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

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.

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.

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.

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.

Iranian painting has had a strong connection with Persian literature for a long time, and the images of fantasy in poetry and painting have been consistent with each other. After the arrival of Islam in Iran, this kinship and connection becomes more apparent and the words of the poet are mixed with various themes and narratives by the painter's line, pattern and color. Over the years, the close relationship between poetry and image develops more and many illustrations come to the fore in the form of Iranian book design art. In the meantime, novel effects of Ferdowsi's Shahnameh appear as the largest national epic poem and a relic of Iranian culture in the field of painting art of this land, and Iranian painters leave various works inspired by Ferdowsi's poems. Many beliefs and convictions recorded in ancient texts are also manifested in the Shahnameh. Ancient Iranians considered useful and beneficial elements that were somehow effective in life as holy and considered God as their guardian. Water is one of the beneficial elements that has been highly praised and prayed for. In the Shahnameh, water is mentioned many times as the most familiar embodiment for the concept of life, and this vital element has many symbolic roles in this system which can be categorized in the following cases: A) Creation: The myth of water in different human cultures has been a symbol of the beginning of the stage of material creation and the movement of the life cycle. This role is reflected in the initial creation of the world from water and the symbolic end of life in it. The myth of water has the most connection with the concept of life. b) Immortality and partial treatment: The water of life or the water of animals is one of the world's mythological essences, and the desire for immortality is one of the long-standing wishes of mankind. The myth of water represents the immortality and continuity of material life. The main source of the legend of immortality, which has appeared in different forms such as the water of life, the tree of life, the fountain of eternal youth, and potion. Another manifestation of life-giving water can be found in the myth of the water healer. c) Baptism and purification: water is a symbol of death and rebirth. An expression of the symbolisation and ritual appearance of water in connection with death and rebirth can be found in the long-standing and mythological ritual of baptism. Immersion in water is considered equal to a storm or the sinking of a continent from the ocean and a sign of the disappearance of the old face in order to give birth to a new face. d) Fertility and abundance: Another role of water in the myth and consequently in the national epic is to fertilise and give abundance to the creators of good forces. This function has existed in all ancient religions and nations, as it has become a ritual and sacred function of water. e) Test and passage: water is a test of matter that must be passed in order to reach the kingdom of meaning, and the test or "passing through water" is a symbol of death and rebirth - dying from the old form and living in a new form which manifests itself in the form of crossing the sea and the river, and a person who passes through this "Khan" steps from a stage of material life to a stage of spiritual life. Passing the water test, as a common theme in the Shahnameh, has not been overlooked by the intelligent Iranian painter. The mythological tradition of crossing water and gaining victory can be seen in the lives of many kings and legendary warriors of the Shahnameh. Fereydun from Arvand and KayKhosrow from Jaihun and Ardashir crossed the sea, and Rostam and EsfaniyarEsfaniyar passed this tough test in Haft Khan. In this essay, we intend to examine the visual reflection of the symbolic tradition of the water test by studying the pages of the Shahnameh produced in the Safavid era. For this purpose, pictures of the story of Fereydun's passage from Arvand, KayKhosrow's passage from Jaihun, and KayKhosrow and the wonders of the Sea of Zere have been selected. In order to avoid delaying the speech, it is sufficient to analyse two examples of images from each story. These pictures are kept in museums and private collections around the world. In the analysis of paintings, it seems necessary to understand the subject matter and the context from which the story originated in order to read the image and understand the work correctly. For this reason, the narrative text is mentioned first then the visual aspects of the elements, especially the element of water, in these paintings are examined. For this reason, the question that can be asked is what is the importance of the place of water in the composition of the water test pictures? And how are the symbolic concepts of water reflected in these pictures? The purpose of this research is visual and symbolic analysis of the element of water in examples of Iranian painting art, in order to reveal the degree of synchronicity of Iranian literature and painting while familiarising with local treasures. In connection with the symbolism of the elements in the Shahnameh, the characters, mythical creatures, the dreams of kings and heroes, the symbolism of water, fire, and steam have been discussed in previous researches, which are mainly based on theoretical literature, and visual examples and visual analyses are in the minority. are located, and no independent research has been found to study water in the images of different Shahnamehs and from the aspect of digging in the visual structure, and the lack of available sources has motivated the writing of this essay. The research method is descriptive and analytical, and the method of collecting library materials is through scanning and image reading. Data analysis is done qualitatively and based on logical reasoning. The statistical population includes 6 examples of paintings that were selected from the three stories of Fereydun's passage from Arvand, KayKhosrow's passage from Jaihun, and Key Khusro and the wonders of the Zere Sea, and all of them were produced in the Safavid era. The method of sampling images is selective. The results of the research showed that in Iranian paintings, form and content are intertwined, but the importance of paintings cannot be seen only in terms of the exact translation of the text into the language of the image, because the painter tried with his utmost skill to create creativity while being faithful to the narratives. Visuals and subtle details can function independently from the text. The painter carefully uses the visual facilities to depict the emotions of the story in the best possible way. In the exciting and roaring test of crossing the water, there are spatial analogies that are included in the structure and composition to provide the dynamics and movement of the story, things like creating movement by breaking the frame of the image and penetrating details to the edge, cutting off limbs and bodies.On the sides of the frame, turning the gaze of the main character of the story, emphasizing all the elements and details to the center of gravity of the image and using rich and exciting colours. In response to the first question of the research, it can be said that due to the key role of water in the story, the highest and most focal place in the composition is assigned to it, that is, all the elements and components of the page are arranged around the axis of the river and the sea, and the composition focus and balance  coordinates with it. The mobility of the elements of the picture are formed in line with the dynamic nature of water waves, as far as the rhythm and balance of color and shapes are established according to the position of this element in the composition. The occupation of the largest possible space in the picture frame by the river or the sea, indicates the importance of water in the picture. To answer the second question of the research, we can talk about silver colour, because the use of silver metal in colouring water is done with the aim of inducing brilliance, light reflection, purity and spirituality of this element in a symbolic gesture with the spirit of narration. It should be consistent because if the hero of the story wins this difficult test and passes through the raging waters, he will be separated from the pollution of the material world and reach the Kingdom. The presence of animals such as fish and aquatic birds as a symbol of the abundance of water and creatures such as mermaids, dragons, eagles, cows and mixed monsters both strengthen the symbolic nature of water and are closely linked with the text. The role of most of these creatures has made the characteristics of filth and evil clear and they have found an appearance in the form of a symbol of the difficulty of the test.

The altar is a symbol of a holy place. The tradition of decorating altars, which is repeated as a stylistic form in the Islamic period, is related to the religious philosophical concept that emphasizes the concept of this holy place. Based on symbolism, the center is the supreme example of holiness and pure reality  as all other symbols of pure reality (such as the tree of life, the fountain of youth, and so on.) are also located in the center. In this research, the concept of the decorative motifs of trees and vases in the altar is analyzed considering the sacredness of this place. The present analysis seeks to answer this question: what is the relationship between the symbols of water and plants represented in the altars of the Islamic period and their earlier visual patterns in the pre-Islamic art in Iran.

This study is descriptive-analytical in terms of methodology. The data collection method is based on library review, and data analysis was done qualitatively. The principle of evolutionism is based on the fact that every cultural phenomenon should be considered the result of a long chain of changes along a time-space line.

The intellectual principles of evolutionary theory are based on a belief in an evolutionary line, a beginning, an end, and milestones that can be called moments of leap or fundamental change. In this approach, the shapes and their changes in the works were taken into consideration; it depicted how an art form spread on a territory or a historical aspect. This principle is noteworthy that some components of a certain culture and practices or customs may remain in the same culture for a long time after the transformation of other components. According to Taylor, two important laws about religion and culture exist. The first principle is the unity or the psychological sameness among human beings. The second principle is the pattern of human evolution or intellectual progress over time. The cultural and intellectual evolution of human and the basic homomorphism of the human mind are related to each other. The principles of evolutionism can be analyzed for the symbols of water and trees in Islamic altars. Persian myths have described the two symbolic elements of water and trees in the holy places and considered them to represent the center of the universe and the origin of life, respectively. In the verses of the Holy Quran, these symbolic trees are mentioned and described. The descriptions of the Tubi Tree, the Sidra al-Muntahi Tree, the olive tree along with the description of the paradises with flowing rivers show the place of these symbols in the holy book of the Quran. In these verses, the connection of faith, piety, and goodness with the symbols of water and the eternal tree is evident. In fact, these descriptions of the heavenly book in the form of an allegory, derived from the archetypes, are about the sacred tree and correspond to the evolutionary process of this symbol. The evolution of elements from the ancient texts (the pre-Islamic religious texts), i.e., the symbols of the tree and the water of life, can be seen in the text of the Qur'an, as the most recent religious text. They  have found an evolutionary and allegorical form and are continuous with the element of goodness and salvation. In this evolutionary process, a change in the meaning of symbols of the tree of life and the water of life can be seen: that is, a change from eternal life and immortality in the material world to immortality in connection with faith in the metaphysical world. In fact, the symbols have become sublime.

On the basis of intertextuality, there is no text without a pre-text, and on the basis of the theory of evolution, it can be emphasized that in the field of sacred water and plants, the oldest art forms have been established and continued from the past. These components of Iranian culture have been continued in their original form or along with evolutionary changes in the arts of the Islamic period, especially in altars. The tree of life appears with a tree and plant motif, and the water of life is represented by the symbol of a jar or cup. Based on these documents and the first principle of evolutionism, a mental and religious pattern related to the sanctity of natural elements can be identified in the minds of Iranian people. With the religious transition that happened in Iran after Islam and the domination of monotheism and monotheism, the idea of praising one God and the mystical view of the world, as the signs of the Lord, created the ground for the use of natural symbols of water and trees in altars. This common feature of respect for nature in pre-Islamic Iran, which bore many similarities with ancient civilizations, is a form of human psychological unity in accordance with the first principle of evolutionism. In Iranian altars, the sacred tree is located in the center of the altar, and sometimes it is wrapped in the form of an abstract plant motif on the pillars of the altar. The pot or jar is also at the bottom of the tree or column or on top of it. While the divine verses, which are the sources of blessing and life-giving, are revealed on it. In fact, the jar is the medium of receiving grace from heaven. The evolved forms of plant elements have evolved. Arabesques and khatais replaced the leafy trees of the Sassanid period with systematic rotations, and the jars, at the top and bottom of the columns were sometimes decorated with plant motifs. And this course of semantic and formal evolution in the design of water and tree symbols in the altar is in accordance with the second principle of evolutionism, which means progress and evolution over time. Continuity of prayer at the altar and communication with the Almighty God, accompanied by the symbols of the tree and the jar, is reminiscent of heavenly descriptions of believers’ connection with the heavenly trees, flowing streams, and the cups filled with pure wine from the heavenly streams.

Among the visual signs in epic books that are used in battles and sometimes in mourning ceremonies is the flag. Flag or Alam is one of the signs that can reveal the religious and political thinking of an era. Therefore, by examining the sign in the paintings, the cultural, social, and political contexts of each period are revealed. The signs on the flag and Alam are sometimes symbolic and allegorical and can be a symbol of a family sign and derived from a special traditional and historical thinking. Since flags and Alam are basically the sign of a particular state or people, their presence in the paintings is of particular importance. Therefore, it seems that the motifs and pictures used in Alam and even the smallest details of Alam are not without influence in introducing the identity of that people or nation. Considering the importance of the flag in each period, it seems that the shape and color of the flags used in the Shahnameh of Davari were not without reason, and the examination of these motifs can express their thoughts about a nation or group in the Davari Shahnameh. In the Shahnameh of Davari, most of the flags of this Shahnameh are decorated with lions and suns, as well as the pole or the head of the flags in the pictures of this Shahnameh are sometimes in the form of dragons, birds, cedars, plant, and hand motifs. Meanwhile, the motif that is more interesting than other motifs is the hand or paw motif. Since the flags represent a special group to which this element belongs, and considering that the Shahnameh deals with pre-Islamic narratives, the question is, what is the reason for using the shape of the hand in the pole or the head of the flags?  What is the effect of the symbol of the hand in flags and flags on understanding the meaning?
This research is based on the descriptive-analytical nature and is based on the fundamental goal. The analysis of the images is based on the iconological approach. In the Shahnameh of Davari, out of a total of 68 images, 28 images have Alam and flag motifs. In the meantime, in 19 pictures, signs are seen with symbols of handprints, and the analysis has been done on these 19 signs with emphasis on the tops of the Alam. Also, research information has been prepared in a library manner. The findings of the research show that in the illustrated Alam of Davari Shahnameh, which was done by Lotf Ali Shirazi, There are hand marks on most of the Alams or flag ; So according to the time of creation of the work and the discourse of the Qajar period. It seems that the use of hands in these flags and Alam indicates the helping hand of Hazrat Ali (AS) or, according to Drovil, the hand of Hazrat Abbas or Hamsa. If any of the mentioned cases are accepted, it can be said that the use of the hand in the flag or Alam in the Shahnameh of Davari shows the support of Islam for the fighters in the Field. The use of the lion and the sun, which becomes the national emblem, shows the place of the ancient discourse in this period. There fore, it seems that by combining these two roles, Darfashi expresses a Darfashi that shows both the prosperity of ancient Iran and Islam. Anyone who has this door somehow has both Islamic power and Iranian power. Lotf Ali has created a text in which most of his heroes have such characteristics. According to the reviewed texts and the description of the Ghorian war, it seems that this thought was widespread in the Qajar period, consciously or unconsciously. Therefore, the hero and victor of the field in most of the images of Davari Shahnameh is the one who carries a flag in the shape of a "hand". Due to the prevalence of Ta'ziyya in this era, the painter had a Shiite interpretation of the paintings. Even though the story of the Shahnameh is depicted from ancient Iran, it is the presence of the hand that gives the hero extra power.Therefore, the liberating and helping force for the hero of the narratives is the hand of Hazrat Abbas and an Islamic force. Although archaism is one of the dominant discourses in this era, but the influence of ta'zih and mourning ceremonies has caused this element to be included in pre-Islamic narratives as well. Therefore, the painter introduces someone who is victorious in his paintings, who has the Islamic power more than he has any religious influence. In a way, the painter considers the Islamic force that emphasizes Shiism to be the support of the heroes of the Shahnameh and ancient Iran.

The word ‘lion’ is a word that Iranians have always tried to generalize to many topics. While puns in literature have been discussed in many ways, they still hold a valuable place in his most bitter connections. Even the person who sees the scene of hunting a lion, either remains silent before it or talks about its majesty; Whereas if the killing was done by an animal or another creature, we would quickly condemn him. Thus, with a typological approach, we attempted to clarify the reason for this kind of repetition and evaluation in the world of art and science. The purpose of this research, in addition to what was mentioned, with a forward-looking view of the place of the lion in the validity of Iranian culture (in particular), we always express this theme, which is the essence of creativity of our work, but the background of the work owes a lot to Sadruddin Taheri and Arthur We are Pope. The use of library resources and field experiences was utilized in this research, and our qualitative performance is based on a descriptive-analytical element. May, a drop of the lost culture, be preserved with the remaining symbols, and in the excellence with a new vision, maybe by relying on our symbols and archetypes, we can even have an ancestor called Iranian symbol therapy in the subject of art therapy and it will remain stable, hope. To be beneficial.

Native elements are one of the most important components of the formation of visual texture in culture. The texture of the image of Iranian culture is full of symbols and signs that have emerged from the heart of native elements. Symbolic anthropology deals with the understanding and interpretation of culture with the help of symbols and signs. Throughout history, symbols and signs have used media such as images and writing to express their values. Typography is one of the powerful image and writing branches in today's world, which has been able to communicate with the roots of image and writing and has achieved an independent function in this connection. The purpose of this article is to find the impact of native elements on Iranian typography from the perspective of symbolic anthropology and what consequences this impact had on Iranian typography. The method of examining the findings is descriptive-analytical and based on library study and case examples of Burjamaneh's works from Iranian civilization. From this, 7 cultural symbols of Iran have been examined as findings in this article. The findings show that native elements have played an essential role in shaping human constructions and his knowledge of his surroundings. Typography in its various forms is affected by these knowledge and constructions. In the most basic form of knowing the environment around him, the intelligent man has gone to the creation of symbols and signs. In the examination of symbols in Iranian art, traces of native elements can be searched. These elements are expressed in the form of symbols and signs in the image and text. The body of Iranian art is full of these signs, which in each period has adapted itself to a different thought of the time and has emerged as a unique Iranian art from the heart of the thought of each time. Native elements can be considered as the characteristic of every culture and civilization that forms the cultural context. Native elements have a significant impact on the shaping of ethnic aspirations, far and near. Desires that are mixed with life, death, creation, cosmology, totem, pilgrimage, rituals, marriage, the world after death, etc. Therefore, native elements should be considered a turning point in the formation of these concepts. Today we look at the image with a deep attitude. The image for us, whether written or in the form of a pure image, has many meanings that we can interpret through our knowledge and understanding of the image. Symbolic anthropology is the methodology of our interpretation of these signs. A bird in a stamp that looks up, a hexagonal captive ram, or the writing of Bab al-Hawaij, which has a hand association with science, all have a specific definition according to our bio-ecological understanding of the image. Typography is the art of designing a message (concept) in the form of an image or writing or both, which conveys a specific meaning according to the geographical location where the designer and the audience live.

The aim of the research is to study the structural elements of the Pahlavi emblem and the Republic of China through descriptive-analytical method, based on comparative studies, and content analysis. By means of reflective schemas to determine the extent of the application of symbols and meanings and concepts called to find common themes and ideals or to extract the cultural differences and political covenants of these two countries within a comparative approach in a determined period of time.Since the two countries of Iran and China have had extensive communication and significant cultural and artistic relations through the Silk Road, and the perceived integration between Buddhist and Islamic arts, the attitude of the two countries on the basis of several thousand years of civilization, in choosing and designing their prominent national emblems in a specific time frame, can be significant and offer important insights.The question is How and to what extent have these two countries used symbols for the design of national emblems, for the purpose of directing political covenants and moral themes, etc., in the same period of time? Results In the present study, it was determined that national emblems are representative image sources of a country that are influenced by its history and culture. In this research, the structure of reflective schemas and meanings of symbols in the emblems of the First Pahlavi and the Republic of China based on the importance of such schemas, have been examined. According to reading of Kant, reflective schemas are extracted from reflection on spatio-temporal dynamism or dynamics of a being, animal, tree, etc. Considering the existing structural similarities between the two emblems, it is possible to compare them.Both emblems are made of natural elements - heavenly bodies, mountains, plants and animals - and tools; Lion, dragon and Feng Huang as animal elements, oak branch, olive and rice as plant elements, heavenly bodies such as the earth, sky and sun, moon and stars are also depicted in national emblems of Iran and China. Besides these natural elements, sword, crown, axe, Zongi (golden cup) etc. are among the tools incorporated in the designs of these emblems. Therefore, there can be structural similarities between the two.Although both emblems share similar structural elements, but the Chinese national emblem showcases more ritualistic motifs, more natural and animal elements, and contains allusions to the Chinese astrology by depiction of elements such as fire, water, wood, metal, plant, and earth; the earth in the form of a mountain, rice embodies water etc. Mythological elements and ornaments of the imperial dress can also be seen in the Chinese national emblem. In lion and sun emblem of the first Pahlavi, religious elements are depicted, but compared to the Chinese counterpart, it has less natural, animal and plant elements. The earth is not included in the Iranian emblem. Apart from the sword, which can be a sign of the crescent moon and of course Islam and Shiism, there is no trace of other heavenly bodies. Oak and olive can be considered as symbols of plants and water. The crown is the symbol of the king on the top side of emblem. In the Pahlavi period, the feminine power is not showcased in the design of the emblem.The study goes on to compare the meanings and concepts in the two symbols. In the sign of lion and sun, for example, the element of lion can be seen as a reference to the power of the kingdom. But the two animal elements, dragon and Feng-Huang, refer to two royal characters, the king and the queen, which show complementary forces of yin and yang that are eternal. Meanwhile, the sun in the lion and sun emblem again, refers to the king, and there are no feminine symbols to compensate as the queen. Also, oak and olive plant branches in Pahlavi's emblem represent concepts such as longevity, unity, security, victory and peace, but the plant element of the Republic of China, which is the rice spike, is a reference to the importance of earth and agriculture in Taoism and rice’s crucial significance in Chinese culture, and the work, effort, toll that goes into the production of rice as the singular most recognized product of China. Although the sword in the sign of the lion and the sun is associated with guarding and protection, it also refers to Shiism and the revered regard for Imam Ali (pbuh) among Muslims. The axe is also associated with the concept of grains and their protection. Also, Zongi, in Chinese symbolism, can carry meanings such as purity, spiritual growth, and is a symbol of the emperor's virtue in loyalty and filial piety. In examining the lion and the sun, several concepts such as resistance and authority, unity, the importance of royalty have been revealed. In the Republic of China’s emblem, the induction of concepts such as the importance of religion, the importance of earth, agriculture and natural elements in accordance with Taoism, unity, blessing and fertility can be detected.Therefore, it can be concluded that both signs, while referring to numerous material concepts, have also placed religion and moral themes in the center of attention. The lion and sun motifs is a declaration of nationalistic goals such as the importance of the king and the royal position, the importance of religion, ideal concepts such as security, unity, longevity, victory, peace, hope, blessing, guarding and protecting the country. The national emblem of the Republic of China also shows similar messages as the emblem of the lion and the sun, although more, which include the special position of the king and queen, the importance of opposing yet complementary forces, the sacred position of Taoism, and ideal concepts such as authority, blessing, immortality, unity, happiness, longevity. Both emblems have showcased cosmic symbols. Both bring to life the concepts, topics of morality or religious principles. The emblem of the Republic of China, is inspired from the old decorations of the traditional imperial dress, which in turn depicted the emperor as the symbol of the son of the sky, and referred to the teachings of Confucius and his twelve moral commandments that the emperor embodied in order to be a just ruler. Therefore the emblem of Republic of China implies that a good prosperous country with instructive policies is achieved only through an authority that follows moral codes as its principle policy. In first Pahlavi’s national emblem, such moral symbols are not much showcased, but mostly concepts such as chivalry, bravery, and good fortune and good omens are emphasized, with a focus on Imam Ali (pbuh) as the embodiment of morality and courage.