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

In the analysis of the works of Marc Chagall, the French-Russian painter who is considered one of the pioneers of the abstract impressionism style, some symbols in his works have been analyzed. This research examines the cultural and religious symbolic elements in the glass paintings of this artist, a large part of which is influenced by his Jewish identity, and finally, the reasons for the frequent use of these symbols, as well as his tendency towards all kinds of visual arts, including glass making and lithography. This research aims to examine the examples of this artist’s stained glass works with a religious and ritualistic approach and a descriptive-analytical method.

This research aimed to elucidate the complex process of meaning-making in urban spaces, with a particular focus on the pivotal role of public perception. It seeks to answer the question of how public perception, alongside social, cultural, and psychological factors, influences individuals' understanding and experience of urban environments. Moreover, the study delves into the factors that contribute to the formation of place meanings.
Employing a qualitative, phenomenological approach, this research conducted an in-depth examination of people's lived experiences of urban spaces. The findings reveal that place meaning is a dynamic and multi-layered process, in which public perception, personal experiences, environmental factors, and cultural symbols mutually influence one another.
Results demonstrate that places are not merely physical spaces, but also carriers of cultural meanings and values shaped by public perception, which subsequently influence people's behavior. The conceptual model presented in this research underscores that place meaning is a fluid and evolving process, subject to social, cultural, and environmental changes. These findings can be applied to create more sustainable and human-centered urban designs, foster a sense of place, and enhance the quality of life for city dwellers.
By integrating various approaches, including environmental psychology, cultural geography, and sociology, this research endeavors to provide a comprehensive understanding of the process of meaning-making in urban spaces. It serves as a foundation for future studies in environmental psychology, cultural geography, and urban design.

Myths have a special place in Persian literature, among which some of these myths, such as the lion, have a more prominent place. The role of the lion in Iran, in addition to its close connection with art and literature, the symbol of the lion can be seen in Persepolis motifs, flags and symbols of war and heroism, paintings and drawings, handicrafts and Persian literature. Persian speakers are also inspired by roots. The mythical lions have created thought-provoking poems. The mythological role of "lion" in Persian poetry has caused some of the manifestations of the lion to have mythological roots. In Iran, the lion is the symbol of Mithra, the sun, heat, summer, victory, the symbol of the devil, courage, kingship, power, light, fire, old in mystical literature and the Commander of the Faithful. In general, thinkers and poets have looked at this animal with respect and have given it a special sanctity. In the present article, the use of milk in the works of three precious Iranian poets, Rumi, Sanai and Attar, has been studied and its mythological roots have been studied.

Córdoba Grand Mosque is one of the magnificent buildings inspired by the architecture of the Islamic era. The mentioned mosque, with all the changes that Christians have made and allowed to destroy the Islamic identity and spirituality, its door and wall, minaret and altar guide every viewer to his true identity. Jacobsen introduced semiotics as the process of becoming meaningful based on text and architectural eco-semiotics as a cultural phenomenon and a tool for communication. The purpose of this article is the symbolic morphology of architectural elements in the "Cordoba" mosque in Andalusia, Spain, based on the process of land use change. One of the debatable historical monuments in international religious and architectural associations is the Cordoba Mosque and the view of the architects of the two historical periods based on the four religious origins of Christian - Islamic - and Spanish - Iranian. Under current law, three decades of multiple sovereignty over Spanish culture and art are at stake. The findings show that the Charter of Democracy governing the political-cultural atmosphere of Spain in three decades has created the preservation of decorative motifs containing color, form, texture, gender and symbolic elements of dual-use mosque-church and seems to be a prominent international privilege. The mosque has been in intercultural interaction. The method of this documentary-library article and the method of data analysis were also qualitative content analysis.

The most common art of the Kormanj nomads is the weaving of a type of carpet called "Kormanj table" which tells the story of the life or beliefs of that people. This art is specific to the Kermanj-speaking people of North Khorasan and is popular in the cities of Bojnord, Farouj, Mane and Samalghan, Shirvan and Esfrain. Although the Kurdish table has lost its main use today and is used as a floor covering or has a decorative aspect, its primary use in the past was to place bread. The present study was written in a library method with the aim of examining the symbols in the table cloth motifs of the Kormanj tribe of North Khorasan in order to keep alive the old motifs and symbols that are subject to being forgotten and obsolete. The findings of this research indicate that the motifs used in the Kurdish table of the mentioned people have a high semantic diversity and importance and include four geometric, plant, human and animal groups, of which animal motifs are the most used; Because it is influenced by the nomadic life of the Kormanj people. Among the human motifs, the figure of a girl is seen more often; Because the main weavers of the Kurdish table are women and girls. The tree motif is the most frequent plant motif due to its sanctity and being a sign of life and blessing. Abstract and geometric patterns also have a symbolic and decorative aspect.

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

As the covering of one of the most important spaces in Iranian mosques, the dome has an important place in the semantic system of the mosque. Researchers have assigned general meanings such as unity, sky, heaven or throne to the dome in Islamic architecture. Sheikh Lotfollah Mosque, which is one of the historical mosques of Isfahan, is located on the eastern side of Naqsh Jahan square. It has a dome that is considered one of the most beautiful and magnificent domes in the world and displays a corner of the genius of Safavid architects. The Muslim artist has made formal dimensions a medium for a spiritual leap to the world of truth and meaning. Islamic architecture, especially mosques, is born from the artist's inner inspiration, which originates from the wisdom and spirituality governing human teachings and monotheistic perspective, which provides various forms and decorations to show the concept of unity. Considering that the dome is a traditional form and since many structural and decorative elements in traditional art, such as the dome, contain symbolic concepts and expressions, the question arises, what is the symbolic meaning of the dome? In this regard, this research tries to reveal its meaning by studying the dome and especially the dome of Sheikh Lotfollah Mosque with a symbolic approach and examining the concepts of motifs and components of the dome of this mosque. In this article, the subject has been analyzed by using the descriptive-analytical research method and using library tools. The results of this research show that among the meanings and connotations obtained for the dome, the following points can be mentioned: the sky, the divine throne, the house of God, unity, perfection, eternity, completeness, the course of man in the soul, movement. From the earth to the sky and from the body to the soul, unity in multiplicity and the beginning, etc., how these meanings are related to the dome is explained in this article.

The Buyid dynasty (934 to 1062) is considered the time of reviving the traditions and culture of ancient Iran. Coupled with the rise of other Iranian dynasties in the region, the approximate century of Buyid rule represents the period in Iranian history sometimes called the 'Iranian Intermezzo' or Persian Renaissance. Revival of Iranian identity occurred under the Buyids. With rulers who are Iranian and who sought to show their connection with the pre-Islamic Iranian past. At the same time, the inhabitants of the Buyid kingdoms and eastern Iranians showed a high level of self-esteem as the people of Iranshahar who means the kingship based on pre-Islamic governmental traditions. As Daylamite Iranians, the Buyids consciously revived symbols and practices of Iran's Sasanian Empire. One of the Persian Arts continued during this era was textiles that had been reached great prosperity during Sassanid Empire. The previous decorative patterns of Sassanid textiles are contained geometric, plant, human and animal motifs has combined with Islamic symbols. Through centuries, Sassanid textile’s motifs have been adapted as the main textile design trend in many parts of the world and around five centuries after them, their impact could be seen in many parts of the world. In addition, many of these stylistic influences from Sasanian art went on to play a considerable role in the art of a Byzantines, and remain an excellent illustrative example of the ways in which concrete artistic elements diffused across the vast regions encompassed by the Silk Roads, and Egypt, Spain, and China. In Buyid period textiles became valuable artifacts as a result of silk fabrics production in Iran. Royal textiles were produced from silk and the inscriptions were either embroidered or woven on them in Kufic or Naskh scripts combined with Sassanid textile motifs. After Islamic Period, the trade between Iran and Byzantium Empire that had been started during Parthian era did not decline but continued and flourished during Buyid period. They tried to echo their neighbor’s imperial courts in Constantinople to compete with them. A long-standing game of one-upmanship vis-à-vis the equally elaborate etiquette in the courts of Middle East, and, from the late seventh century, Islamic rulers. Intricate court ceremony had a long history in ideas of divine kingship. Prior to Islam's introduction, the Byzantines had established relationships of reciprocity in peacetime as well as war with the Sassanian dynasty, by sharing designs, motifs, and figures. The first Islamic rulers of the Umayyad Caliphate attempted to match the opulence of Byzantium in the architecture and decoration of their desert palaces. The Abbasid Caliphs, settling in Baghdad, provided further rivalry to Constantinople in conspicuous consumption; late eighth-century texts describe how Syria's merchant fleet supplied luxury items to the Byzantine court.During the Byzantium era, textiles had been used as mediators in the Christian culture of Byzantium more broadly. In some periods the textiles were embroidered by Christian symbols as a background for iconographical representing of power and religious character of empire and a valuable present. During all times especially during iconoclasm era the Persian motifs was a main theme of Textile designs.Due to the trade through the Silk Road and the purchase of raw silk and some textiles from Iran, the first generation of skilled weavers were brought to Constantinople, and during the sixth century, the textile production centers of the Mediterranean border and the court workshops of the Byzantine Empire were established and given priority. it placed. These workshops and their productions were controlled to meet political and religious needs. Byzantine silks of the 6th century show overall designs of small motifs such as hearts, swastikas, palmettoes and leaves worked in two weft colors, and later recognizable plant motifs and human figures appear. Surviving textiles document shows a rich exchange of techniques and iconographic themes between Constantinople and the newly Islamic textile centers of the Mediterranean and Central Asia in the years after the Muslim conquests of the 7th century. Designs of the 8th and 9th centuries show rows of roundels or medallions populated with pairs of human or animal figures reversed in mirror image on a vertical axis. Many motifs represent Sassanian designs including the tree of life, winged horses, lions, and imaginary beasts, and there are numbers of surviving pieces like “The Shroud of Charlemagne”, a polychrome Byzantine silk with a pattern showing a quadriga, 9th century that specialists cannot agree between a Byzantine or Islamic origin. These impacts were both sided and the influence exerted by Byzantine silk weaving was profound. Byzantine silk court ritual and ecclesiastical practices were adopted by many parts of Christian world and in addition, Byzantine court furnishing styles and dress codes were echoed across the Islamic world.This paper aims to investigate the influence of Buyid textile designs on Byzantine textiles by focusing on meaning and concepts as well as their relationship with motifs and symbols. The main objective is that focusing and revealing this relationship could distinguish its Persian or Byzantine origin and their usage in political and religious content. These interdependencies could explain the numerous shared features in the art of the Mediterranean and Middle East cultures especially Iran, as well as the staying power of certain recurring motifs.After selecting some evidences from two culture, researchers assume to use a comparative study method to investigate the various textiles deign impacts and why some motifs and symbols have been used for a long time in their design and what is the political and religious idea behind them. So through a descriptive analytical methods through reviewing historical documents and other researchers papers tried to shape a chain between the usage of each symbol and common or different meaning of it in each culture. The result shows that the visual aspects of byzantine textiles are mainly based on Persian textiles and many of them, are not related to Buyid dynasty addition and they shaped through a long period Impact. However, some common motifs are used with different attitudes. Some of them like hearts and horses and some floral motifs could be described as direct replica of post Sassanid and especially Buyid motifs. There are ancient Iranian motifs that have roots in Persian mythology and depicted as an ornament on some byzantine textiles. Some motifs has the equal meaning in two culture and many of them placed between political symbols. The eagle, double-headed eagle, lion, elephant, griffin, Gilgamesh, and horse rider are the symbols of political power who turned into religious/political symbols in Byzantine Empire. The other series are the symbols who turned to Christian symbols and they have different meaning from their originals like tree of life that echoed Christ, double-headed eagle that turned into Byzantine Empire emblem and peacocks who replaced two adjoining animal of tree of life and horse rider and chariot riders who shaped the Christian chivalry representation. The third series are the long lasting one that are repeated for a long time in the Byzantine Empire textile designs.  However, in many cases, the combination of motifs and symbols continued the Sassanid tradition of pattern repetition based on the tangent or connected by an intermediate ring circle that are repeated in simple or symmetrical horizontal rows, and the empty space between them is filled with decorative plant and animal motifs.

Decorative motifs on tombstones are a reflection of cultural, social and religious conditions that have been used in the form of animal, plant, geometric, human, inscription and symbolic motifs. The Qashqai tribe has played an important role in political and social events throughout history. Due to the importance and necessity of familiarity with the cultural and artistic background of different ethnic groups, the present study aims to investigate the myths of the motifs used in the tombstones of the Qashqai tribe in Isfahan and Shiraz (Hana village, Qomsheh Palace, Imamzadeh Emad al-Din and Qalat) by descriptive library and field approach. - An analyst answers these questions; 1- What concepts do the motifs used in these tombs express? 2- What is the connection between the motifs and the myths and culture of their regions? The results of this study show that the designs engraved on the tombstones have been created under the influence of three causes, mythological insights and religious beliefs and the influence of the environment. Also, the heroic aspect of the myth is important and has a great impact on the formation of these motifs. Considering that the tombstones are after the arrival of Islam in Iran, we conclude that the influence of Islam on these motifs is very high and also expresses interests. The individual attachments of the deceased and survivors, beliefs, location and time and are a manifestation of the culture of the community.

Many religious stories and sources from the Islamic era and even before Islam mention Rooster as one of the birds mentioned. The Ascension events and hadiths reveal that the Prophet observed the white rooster on the throne prominently in the sky of the world. According to the symbolic and religious concepts of the popular beliefs of the Iranian people, the rooster is important; As far as we can tell, in some cases, it becomes a celestial and cosmic bird. Many artists have used irony and sarcasm to express their opinions and thoughts on the rooster, making it the subject of their creations due to its appearance and behavior characteristics. The results and the glory of this topic are in accordance with the literary meaning and also in the process of handwritten books and their religious depictions in Iran, including Merajnamehs. In this article, we discuss several sources and briefly examine the significance of the rooster in the pictorial symbols of Iranian art.

The belief and nature-oriented thinking that are evident in the art and architecture of Iran have been manifested more prominently in Iranian miniature painting than in any other artistic branch. The presence of nature and its elements can be observed in decorative and applied arts, in simple and geometric forms, and in romantic, mystical, heroic, and festive motifs and narratives. Various flowers and plants are always present in Iranian miniatures, depicting gardens, flower-filled courtyards, and orchards with water and various birds. The combination of a star-filled sky with the moon and the sun represents a blend of the real and imaginary world; a part of which is reflected in Byzantine mosaic art, with some of these works clearly showing the influence of Iranian miniatures. The coloring and use of natural symbols and signs in Iranian painting and Byzantine mosaics have their roots in naturalistic thinking and rituals, examples of which can be found in the museums and art centers of Europe and Asia, as well as in the Mehr and Anahita temples in Iran. The most prominent examples of Byzantine mosaics can be seen in the churches of San Vitale, Sant’Apollinare, and the holy sepulchers in Ravenna, Italy, the apse of the Church of San Clemente in Rome, and the Church of Hagia Sophia in Istanbul. The interplay and continuity of the Mithraic ritual in Christianity and Zoroastrianism have shaped the art and culture of both Zoroastrians and Christians in a way that combines new beliefs with ancient cultural and artistic traditions.

Urbanscape, as the first field that the observer encounters in the city, is one of the most influential factors in urban design. One of the symbolic elements in the urbanscape is the presence of mosques in Islamic cities. The physical effect of these spaces in some periods of history was to the extent of giving identity to the urbanscape and giving meaning to the environment, and it made it readable and oriented. But the changes created in the architectural structure and contemporary urban planning have given another shape and image to the place of today's mosques. In this research, which has been carried out using a descriptive-analytical method, the authors analyze the position of traditional and contemporary mosques in the urbanscape of contemporary cities with the aim of improving the visual and semantic quality of urbancapes and relying on semiotics and attention to the design of mosques is emphasized in urban legibility. The statistical population of the research consists of 78 architecture and urban planning students of Zanjan Islamic Azad University in 2021-2022. The statistical sample, which was 65 people according to Cochran's formula, was randomly selected from the statistical population. In the descriptive part, the information was collected in a library and documentary manner about the selected contemporary mosques in Tehran, and the statistical data was done by completing a researcher-made questionnaire, which was prepared with an emphasis on the semiotics approach about modern urban signs and mosques. The mosques studied in the research are: Tehran University Mosque and Tarbiat Modares University (traditionalist), Al-Ghadir Mosque and Zarabkhaneh Mosque (historical), Al-Javad Mosque and Shahrak-e- Gharb (Modernist) and Imam Reza and Amir-alMominin mosques (transcendent).The evaluations are based on the semiotics approach in the form of three dimensions "physical", "functional" and "semantic" with 16 criteria, through t-test statistical tests and multivariate regression. The criteria investigated in the research are: color of materials, type of materials, form and shape of the building, size and scale of the building, visibility of the building, combination of the building with the adjacent texture (physical dimension), intensity of use, type of use and time of use, age group of users, User group (functional dimension) and collective memories, behavioral location, sense of place, spatial identity (semantic dimension). Surveys show that, from the point of view of the statistical community, the degree of realizability of contemporary mosques as a sign in the current situation is at a medium or even low level; So that the "physical" dimension with an average of 3.19 has more realizability compared to other dimensions (functional dimension, 2.98 and semantic dimension 2.74). Among the criteria, the criteria of "shape and form of building" with an average of 3.524 and the criterion of "place identity" with an average of 2.014 have the highest and lowest levels of realizability, respectively. The results of this research show that in the process of modernization of cities, mosques are of secondary importance as elements of identity and by losing their relationship with the structure of the city and neighborhoods, their function is also changing.

Tombstones of the Islamic period are among the valuable monuments that contain significant information not only from the perspective of artistic research and knowledge of the evolution of Islamic lines and inscriptions and the art of stone carving; Moreover, it has provided researchers with valuable information in various cultural, historical, religious, social, economic and literary fields. Therefore, in the present research, the tombstones of the Islamic period in the Borkhor region of Isfahan have been studied in a descriptive-analytical way in order to answer the following questions; 1- What were the decorative motifs of Borkhor tombstones in the Safavid to Qajar periods? 2- Which symbols, cultural, social and religious themes and artistic principles and standards did these motifs contain? Based on the results, plant motifs (bergamot, arabesque, cypress, date, lotus, multi-petaled flower), animal motifs (lion, deer, duck, pigeon, nightingale, peacock, hawk), objects (seal, rosary, comb, Ring, mirror, scissors, lock, water sprayer, cane), geometric (circle, square, rectangular, circular, oval, gabled, trapezoidal), sun and water pan are among the motifs used in Borkhor tombstones. Some motifs have an informative aspect and inform about the spiritual states, religious beliefs, moral characteristics, gender and social status of the deceased. Some had a symbolic aspect and were signs of the Garden of Paradise, death and nothingness and rebirth, endless and eternal time, the oneness of the creator and the created, Permanence of the soul and asking for good and blessings on the deceased, and some had a purely decorative aspect. The artistic elegance and composition system of motifs according to such things as the type of motif, morphological type, material, dimensions, stone surfaces, time period, the way of combining with other motifs, the presence or absence and the number of frames, shows different methods.

Technology is present in all stages of the architectural process in different forms. In the process of creation of the work, the facade of the building, as the outermost comprehensible element, which generally has the task of conveying the symbolic concepts of the work, plays a prominent role in the effectiveness of the new technologies of their era. The main goal of this research is to investigate and identify the effective aspects of technology on the creation of the facade of contemporary iconic buildings.

The research is combined. Through descriptive-analytical and historical methods, at the same time, the role of the icon and its impact on iconic architecture, as well as the aspects of the effects of new technology on architecture, based on the Vitruvian principles, have been investigated, and in the following, the factors affecting the use of new technology in the creation of the facade of iconic buildings.

According to the hypothesis test, the technology variable has a significant effect on the creation of the landmark facade of iconic buildings, and this means that with the increase in the presence of new technology, the amount of realization of the landmark facade will be increased.

Technology is a growing process that interacts continuously with all structures of human life today. What has been forgotten in the contemporary era is the need to match the process of designing and building the artificial environment with the dynamic issue in the essence of technology.

 Sefidchah Cemetery, located in Yaneh-Sar, is a part of the Hazarjarib mountain region, which is located in the southeast of Mazandaran province. The date of the oldest tombstone of this cemetery is related to the 9th century AH, which is attributed to the period of Timurid rule in Iran. In this cemetery, each deceased person has two tombstones. A vertical and standing tombstone above the head and a stone below the feet are intended to identify the graves. Usually, designs are carved by the artist on both sides of the stones. This cemetery is considered to be due to the presence of white soil. The name of this cemetery has been attributed to the white soil of Sefidchah village due to the abundance of lime. The tombs of this cemetery are distinguished by the shape and motifs carved on them and the type of grave. The history of the cemetery dates back to the Timurid period. The combination of motifs carved on the graves has given a unique quality to these works.  The patterns carved on the graves and the forms on the raised gravestones have given this cemetery a unified and exciting visual effect. These motifs are closely related to the ancient history and culture of this land and Persian beliefs.
Question: The main problem of the research is to know the symbolic concepts of plant, geometric, and animal motifs carved on the tombstones of Sefidchah Behshahr cemetery, one of the oldest tombs in the north of Iran.

 It has been noted that there are similarities and differences between the symbolic motifs of SefidChah Behshahr tombs with the ancient works of the north and south of Persian and the meaning of these symbols according to Syntagmatic relations of symbols and what is the relationship with the category of death rsiane symbolic motifs of Sefidand they have life. The symbolic aspects of the tombstones of this cemetery and its comparison with the ancient works of the south and north of Iran have been paid less attention so far. In this article, an attempt is made to conduct a comprehensive study in this field and to examine the symbolic concepts of these motifs. The research aims to describe and study the semantics and historiography of the symbolic motifs of Sefidchah Behshahr's tombs. A more accurate reading of motifs based on their similarity with Elamite motifs makes the semantics of symbols easier and more logical.

 Based on the studies conducted, the plant, animal, and geometric motifs of Sefidchah cemetery have yet to be studied. The motifs of Sefidchah graves have not been compared with those of ancient monuments in north and south Iran. The neighborhood of the motifs in question has yet to be mentioned.

Discussion and analysis: 

Sefidchah cemetery contains a treasure of unique motifs. Patterns that are unique in terms of diversity, coexistence, and arrangement. Sefidchah tombstones display a series of interconnected and repeating motifs in special formats and combinations that are still recognizable despite erosion. The art of Iranian stone carving artists has provided the basis for the emergence of local and Iranian symbols. These motifs can be divided into geometric, plant, human, and tool motifs. The results of the research show that, despite the crude hand-painted style of these graves, the motifs are comparable to some Elamite motifs in the south of Iran belonging to the 3rd millennium BC, as well as the examples discovered from the north of Iran belonging to the 2nd millennium BC. Among the motifs carved on the graves, the cypress tree symbolizes eternal life, surrounded by a zigzag line symbolizing life-giving waters. The circle is a celestial symbol that can symbolize the rotation and movement of the era. Water is carved on graves in concentric circles with wavy lines drawn. Water has become a symbol of light and purity with the use of geometric signs on eternal graves. The symbol of the life-giving sun is illustrated as a dotted circle, a multi-pointed star, or a radiant sun, a symbol of rebirth, resurrection, and life-giving power. Flowers are reminiscent of ancient rosettes or lotuses, a sign of living in water and connection with light. The bird symbolizes the soul and the sky; it is seen on the graves. The square and rhombus symbol of the earth are also depicted on the graves. The earth, which, according to ancient beliefs, is the mother of creatures, is illustrated with a rhombus and a square symbol. The motifs are arranged side by side under the coexistence system) Syntagmatic relations( In this coexistence system, each role has an independent identity, and the representation of some of them in the center and larger sizes shows the visual and semantic importance of the symbol more. The collection of geometrical and plant motifs of Sefidchah graves has displayed earthly and heavenly symbols, and trees are depicted as a bridge between the earth and the sky. Surrounding the central motifs with the sign of water in the form of a zigzag line or zigzags that irrigate some points reminds us of the importance of water in burial rituals. Therefore, the set of symbolic motifs engraved on the graves illustrated the belief in life and the resurrection of the dead by associating meanings derived from the critical forces of nature, and these symbolic concepts are in harmony with religious beliefs that consider death as a bridge to eternal life and the afterlife.

One of the important issues in evaluating the results of research in the field of Iranian Islamic art and following it, Iranian Islamic aesthetics, is to examine the methods and approaches of researchers and thinkers. Considering a specific perception of Iranian Islamic art or Iranian Islamic aesthetics can completely render the results or assessment of scholars different. One of the most important approaches to the study of Iranian Islamic art is the mystical approach, of which traditionalism is one of the most important currents. The main issue in this research is what is the meaning of Iranian aesthetics and what are the competing theories about Iranian Islamic art and the dead and alive views on history in this regard. In the continuation of this research, the meaning of code, symbol, and the sign is investigated and in the end, in line with the application of theoretical foundations, the symbolic manifestation of cedar in Iranian literature and painting is presented. This research is practical. In addition, with regard to type, descriptive and analytical research is taken into consideration. The collection of information is a library, and the analysis is done qualitatively. This research shows that while there are various criticisms of the traditionalists’ point of view regarding the definition of traditional, sacred, and religious arts, they cannot establish a proper link between art and mysticism and do not perform well in providing a suitable alternative. Watching history can be alive or dead, and it is very important to conclude current and future research. For example, in this research, the fault lines and the cedar tree were briefly examined with a new perspective, which shows that it is possible to approach the subjects of Iranian Islamic art from another perspective. As the future of research, it is possible to compare the concept of Iranian Islamic art from different theoretical perspectives and use this solution for different issues in Iranian Islamic art.