationship with Darius are a representation of the Neo-Assyrian art and motifs that is uniquely portrayed. The image of armed guards standing behind Darius has been a representation of the motifs of Neo-Assyrian art. The Captive Line is a combination of several different features assembled into a unique frame, which initially was focused on Anubanini's plan. Nevertheless, this frame is mostly influenced by the motifs and features of Egyptian art. The image of Darius, as a powerful emperor, who brought order to the rebellious leaders of various nations is influenced by Egyptian art.The results of the studies (in an overview) show that the motifs and the visual and symbolic features of the Bistoon relief were representations of the Anubanini reliefs, the motifs and art of Neo-Assyrian as well as the motifs and art of Egypt. In the meantime, there are two important visual features in Bistoon relief which distinguish it from previous examples. The first feature shows the victory of an Iranian king in the form of a powerful ruler of other lands. The Iranian character of this scene is created through the display of a Persian robe on the body of Darius, two armed soldiers and his great god. The second feature is not showing violence and humiliation in the image of defeated enemies. In Bistoon relief (unlike previous monuments) attention is not paid to showing a harsh image of the king and kingdom against enemies, and the captives are not shown humiliated and nude.Also, the visual and symbolic features that are included in the illustration of the body of the winged circle show that he is a God. Because Darius mentions Ahura Mazda as the supreme deity, protector and supporter of his kingdom in the inscription, the winged circle’s body belongs to Ahura Mazda.

Arts and crafts are a good context for displaying cultural, historical and social structures in different eras. Coins were produced by order of the rulers of each period and the various visual components contained in them played an effective conceptual role. The motifs engraved on the coins are closely related to the culture and art of their time; they can be used to find out the economic, religious and cultural status of the state and the place where the coins were minted and helped researchers to understand the reasons for the continuity of traditions and customs that govern a society. The Iranian-Islamic rule of Al-Buyid ruled over parts of Iran for more than a century and coins affected by their nationality have changes that emphasize the need for the present study. They claimed to be descendants of the Sassanids and they made many efforts to revive the ancient methods and the deep connection of Iranian art in these centuries. Given the importance of the Al-Buyid government of Iranian origin in the first centuries of the advent of Islam, it is necessary to explain the semantic systems governing their pictorial coins with a multi-conceptual approach. One of the approaches to the study of image is iconography; presented by Erwin Panofsky. Panofsky's theory encompasses the three levels of Pre-iconography, iconography analysis, and iconological interpretation. Erwin Panofski gives three different layers of meaning in each image that can be related to the cultural, religious and national spheres that dominate the thought of its producers. The main purpose of this study is to extract the cultural contexts of the coins of the Al-Buyid dynasty as an Iranian-Islamic rule in the early centuries of the advent of Islam based on Panofsky's iconological theory. This article seeks to answer the following questions:1- How do Al-Buyid coinages conform to the Panofsky’s Pre-iconography, Iconography and Iconological three layers?2- In examining the mentioned semantic layers, what are the Iranian cultural patterns and the reasons for their use?In the leading article, the research method is iconic; in the first step, how to match the motifs on the pictorial coins with three semantic layers, Pre-iconography, Iconography and Iconological, are examined. Then, based on Panofsky's triple semantic study, the reasons for adaptation of the patterns of Iranian culture on the pictorial coins are analyzed. The research data obtained from the study of library resources have been analyzed in a descriptive-analytical manner. The statistical population consists of coins from the Al-Buyid period, the images of which are mainly collected from information sources and books. The number of samples in question is 6 pictorial coins related to the Al-Buyid period, which have been selected non-randomly. The analysis in this research has been done qualitatively.The results indicate that Erwin Panofsky's iconological theory offers a new and effective way in presenting and understanding the content due to the noticeable time interval with the image coins of the Al-Buyid period. Panofsky relates the three different layers of meaning in each image to the cultural, doctrinal and national realms that dominate the thought of its producers. In the adaptation of Al-Buyid pictorial coins with three layers of semantics, Panofsky’s Pre-iconography, Iconography and Iconological, pictorial samples were studied; visual components in coins (patterns and their composition) in the first layer (Pre-iconography), hidden concepts in each motif and their placement relative to each other in the second layer (iconography description), and cultural and historical factors affecting production and the formation of patterns on coins in the third semantic layer (iconological interpretation) were analyzed.The data obtained from the study of the second and the third layers reinforced the possibility that mainly the patterns and the way they were combined on coins were borrowed from Pre-Islamic Iran. These adaptations also follow various factors such as the tendency of the Iranians to the principles of former governance, the revival of pre-Islamic traditions, the Iranian origin of the Al-Buyid rulers and the acquisition of legitimacy in a limited time by the people and the Abbasid caliphs. With the arrival of Islam in Iran and the tendency of the Iranians towards it, the teachings of the new religion caused significant and effective changes in its culture and artistic manifestations. Some of the pre-Islamic Iranian cultural concepts that have valuable cultural bases maintained their vitality alongside new religious teachings. The role of the governments in power in preserving the cultural components of pre-Islamic times has been very prominent; just as the Al-Buyid rulers in their administration of the territory were led to put the Iranian-Islamic method at the forefront.

Patterns in Iranian art should be called message painting and expression painting, which sometimes manifests itself directly and sometimes in symbolic language. One of the places of expression and emergence of symbols in Iran is the "carpet". In addition to the traditional and local aspects, these patterns and expressions can express the creative mind influenced by the environment around the carpet weaver. According to researchers, although little is known about Kurdish weaving before the nineteenth century, many garden officials and flower carpets from the 17th to 18th centuries identified northwestern Iran as Kurdish. In every general book of carpets, there are two well-known and famous types of "Saneh" and "Bijar", but these two can not be considered the most Kurdish carpets left because at least two other types of Kurdish carpets, called "Mosul" (In Iraqi Kurdistan) and "Savojbolagh" have ceased to exist and be produced in the category of contemporary Kurdish carpets. The purpose of this study is to retrieve the history, introduce the location, and location of the carpet attributed to Savojbolagh in the Mokrian region, northwestern Iran. For this purpose, the authors try to recover the position of the carpets attributed to "Savojbolagh" with a descriptive-analytical method and with the aim of development, and its qualitative data as documents. The result contained the following findings Savojbolagh carpets were not produced before the First World War and for reasons we are unaware of, and this type can be considered the best carpet, with natural plant colors and a moderate price in the market of that time. Traces of these carpets are often found in the collections of European countries. Due to the lack of introduction of this type of carpet in Iran and the importance and necessity of reviving and addressing it or even recovering such designs and colors, for carpet weavers, it can lead to the continuation of the production of such exquisite carpets.

 Decoration is the most valuable part of Islamic Art. Decoration can reflect the religious beliefs and manifestations of culture and art of the Islamic period and with all the ups and downs it has had over the centuries, it has been able to expand significantly and leave lasting works through unique and unified expressions in different climates. Among all kinds of architectural decorations, tiling and painting are the most attractive among Muslim architects and are considered the most important and effective factors in the beauty and grandeur of Islamic buildings.

The main purpose of this study is to examine the decorative patterns of the two ‘Kabud’ (blue) mosques of ‘Mazar-e-Sharif’ and ‘Sultan Ahmed’. The unique decorations of the blue mosques are compared to clarify the similar and dissimilar items in the decorative designs used on the tiles, which are inspired by nature and ethnic and regional influences and are derived from the art of ancient Iran and Islamic Iran.

The results were obtained by comparing the decorative patterns of the two mentioned mosques using the descriptive and analytical methods with the help of the tables, written documents, and data analysis.

​​The origin of decorative patterns in the two buildings is rooted in Iran, but each region has used its own mechanism and creativity to localize the designs. The tiling decorations used in the two blue mosques of ‘Sultan Ahmed’ and ‘Mazar-e-Sharif’ are simple, with emphasis on the commands of Islam, and are abstracted from nature in a vegetal, geometric and symbolic manner. Along with beautification, they have meanings and show order, multiplicity, and unity, and add to the coherence of the spiritual atmosphere of the environment.

War tools are one of the most important designs that appear on the tombstones of different periods of Islamic Iran. These motifs are usually simple, and only the general and visual form of the weapon has been considered by stonemasons. The present study surveyed the designs of war tools on the tombstones and the reason for their use on the tomb of the deceased using a descriptive-analytical and historical method and according to field studies and library documents. It also compared these images with the weapons of the Islamic period in Iran. The findings showed that these motifs are mostly engraved on tombstones with the form of ram and lion and altar-shaped stones and include: sword, bow and arrow, dagger, mace, gun, shield and spear. The image of curved swords has been used the most. The general and apparent form of these weapons is depicted, as the weapons of the Islamic period, especially the Ilkhanid, Timurid, Safavid, and Qajar eras, and is probably a sign of the artist's knowledge of the metalworking industry of that time. On the other hand, these paintings are mostly engraved on tombstone due to the bravery of the deceased and show their greatness and respect, strength and courage, heroism and bravery.

In this study, 116 pieces of Safavid Brocade of Isfahan Museum of Decorative Arts, including 93 small pieces with unknown use and 23 pieces containing uses such as Brocade fabric, hats, money bags, shirts, halves and curtains, to The purpose of recognizing the decorative patterns governing their decoration has been studied. It also tries to answer these questions, what are the types of motifs and the predominant motifs used in these fabrics and to what extent with the decorative motifs of other art media? Has this era been relevant? Due to the multiplicity of parts of this unique collection and the lack of knowledge in scientific societies, it is necessary to conduct the present research, which has been done by descriptive-analytical method with a comparative approach. Based on the main results of this research, the design and motifs of the carvings studied in categories such as boteh jegheh, frames, moharamat, afshan, duplicate and single flowers, flowers and chickens, human, geometric and An inscription (linear) is placed. Among these, plant motifs and designs show the most and geometric and to some extent human motifs and designs show the least amount of application. Patterns studied from the perspective of design style and artistic style with examples used in other artistic media of this era such as metalwork, leather, pottery, tiling, carpet weaving, other textiles, painting Paper and murals show some similarities; Accordingly, the similarities between the decorative motifs used in the various arts of this period, indicate the existence of close relationships among artists of various disciplines.

Ghelimche Metkazin village in addition to the abundance of role, mentally woven and of a simple structure. The variety of animal and plant designs and understandable  geometric shapes and the creation of creative design during the drawing of motifs on the margin and the text and the way weavers adapted from the nature and environment of life and the re-imaging of images has led to a variety of designs in the pattern of drawing, while The visual and internal lines and actions add to its visual value. The purpose of the research is to achieve design methods in the process of recreating motifs and visual values.In the direction of research, the following questions have been answered: how is the process of  recreation of motifs in Metkazin Ghelimche, how have different design techniques been carried out, and what are the visual values of these motifs? To study and study, eight samples were selected from original Ghelimche and analyzed by descriptive-analytical method and field study and interview. The results of the research indicate that in the direction of recreation of motifs, two realistic and abstract methods have been revealed. Realistic motifs, due to the direct adaptation of nature, are free of any creative recreation and visual value, however in an abstract way, the designs have been drawn in two ways abstracting and pure abstraction. In the abstracting method, the simplification of the motifs is observed and with little reflection and thought for the audience is understandable, and of course the visual value of the quality and promotion of the designs are effective. In a pure abstraction (elaborate), the role of the objects in the process of recreation, in a fundamental way, is based on the inner essence of the forms, and the visual value lies in the designs based on a kind of aesthetics and is not simply conceivable.

Although garment studies have been widely practiced as cultural phenomena, nomadic garment designs and in-depth studies have not been addressed. Nomadic apparel, as an example of ethnic art, is a cultural product which indicates how the structure, shape, and role of nomadic clothing are the main issues of the present study. Bakhtiari, as one of the largest nomadic tribes of Iran, preserves a life based on nature, observing which makes it is possible for researchers to have a deep and participatory understanding of the field of research. Therefore, in the present study, the main purpose of identifying cultural components in the form of Il Bakhtiari’s clothing was to address this issue by adopting a qualitative approach to cultural studies using a functional anthropological method. The main questions are: why clothing has remained stable in the nomadic community? And also, what role does culture play in shaping the structure, role and color of the tribal garment? The study of culture is essential, and it is so important from the perspective of the garment study that it can serve as a mirror which reflects a whole view of human culture to provide a more comprehensive understanding of human lifestyles, and beliefs that are highly important to the nomads' dependence on the species. He reveals their clothes. Therefore, the study of Bakhtiari men's clothing also seems to have a central role in culture. The research method is qualitative and descriptive-analytical in nature and data collection is done by library and field research methods using participatory survey and observation tools. Therefore, textual analysis and presentation of tables to recognize the visual and structural components, roles and colors of garments, have been considered which were studied in three categories of head covering, foot covering and tone covering from both descriptive and thematic angles. The research population is tribal garments of the Bakhtiari tribes which are the examples in this research. The necessary information was gathered through library resources and field methods with the main tools of participatory observation and observation, and general sections of apparel, including the Bakhtiari men's apparel, cover and tunic are studied as examples in terms of the color and shape. The role was also analyzed. The findings of this study indicate that the clothing structure of the Bakhtiari men reflects the cultural manifestations of this ethnic group and is rooted in their religious and mythical beliefs, among which are the signs of secularism and Zoroastrianism. Consequently, in accordance with the nomadic lifestyle, the relationship between the structural system of the garment and religious beliefs as well as its transcendental status is one of the most important reasons for the stability of Bakhtiari men's clothing designs and motifs. The structural features of the Bakhtiari men's garments, due to their non-alignment, are a circular embodiment that is directly related to the dynamics of nomadic life and reflection, reflecting the constant movement and flow of life, and mediating the balance between the earth and the sky.  Bakhtiari man in this clothing is a virtuous individual who is committed to preserving nature and the flow of life. Because of the visual characteristics of their garments, it became clear that this garment is sacred, and in a way, expresses the religious thinking and ideology of the Bakhtiari tribe. Given the choice of black and white and the interpretation of the black (down) and white (up) roles, this was clearly observed. The nominal parallels and motifs used are of a kind of harmony, so due to the important position of the mountain or the Chogha in the ancient religions, the position of the gods in this matter was not only a very important one in the religious life of ancient times, but also in the lives of the Bakhtiari tribes. It has been critically acclaimed and reflected on architecture, nature, funerals, and ultimately the role and name of clothing. Therefore, when the structural system of clothing originates from the outline of society and its culture, this continuity becomes so profound that, despite its hidden features and qualities, it still maintains its sustainability and finds cultural value and status. Slowly, the primacy of existence and the ethnicity or the ethnicity of the Bakhtiari person is based on their clothing.

According to many scholars, rock art is an illustrative example of a world art dating back to the depths of human history and often considered art as one of the most important branches of visual arts, which recognized the first manifestations of the aesthetic sense and artistic taste of the ancestors of mankind Exhibits in different parts of the world. Meanwhile, petrographic sites include some of the world's largest art works, which, from a cultural standpoint, have plenty of spiritual imagery. This art includes paintings that have been featured in valleys and on boulders and smooth surfaces, and an archive of indigenous arts and traditions dating back to about ten thousand years ago, as an important part of the history of art World known. Saravan Negaran Valley is one of the prominent regions of Iran, surrounded by beautifully crafted paintings on the rocks and streams of symbolic backgrounds in most of the paintings. This research aims to explore the symbolic features of Saravan Negaran and the reasons for the creation of motifs by the primitive people of Time and seek to answer the following question: What are the most picturesque images on the rocks of this valley, based on What are the foundations of symbolism and belief? The research method was descriptive-analytical and data was analyzed by field study and recording of the writer's observations as well as by documentary method and by inductive reasoning method. The findings show that the images are divided into three animals, human, and geometric groups, which have the most abundance of animal designs in comparison to other motifs that are mostly hunted, and combinations of human-animal and animal-animal images Also largely reflects the scenes of the hunting battle that has been common in this age. For this reason, many of the motifs of region, which have a symbol of hunting, include wild cattle and mountain goats with large branches, stretched to various styles in most boulders, and have a direct connection with the nature of that time, as well as the livelihood and beliefs of the people of that time. For the first reasons for painting in this area, the use of this technology and instrument for transmitting messages, recording events and everyday life events, determining the limits and ... has been. The abundance of animal designs also reflects deep beliefs. Firstly, the man of that period wanted to portray the most important activity of his life. Secondly, animals play a vital role in their lives for livelihoods, and they have been carved for their sacred image. The symbolic and religious backgrounds have played a prominent role in the design of the designs and have been deeply intuitive with the way the life and beliefs of the people of the region were at that time. In addition, many of the foundations of creed that have played a significant role in the art of rectangular art are clearly visible in the lives of the present inhabitants of the region, especially in rural and nomadic areas.