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

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.

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.

Symbolism as one of the tools of visual expression of the transfer of concepts, has been able to bring many works of Iranian painting closer in form and meaning.Findings from library studies show that the painting in question consists of prominent effects that with various symbolic features, maintain their relationship with tangible reality, in other words, the Iranian painter using the valuable context of the symbolic poetry of Shahnameh and , the concepts of Iranian wisdom and Islamic mysticism, by different features, have brought visual elements with different functions, and provide connections and connections with intangible meanings and concepts in the space of images with symbolic arrangements. By examining the types of symbols in this article, it can be said that the invention and use of symbolic elements in this painting include visual elements of nature, animal shapes, birds, colors and geometric patterns.Research aims 1- Identifying the codes and codes used in the painting assembly of Sohrab being killed by Rostam in the Shahnameh 1028 AH Walters Museum2- Identifying different types of symbols in the painting assembly of Sohrab being killed by Rostam in the Shahnameh 1028 AH Walters Museumresearch questions:1- On what basis were the secrets used in the painting assembly of Sohrab killed by Rostam in the Shahnameh 1028 AH in the Walters Museum?2- What are the symbolic elements in the painting assembly of Sohrab being killed by Rostam in the Shahnameh 1028 AH Walters Museum?

The Chāhārfasl (Four Seasons) Bathhouse is considered as one of the most beautiful historic places with glorious tiles from the Qajar dynasty, Iran. This bathhouse is unique for its diverse artistic patterns, particularly in its apodyterium. The tile patterns and motifs of this bathhouse are a testimony to the past rich culture and art of the Islamic world, which in the absence of written documents would play a considerable role in depicting Qajar artistic taste. On the other hand, such traditional patterns reflect the beliefs and culture of the people. Therefore, an analysis of subjects and concepts of the mentioned patterns of these tiles can help us extend our understanding of Iranian architecture and art in the recent centuries. The shortage of academic studies on the architecture and art of Arak is a matter emphasizing the importance of carrying out a detailed investigation into its historic sites and places, most specifically the Chāhārfasl Bathhouse. It should also be noted that no specific study has ever been undertaken on the themes of this bathhouse’s ornaments. Considering this issue and the need to know more on art and culture connections, we proceeded to study the themes and subjects of the tiles in the bathhouse’s apodyterium. This study is based on analytical-descriptive methodology conducted by the means of field and desk research. The motifs studied here could be categorized as: sun, spiral icons, human soldiers, lion and dragon, lion and cow, birds, owl, flower and vase, landscapes and arabesque and khata’i. Results of the study indicate that these icons, patterns and designs are not just decorative, but they derive inspirations from epic, historic, religious, political and western figures.

The tribe of Kurmanj, enforced to immigrate from the west of the country to protect the eastern borders by the order of Shah Abbas of the Safavid era, were mostly stockbreeders and accustomed with nature. Among their handcrafted art, woven footwears are distinguishable that bestow a unique design and pattern. Footwear consisted of woolen socks, Pataveh, and Charuq that narrate the lives and memories of nomadic men and women with their texture and sewing. These motifs have arisen in the cultural and climatic range of the Kurmanj people.

 Classification of designs and recognition of significant symbols, meaning, and concepts in the footwear of the Zafaranlu and Shadlu tribes in Shirvan, Bojnourd, Quchan, and Kalat Naderi.

 The overall research approach is qualitative. The methodology is descriptive and analytical in terms of purpose, basis, and essence. Data is collected by library research with the aid of field materials including interviews and photography.

 The footwear of the Kurmanji tribe can be classified into three types: socks, Pataveh and Charuq. The variety of patterns applied in socks are more perceivable compared to other footwear. The applied patterns include animal, plant, and geometric designs that are significantly abstract and geometric. The use of the mentioned patterns is mostly the same bearing variances in some tribes. The source of inspiration for the usage of the applied patterns and the beliefs of the Kurmanji tribe root in nature, vegetation, birds, animals, daily affairs, and climatic conditions. In Kurmanji art, symbols such as blessing, fertility, power, endurance, revival, life, protection, hazard, fertility, transcendental and cosmic forces can be outlined.

Nowadays, the creators of computer games represent a variety of events and themes. Reconstruction of ancient civilizations and the use of historical and mythological capacities are among the topics that have been considered in many games. Myths are one of the main cultural elements of any civilization. Understanding the mythological culture of any civilization will lead to more familiarity with the attitude of its predecessors toward the phenomena of existence. The language of mythological works is symbolic. As the category of symbols and symbolism has always been reflected and discussed in many branches of the humanities; given the capabilities of computer games in reflecting symbols and myths, this category can also be considered and recognized in this new artistic medium. One of the most successful computer games that has realistically reconstructed ancient civilizations is Assassin’s Creed: Origins. The game received many positive reactions with the reconstruction of the ancient and great civilization of ancient Egypt. One aspect that has been reconstructed in this game is the attention to gods, myths, motifs, and symbols. For the first time in the country, the present study examines and symbolizes the symbolic elements and myths of Egyptian civilization based on images taken from this computer game in a descriptive-analytical manner. The purpose of this study is to study the symbolism of mythological elements in an internationally successful computer game and to analyze the various methods used in this game to reflect these civilizational and mythological capacities. Finally, from the sale of this game at the international level, it can be concluded that mythological fields and cultural symbols have a wide potential for use in computer games, And by analyzing the elements of this game, it is possible to produce computer games based on the rich mythological and civilizational capacities in the Iranian-Islamic civilization.

AbstractBecause of the entry of foreign patterns to the jewelry market, the need to produce artworks with a cultural burden and an emphasis on the identity of Iranian women is felt more than ever. Choosing Shahnameh composed by Ferdowsi can be a good source of inspiration. This study focuses on Rudaba, one of the women of Shahnameh, who has the most descriptions in this book.This study was shaped based on the two main question1)how mythical character of Rudaba can be applied for designing jewelry, and how can storytelling approach be used for designing jewelry. Therefore, This study aimed to design jewelry for contemporary Iranian women based on an Iranian mythical woman (Rudaba) to introduce this archetype.In the storytelling approach, the focus is not on the function of a product but on its message. This study comprised two phases: In the first phase, mythology research was carried out and the story related to the selected character was narrated. To this purpose, first, women in Shahnameh were studied and the priority was given to the most widely described characters. Then, the symbols were selected and the stories were narrated using the classic framework and the second phase included ethnography and evaluation. This phase included identifying common patterns, developing a mood board, defining four stories for consumers and designing based on the stories and mood board, and finally requesting users to evaluate the designs and selecting the top four designs). Evaluating the artworks by users through rating showed that the designed jewelry can be used for introducing mythical patterns to a contemporary woman. The proper use of symbols in the designing and attention to the consumers’ perceptions of the forms is important in evoking the concept of a symbol. Through storytelling, the ancient and mythical Iranian female symbols can be used in developing appropriate and desirable designs for contemporary Iranian women.

Encoded concepts and symbolic signs have always been used in art to express religious and ritual beliefs. All throughout the history, human societies have highly regarded various animals. Such outlook has ever been exhibited in the art of world cultures; however, none of these animals have enjoyed such significant status as lion. Since the Paleolithic period, various cultures have used lion's motif both in cave carvings and paintings. Looking at the history of art, we find that lion was one of the animals that held symbolic meaning for the peoples of the ancient cultures and civilizations, and they have used this motif, in combination with other symbolic elements such as wings, to convey other concepts. Although lion is one of the animals that threaten human lives, it has ever been portrayed in a positive role and as a powerful and exceptional animal. Lion is one of the most ancient symbols in Persian art and one of the motifs used most commonly on seals, containers, weapons, reliefs and sculptures. Symbolic meanings of this animal include: summer, monarchy, divine power and strength, protector, controller of spirits and devils, constellation and fertility. Persian art contains different illustrations of this motif and such representation is always associated with the magical concept of this animal in protection against evil elements. The human belief in constellation and its impression on life has significantly affected the development of this symbol. The winged lion is one of the most fascinating and common themes of ancient Persian art and has appeared on various artifacts such as reliefs, mud seals and metal objects. In the course of Sino-Iranian relations of the 2nd millennium BC, the native Iranian animal of lion was offered to the Han Dynasty in China, and with the arrival of this mythical beast, its accompanying symbols also made their way to China. In the process of transfer of symbols between nations, the meanings and concepts associated with each symbol are not necessarily transferred or accepted. In the new home, many of the symbols are merged with the old beliefs of the inhabitants and thus take new functions and meanings. Yet, during the transfer process, some symbols not only take their forms with them but also their accompanying ideas. The paper at hand first elaborates upon different types of winged lions portrayed on artifacts and architecture of ancient Persian civilizations to be followed by a study of this motif in ancient Chinese art. Moreover, the study aims to: 1- Recognize the ancient artifacts and artworks holding winged lions' motif which belong to ancient Persian art and art of the Chinese Han Dynasty and 2- Identify the similarities and differences of this symbol between the two cultures. Besides, the paper seeks to address these questions: 1- Where is the origin of the winged lion symbol? 2- Has Iran's winged lion motif affected the appearance of its Chinese counterpart? In what areas can this impression be studied? What are their similarities and differences? In order to answer these questions, the study endeavors to cover wing and lion motifs in terms of their mythical concept and application in both the civilizations through the study of the remaining objects. it seems that the first representations of the winged lion, as the guardian of the temples and tombs, were formed in ancient Elam civilization of Iran and have then become popular in China. Taking historical and descriptive-analytical approach and using library resources including documents, texts and images as well as numerous examples of winged lion in the art of ancient Persia and China, the article tries to make a fresh analysis of the subject matter and present examples of the impact of Persian art on Chinese motifs. The objects to be studied range from the artifacts of the ancient Persian to the Parthian period and the ancient China to the rule of the Han dynasty. The statistical population of this research includes the artworks in the Louvre Museum, National Museum of Iran, Metropolitan Museum of New York and the United Kingdom's Albright-Knox Art Gallery, Zurich Museum Rietberg, the Atkins Museum of Kansas City, The Museum of Mediterranean and Near Eastern Antiquities in Stockholm, the Cleveland Museum of Art in Ohio, Guimet Museum in Paris, the Hermitage Museum, Oriental Institute Museum in Chicago, Taipei's National Palace Museum, the Iraqi Museum of Baghdad and the Oriental Institute of the University of Chicago. A total of 21 Iranian and 18 Chinese pieces have been chosen for this study.

In the approach to the Persian carpet as an art, what is sometimes overlooked is the relevance of the content of the art to the upper and mythical worlds and the application of symbolic elements in the field. A world we see as the most direct and direct manifestation of carpet weaving art and work. According to the concepts and definitions presented in the field of myth, we can be seen that the scope of application of symbols and myths has reached all areas of social and individual life, An example of this application must be found in the introduction of these elements into literature, philosophy, religion, and sociology and the arts. Investigating the relationship between carpet motifs, myth and semiotics and the use of symbols in addition to highlighting the richness of symbol and symbol status in different ages, It also adds to the spiritual richness and beauty of the Persian carpets. The goal of Islamic design is unity and eternity. The solidarity of one painting and their expansion to the infinite, so that the writer of the Islamic role sees himself as "part" of the "whole" and feels that the whole being is in constant and eternal motion.

Archetypes are one of the significant sections of mythological knowledge in which studying such features permits the analysis of the commonalities of the human mind in all ages; hence, by examining such archives, one can distinguish between the conscious and the unconscious mind, the essence of mythology. Anima is a famous archetype in Persian literature first introduced by psychologists like Jung. The ancient pattern of anima is semi-feminine in the presence of men. This archetype is shaped by the presence of the mother and father in every person's existence, and can evolve under the circumstances of one's life and society. This image has been repeatedly depicted by scholars in the poetry of various poets. Houshang Ebtehaj (H.F. Sayeh) and Siavash Kasraie are considered among contemporary poets in which archetypes have manifested in their poetry. The increase in public reputation in their literary works is due to the great deal of use of motifs, images, and words existing in people's ethnic memory. Since the role of a woman is an inseparable affiliate of Persian poetry which has been mentioned in various eras and at times has been the cornerstone of Persian poetry single-handedly, studying Anima's archetypes in the poems of Ebtehaj and Kasraie can aid to critique and analyze the thoughts and views of the two stated poets. In this descriptive-analytical study, data analysis method is qualitative and inductive reasoning method (from component to total) is used for reasoning. The results of this study suggest that due to the specific temporal and social characteristics of the poems of Ebtehaj and Kasraie, these archetypes take on various forms including significant features such as Anima of abstract/ imaginary and admiration towards nature which are reflections of these mysterious illustrations.

Research aims:

1. Investigating the distinctive role of the Anima archetype (woman and lover) based on psychological thoughts. 2. To think beyond the ideas of the poetry of Ebtehaj and Kasraie to study the archetype of "Anima" (the feminine psyche of men) and its various forms of appearance and presence in the words of these two poets.

Research questions:

1. How can one harmonize the ancient discourse of the Anima model with the topics of psychology? 2. In what way has the “Anima” (feminine psyche of men) archetype manifested in the poetic thoughts of Ebtehaj and Kasraie?

The region which is known in the geographical and political divisions as South Khorasan Province and Sistan and Baluchestan, have vast historical, especially cultural and artistic commonalities which is a factor in the integration and unity among the peoples of these two regions. The purpose of writing this research is to properly understand the recurring themes and their place in the art of this area, the reason and how to repeat these elements from the past to today according to the types of application of these elements in the art of the people of this place. To achieve this goal, the following questions arise: 1) Given that the creators of these designs have a separate language and culture, have there been connections between the motifs used in the handwoven fragments of these two regions and is there any similarities in their form and appearance? 2) Considering the warm and dry climate of both regions, did they use the script language to create the elements? To answer these questions, it must be stated that the most important necessity of this research was the visual analysis of these elements in accordance with their symbolic concepts. Some forms, such as plants, animals and natural objects, may be transformed into mere geometric forms or abstractions and lose their previous meaning. Today, the roles that are depicted in many arts represent specific cultural, social and individual concepts, even in their construction, the concepts and elements influenced by society and the environment in which these arts are formed. In this research, after introducing the appellation and historical background of the handwoven fragments among both regions, the introduction and classification of repetitive patterns based on the structure and apparent similarity between the motifs (geometric, vegetal, animal, vegetation) will be discussed. The present research is a comparative and analytical research and the required information is collected by library method. Indeed, by studying the obtained examples, the effects of natural, cultural and historical factors on the visual qualities of these decorations among the two regions have been examined. According to the above said, various features based on the structure and apparent similarity between geometric, animal and plant designs will be analyzed. Perhaps at first glance we can see the differences between the features of the South Khorasan and Sistan and Baluchistan handwoven objects which makes us to differentiate between them, but with some investigations we find that the apparent difference between these elements is due to the type of dialects and differences between the attitudes between these two regions’ people. Mats and handwoven fragments represent the objective crystallization of art, thought and creativity of their makers. Their designs are of great importance and value in many ways. The decoding of the designs and creative power in combining and simplifying the patterns with solid color combination is one of the important features of the handwoven things among these two regions. The common materials used in the handwoven fragments of both regions, despite relatively large intervals, indicates the presence of the various tribes in these two regions, and on the other hand is the common cultural and rich cultural base that weavers borrow from both lands; and this affinity can be clearly seen in most of the visual elements and motifs used in the rugs and Kilims of both regions. Using geometric designs such as triangle, square and diamond as the main motifs and other elements that are a combination of these original motifs, with warm colors, are balanced and dynamic compositions, symbolic using in linking designs, credibility and noteworthy wich can be found in handwoven objects of southern Khorasan and Sistan and Baluchestan. In conclusion, the present study is an analysis and comparison of repetitive patterns in the handwoven fragments, the suggestion that will be offer to the researchers is that follow this issue because this topic has a very broad scope, including colors and topics related to the color psychology and the world view that the use of these colors to decorate handwoven fragments among this tribes was originated from.

Turkmen hand-woven handicrafts are symbols of culture and thought of people who express their beliefs through different artifacts. Due to the practical role of one type of these hand-woven handicrafts, named “Asmalyk”, in wedding ceremonies and the presence of various and symbolic motifs related to this ceremony and other Turkmen believes. Present paper aims to study and identify visual and symbolic features of these hand–woven crafts and introduce this art craft and its symbols and patterns which were made by woman. Present paper is descriptive-analytical, using data from library. Result of the study was studying visual and symbolic characteristics of these handicrafts emphasizing on cultural, historical and ethnical characteristics as well as believes .Researches indicate high and strong power of rituals and believe among these artifacts. 2Which motifs of Asmalyk are common on Turkmen Asmalyks and what are their believe meanings?

Painting is among the oldest means of expression noticed for its significance since time immemorial, and artists, at different epochs of times, have employed this art form to express the views and ideas of their own or the community. While serving literature through the art of book illustration and also by the grace of its unique features and the philosophy with which it is woven, this art has been a platform for the manifestation of the artist’s genius and has provided a medium for the expression of thoughts and outlooks of the Muslim artist. In addition to the artistic value of the images, these works, just like any pictorial document, contain abundant material on the social, political, religious, etc. conditions of the society where they were created. The bonds existing between literature and painting and their concomitance becomes more controversial when the painter goes beyond sheer painting of romantic poems, epics or scientific texts and tries to illustrate the abstract mystical concepts. Due to the distinctive character of such types of literature and the complexity involved in the translation of its concepts into proper images, painters of different periods have paid little attention towards the depiction of such notions; for that reason, illustration of such literary genres are rarely found in Iran.Of the remaining literary texts of this genre is Attar ‹Conference of the Birds›. Brimming with texts capable of being transformed into pictures and enjoying a rich symbolical ambience, Attar ‹Conference of the Birds› is one of the exceptions among mystical texts that has attracted the attention of artists. The Metropolitan Museum’s ‹Conference of the Birds› is one of the few, rarely illustrated manuscripts of this text. Due to the unique artistic quality of its paintings, this manuscript is considered as one of the most valuable illustrations surviving in Iranian painting and is of course of prime importance in terms of research. Thus, the methodological analysis of the aforesaid pictures within its historical context may open up new possibilities to study the cultural characteristics of its era.The current study focuses on the analysis of one of the Kamal al-Din Behzad’s fine paintings called ‹Shaikh Mahneh and the Villager›. Belonging to the Herat School of miniature, the painting was created during the adolescence of the artist at the time of the reign of Hussein Bayqara. It is one of Behzad three paintings in this priceless version of Attar’s ‹Conference of the Birds› which has received little attention to date.On this basis, and given the importance and value of the aforementioned manuscript in general and this painting in particular, conducting of the present study deems necessary. Through studying the prevailing religious and mystical traditions of the time as well as the religious ideologies of the artist, the author has attempted to analyze and identify the symbols used in the image and their association with the text.To this purpose, the painting has been divided into two sections based on composition. A list of substantial similarities and differences of the elements employed both within the image and the narrative text has been devised followed by a discussion to prove the theoretical assumptions right or wrong. The research has been conducted through descriptive-analytic method and data collected through desk studies. It primarily questions the artist's adherence to the text and then surveys the origin of the symbols and visual elements used therein. The questions include: will the translation of a mystical text into an image necessarily result in a mystical image? Do the personal, religious beliefs of the painter play a role in the selection and use of symbols? Has the artist, taking note of the social and political conditions of the society, made use of special and sometimes controversial symbols to convey a particular concept? The answers to these questions and more of this sort, as well as various assumptions attributed to each symbol that will be discussed in detail, helps the reader to understand the miniature better. Hence, in addition to the abovementioned points, this study examines the effects of religious beliefs and social conditions related as well as the neighboring cultures in the selection of symbols and their drawing. The results indicate that the artist's doctrines and religious views has a major role in creating this image and each of the elements and symbols used therein is in line with and completely related to the text. Moreover, it is rooted not only in Sufi beliefs but also the artist's religious ideas as a Sufi-oriented painter.

Gardencarpet is one of the noteworthy designs in the history of Iranian art. In the «Zand» era (12thcentury AH / 18thcentury AD) a framework of various motifs was provided for this type of carpet. These motifs are composed in such a way that while maintaining traditional patterns, new outcomes are achieved. This research uses descriptive-analytical method to case study of an example of a Zand era garden carpet. The data were collected from library sources and field research by means of documentary sources, note taking and observation of the available carpets in the Carpet Museum of Iran and overseas museums such as the Metropolitan, Islamic Art in Berlin, Victoria and Albert, Brooklyn and Hermitage. The analysis of designs shows that the symbolic motifs imply the mythical concepts and conceptually relate to one another. Motifs of the of «Zand» erain the garden carpet are inspired by the formal and thematic elements of the past patterns. These elements, in addition to repeating the traditional motifs, were creative in composition of designs.

Iran، the cradle of ancient civilizations and prehistoric cultures، is concealed thousands of hidden secret in. The petroglyphs are the newest art which are spread in different areas of Iran and each of them has diverse signs and traces of the ancient world. in this research Asbqth petroglyphs were selected and analyzed. These stone-reliefs are located in Shavaz، rustic region، of Yazd province which can be examined base on antiquity and various images and they represent perspective and customs of people in that era. This research carried out of descriptive-analytical approach. Data collecting is based on library resources along with observations and interviews. By studying the type of images that were carved in this area، the symbols of fertility and rebirth (antelope and sheep)، symbols of Mithraism (cross and ring seal)، icon arrow and designs of animal، human and plant were observed. these icons show early settlement in the area as well as beliefs and primary religion residents in this location.

Zhorkhaneh is a place that has a close relation with heroic and from ancient times it has been a place for training powerful men to fight enemies and protect country from the invasion of offenders. Attending in Zorkhaneh and participating in its ceremonies has special rules of etiquette and performing the athletic exercise by the heroics demands wearing special kinds of sports clothes. This training clothes which is known as” Tonban” or “Tonkeh” have special characteristics and the athletes should pass orders of circumstances to be allowed to wear it. In spite of the fact that the clothes of Zorkhaneh sports in Iran has an ancient and archaic background, but it has not been studied clearly and comprehensively. This clothes always prepared from fabric and leather and decorated from the traditional designs which rooted in ancient art of Iran and contains symbolic designs. The prevalent decorated designs in this clothes is mostly from botanical motifs such as Boteh Jegheh which appears in various forms and types and known as a symbol of cypress tree. Boteh by reserving its herbal essence is able to appear in other shapes and forms which is the consequence of art and creativity of the artists in different ages. The designs are as the results of customs, myths and believes of the past people that comes into the views in training clothes of the Zurkhaneh symbolically. Aims: 1. Studying the Zorkhaneh clothes and its decorations 2. Studying the designs and symbols in Zorkhaneh clothes Questions: 1. What are the components of Zorkhaneh clothing? 2. How is the decorated designs and motifs in Zorkhaneh clothes and what kinds of concepts they represent? The method of collecting matters and data that is used in this research was based on the library, documentary and field study which has been accomplished by descriptivecomparative methods.

Iran is a large country with a vast variety of tribes and ethnic groups. These various tribes are unified with a national language and culture while using their own local languages and enriching ethnic art forms. Among Iranian ethnic groups, the Turkmen are remarkable for their art of carpet weaving which has a unique structure compared to other designs and textures. The charming motifs on Turkmen carpets are indicator of the customs and beliefs of the carpet weavers and appear in geometrical, floral and animal shapes. This paper focuses on animal motifs in these handicrafts, identifying animal parts and discussing their significance and symbolism. A better appreciation of these artistic creations is definitely facilitated by understanding the language of designs and motifs.
The aim of this study is to identify the animal motifs of Turkmen carpets and gather them in an illustrated collection to aid researchers and producers of these genuine artworks. Such an attempt can help to revive and elevate these traditional designs, hence the preservation of national identity. The findings of this research show that the animal motifs in Turkmen carpets can be divided into two groups of pre-Islam and post-Islamic periods. In the pre-Islamic phase, the motifs are basically those representing good and evil as well as forces of nature. These motifs are mingled with religious teachings in post-Islamic period, as a result of which parts of animal body replaced a representation of the whole form. The materials of this research are based on archive study and data collection and are presented in a historical-descriptive manner.

The symbol of invisible character is visible in an appearance that initiated a crucial role in men life with the creation of human being and start of the thinking. Symbols are in various forms including animal, plant and geometry, out of which animal symbols attained significant position in different periods of man life due to similarity of human and animal. Through assessing various animal symbols in each period, a horizon can be obtained of intellectual viewpoints of that period. From among different periods of history, animal symbols existing on the potteries of 3rd and 4th century AH in Iran are the subject of the present study. In the mentioned centuries, the designs of the animal symbols on the potteries are not drawn attentively. Among the paintings on these potteries animals like horse, goat, fox, falcon, camel, lion, pheasant, partridge, dove, fish, hoopoe and cheetah are used. In this study, the reason is discussed for the symbolic use of these animals. The aim of the study is theoretical which is implemented in an analytical-descriptive methodology by the use of documents. The goal of this study is identifying the beliefs and views of the pottery artists of the period. The results show that large numbers of animal paintings are used on potteries in 3rd and 4th century AH.Among the paintings, both real and imaginary animals are observed. Each of these paintings is a symbolic indication of a particular concept in human life. Certain paintings are designed attentively and some others are weakly designed.

In during Contemporary, its few of artists for numerous changes in artistic creation who have cared to reproduce some special symbols. In fact, these symbols are minor contain to the Beliefs, cultures and values of people in the country. One of the most important artists is Jazeh Tabatabaie, Painter and sculptor, devoting Significant share to review of symbols. He recreated some of the symbols by it specific manner such as Lion and Sun, Horses and Bird_Humans, etc. In this article, the method of the use by Jazeh Tabatabaie was considered. These symbols do not explain the old sign and the old content. In contrast, it appears to Humorous shape. During, the some former of the concept was satirized. It means that according whit it time, it Contemporary culture and it special look symbol was applied by Jazeh Tabatabai. Obviously, there are feminine forms in all of the Jazeh artifacts. Course, as missing element that in artist symbol language, in view that is felt a room in our time, was explained. Break symbols of jazeh down to two parts of Visual Arts; Painting and sculpture. It can clearly elicit female view in painting works, but it can observe Humor and satire the former symbols in sculpture works. In addition, this way, it can observe modern view of Jazeh.the form and modern shape was used for this method. In this specific view can use to limitless from material that not used in classical sculpture such as iron, and it observe both be pre-built and ready. Moreover, it clearly was observed specific style and personally signs. In fact, everything counts pure art of the Jazeh the manner of symbols transmutation in grouping the pieces together and connecting the piece. finally, create the artistic configuration and lovely. Thing that begain in iranian art by Jaze Tabatabaie. Those symbols determine living and Jaze’s tangible thinking for Iranian contacts. Jaze’s symbols are bridges between artist and people who create for them. Jaze could create Iranian traditional space and spirit, in modern form by new materials and Ready things in his sculptures and also kind of his brush’s action on canvas by his specific style. He can to keeping alive his name in Iranian art history. In fact, Jaze’s language is Iranian artist’s language in his contemporary world.But what will be clear from general viewpoint of Jaze’s artworks, its figurative and popular style that became familiar and palpable his artworks for Iranian people, because his favorable using from familiar symbols. He create witty animals and creatures by iron and metals that nowadays obtain appropriate position in Iranian art history. Of course this style apparented in work of other artists too, but in Iran beginning of this style did start by Jaze Tabatabaie. Himself learned its during the traveling Europe and from him europen teathers and artists as Julio Gonzalez. He could to Iranianized up that style very well. Certainly secret of this successful work is using from historical, populist and familiar symbols and signs in Jaze’s artworks.