نشریه هنرهای صناعی ایران
پیاپی 2 (بهار و تابستان 1397)

Iranian traditional homes are unique architecture samples with an Iranian essence. These homes are a suitable subject for research in Iranian architecture. These homes can provide answers to some question that we have these days, like using geometry in architectural design of this home.  Iranian traditional architects have been interested in geometry and been using in almost all parts of homes.  This aspect of the homes actually was very useful regarding the weather conditions in Iran.
One of these interesting component of Iranian homes is Orosies, Mohammad Karim pirnia, one of the Iranian old architects, has defined such: Orosi is a window that usually covers whole of the wall and is from roof to floor, and its opening is in vertical axis. Which is the product of a human necessity and Iranian art. In an effort to remember and appreciate this traditional art, because with destruction of this works, intellectual, Cultural and identity backing of them are destroyed and some none value objects take its place and simply community failed its identity. This arts and related data of them must   Saving to help the Iranian identity be live in long time in future this study was designed to investigate the relation of Orosies and the geometry of Iranian homes. In other words, we wanted to study the relation of geometry and Orosi of Iranian homes.
The theory of This paper is.” orosi as part of the Iranian home is designed as geometric principles and geometry of orosi is in contact of geometry of whole building” according to this theory, the target is finding the coordination of geometric principles and designing orosi’s, in this way geometry that used in architectural design must be division. 
By using library sources and field study a list of all the homes with Orosi in Kashan was prepared. From these lists seven of the homes was chosen. The appearance, the way the door opens and the location of Orosi in these homes were investigated. Then the geometry of the Orosies in three different Iranian architect measurements was studied.  These measurements included; the relation of Orosies with Paymoon, descriptive geometry (the study of proportions in Orosies sizes) and the combination geometry (the relation between and geometrical network). Results showed that the Orosies, as a component are well coordinated with the whole geometry of the houses. Hope these studies encourage and facilitate the use of these traditional components in new home designing.

Brocaded textile is made of gold or silver threads. This textile was produced during the Achaemenid period and in the Sassanid era, various designs were added, hence the evolution of this fabric proceeded. It was very much considered in the Timurid period with decorative effects and then was influenced by the narrative and illustrative aspects of Persian painting. With the domination of human image, a special style emerged that reached its peak in beauty during the Safavid period.
This research tries to study in descriptive-analytical methodology and by the selection of fine examples the model and patterns of the samples that contain human forms. The findings of the research show that Iranian brocaded textiles, with regard to those having human forms, are so distinguished among other kinds of fabrics. Such textiles have been produced in two types: framed and frameless. They can also be seen in reflexive and reflective methods of decoration with plant and zoomorphic designs.
It seems by acquiring sound knowledge of certain dimensions and concepts such as "linear analysis of human designs" and "complementary decoration", it would be understood that Safavid brocaded textiles convey a domination of "artistic value" and "decorative aesthetics" in Persian fabrics in compare to their practical function.
The Brocaded textiles of Safavid period, with an emphasis on human forms, reflect the human-centered characteristics of the art of this period. It can be argued that the artists of this era competed with contemporary painters. The themes and general structure of the Safavid brocaded textiles, which are dominated by human shapes and designs, are mainly the application of decorative effects and the combination of domestic, wild and mythological animals, birds, trees and plants. Among these forms are the themes of romance, arrogance, hunting, gardening, and religion, with various methods of generalization, simple and reflective in the form of a frame and without frame. It should be noted that specific characteristics of these fabrics, the patterning method and the reverse motion rhythm are seen in multi-rowed fabrics.

Surāhī (decanter) can be regarded as one of the most common types of drinking vessels in Persian art as well as one of the containers mentioned most in Persian literature (especially in mystical literature). In this study, in order to complete this information in the Safavid era, in both domains, the method of reconstructing the horizons of Hans Robert Jauss was employed. Explaining the theoretical approach of this research, the horizons of expectation in Hans-Robert Jauss thoughts are said to be a criterion used by peoples of every age to interpret, reinterpret, and evaluate literary works of their time. He believes that with a three-stage instruction, one can reconcile the horizons of the expectations of people of every age to the work. Jauss has also used the artwork to review the work, but without having to document the audience it is only possible to guess how the audiences' expectation horizons are. However, in this research the horizons of explicit expectation in the Safavid era have been rebuilt based on the many and varied sources found in the Persian literary texts. The results of the research show that by applying the method of reconstructing decanters' horizons on the basis of contemporary literary texts, we can experience a major revival of this work of art, and from this approach it will become possible to have a better understanding of the findings of this container in literary texts and in some works of art (especially the images of the angels holding that container in their hands).

The importance of turquoise color in ancient ideologies encouraged craftsmen to build objects in that color. Turquoise stones have been admired by Persians and Egyptians since antiquity, bearing a symbolic meaning due to their color. Examination of a number of ancient Egyptian turquoise faience works reveals a remarkable similarity between their methods of production with those of the Persian Kharmohreh (handmade glass/ceramic beads). Over the past decades, the Persian Kharmohreh and similar works in ancient Egypt have attracted the attention of an unprecedented number of researchers as a result of archaeological discoveries, but a comparison has yet to be made between the two.
In the present study, carried out in historical - comparative methodology by using desk and field research techniques, such areas as creation time, production methods, and discovery sites of these works were taken into account in Persian and Egyptian cultures. Comparison of these artifacts pointed to their long-lasting history in both civilizations. However, no conclusive evidence was found regarding the Iranian influence on corresponding Egyptian artifacts or vice versa. The artifacts of both civilizations included ornamental beads, amulets, talismans, vessels, figurines, mascots, and wall tiles. However, cylindrical seals and personal adornment such as rings were produced exclusively in Persia and Egypt, respectively. These products were made to imitate turquoise stones and were, respectively, associated with the Persian deity, Tishtrya, and the Egyptian goddess, Hathor. The main element of silica and the use of alkali compounds for glazing was the common feature in these works, while other similarities in the glazing compounds and glazing methods were also distinguished.

The Iranian kings have valued jewels and ornaments greatly and any king has attempted to collect the best ornaments and jewels entrusting them to professional craftsmen to enable kings by this way to increase their imperial glory socially and economically. It was also thought that more ornaments mean a great and glorious kingdom. Therefore, different Iranian kings have collected a tremendous treasury some part of which is kept in the National Treasury of Iran. Of the invaluable works preserved in this collection are the aigrettes that are considered imperial ornaments having been used for decorating the hats and crowns of the kings.
This article aims at realizing the artistic and symbolic features of this collection and is performed through a descriptive- analytic method. The process of collecting data was fulfilled by way of directly observing the pieces in the mentioned treasury, observing pictures taken from the aigrettes and using credible resources, documents and library studies. Results indicate that the kings used the aigrettes for the purpose of enjoying supernatural and divine powers. Studying the extant symbols on the aigrettes, we find out that the initial form and structure of them have been derived from the plant nature and the king's symbols of glory.

Studying visual artworks, especially when there is not much to know about their hidden meanings, is a problem which should be solved in a systematic way by adopting an authentic methodology. Passing through an image to reach the meaning is a process which always and unconsciously happens in artworks' addressees with nearly different methods. Determining such a methodical approach in the critical perusal of artworks will develop as different methods of art criticism. One of the methods that create an academic analysis for passing through the meaning of image is iconology in Panofsky's approach. This methodology has been proved to be efficient in this article by applying which to a photo of a Bakhtiari carpet from Hinegan region with no obvious meaning. The carpet has some properties with religious implications, but the woven events were not correspondent to any religious narratives. Studying the carpet with Panofsky's method and paying attention to small visual contents, it became clear that three groups of motifs which do not seem interrelated in the first look,  create a network of meanings. By reading pretexts carefully, they guide the research to their origins and hidden meanings which were not obvious in the beginning for the artist, audience and the artwork.