نشریه هنرهای صناعی اسلامی
سال چهارم شماره 1 (پیاپی 4، بهار و تابستان 1398)

Throughout history, human beings have used signs and images to express an idea, an object, or a sacred place, which have given them sacred values in individual and group use. So they were associated with religious rituals and worshiped by people and gained symbolic values. Islamic art as a visual language also has its roots in Islamic traditions and thoughts. Its roots are most evident in the visual embodiment of important Islamic religious guidelines and Islamic artifacts. Artists in the Islamic realms present the concepts of Islamic education in an intuitive and symbolic way in works of art, especially in imprinted paintings, many of which appear in abstract forms such as Islimi, Khatya, etc. One of these abstract motifs is Shamseh. As one of the motifs used in Islamic Arts, Shamseh has a special place in different branches such as architecture, handicrafts and calligraphy. Even though Shamseh abstract motif and its geometry came from Pre-Islamic art and culture, it was redefined in combination with theosophical concepts and Islamic mysticism beliefs. In addition to their visual aesthetic values, such motifs in Islamic Arts carry great cultural and religious mysteries and meanings within them. Muslim artists have used these motifs to express their monotheistic and theosophical beliefs. It is the Islamic mystical and theosophical beliefs behind these motifs that make them pure, original and eternal. One of the great Islamic philosophers is Ibn Arabi (1165-1240 AD) who lived in the era that Islamic Art formed an independent identity and achieved significant and noticeable accomplishments. Since the thoughts of Ibn Arabi in the 13th century was welcomed in all aspects of Islamic society, especially in Iran and Iraq, the abstract pattern of Shamseh motif could also be linked to these concepts. Also, since the 13th century is the beginning of acceptance of the arts Islamic artistic activity, the influence of concepts and ideas in art and their recognition is important, because for centuries Islamic art has retained these original principles and concepts as a valuable tradition and them passed on to later periods. Therefore, the present study aims at exploring Ibn Arabi's thoughts and his theoretical mysticism in order to extract from these texts the foundations that influence Islamic arts and make a model for analyzing Shamseh motif and by reviewing his ideas provides a framework as a theoretical model to guide the study of concepts and foundations in Shamseh motif. Since the relationship between concepts in Islamic mysticism and Islamic art and abstract forms of motifs has received little attention by scholars and most of the researches have focused on the historical dimensions and technical evolution of works of art, this article attempts to express the relationship between Ibn Arabi's theoretical mysticism and Shamseh motif. To achieve this, in the course of the paper, the main question of "How can Ibn Arabi's theoretical mysticism be used to extract the foundations to analyze the Shamseh motif?" is answered and by analyzing and interpreting his thoughts, the research hypothesis is explained that " Ibn Arabi's principles of thought and mysticism appear to have influenced Islamic art as the first written structures in theoretical mysticism". In this research by studying Ibn Arabi's theories, key concepts such as Interpretation and explication, hidden treasure, fixed entities, delimited and non-delimited imagination and wahdat al-wujud (the Oneness of Being or the Unity of Existence) are explained. Based on studies and analyzes, it is concluded that the meaningful explanation of Shamseh motif in Islamic arts is related to Ibn Arabi's theoretical mysticism and the principles of Ibn Arabi's thoughts and mysticism as the first written structure in theoretical mysticism have influenced Islamic art and its resulting motifs. The research method of this article is descriptive qualitative analysis with emphasis on library documents.

One of the key issues in traditional arts is its understanding of mysticism and religious teachings. Some philosophers have raised many topics in the context of religion and mysticism, while many artists are so enthusiastic about creating their own artwork that they seem to pay close attention to There is no scientific and practical connection between the field of mysticism and creation, while some artists who traditionally adhere to professional ethics with religious teachings, consciously proclaim their unconscious consciousness and God. Some philosophers and scholars of mysticism are considered the same religion, and they are considered as part of the components of religion. But recognizing these two and its relation to traditional arts is not possible except by discovering the nature of each one and their impact on each other and the surrounding environment. research goal: the explanation and revelation of the intimate relationship of man with religion, mysticism and art is the primary goal of this research and to attain the point that how much mysticism leads to the truth of the truth as the backbone of the religion and the backwardness of works of art, especially traditional arts. Research

The research method is descriptive-analytical with a comparative approach in research parameters.

Receiving the ratio of religion, mysticism and traditional arts and understanding their meaning, a better understanding of the clear criteria for recognizing the art of religion and authenticity based on mysticism and Islamic arts, provides that mysticism and religion seek to achieve the truth of the world, but in the world There are no finds and basically the findings of these two worlds; but art has always sought to reveal this truth to the human race in the world.

Cultural consumption is one of the common ways to identify and represent self, especially in contemporary period. In cultural consumption, people use different types of goods and symbolic values not because of their material value, but because of their cultural and symbolic value, and this type of consumption trying to create an ideal image of their own in the minds of others. Hence, the use of pottery as a cultural product, is not only in the sense of mere use (what was supposed to be in the pre-contemporary era), but also contains different meanings. Social theorists in the study of lifestyles usually regard this domain as being based on social consumption organization, meaning all social activities performed by individuals in their daily lives and It determines the attributes and creates an identity for them. The basis of one's identity in traditional societies is their attributes, meaning that one acquires one's identity through family, father, father's job, or grandfather's. For this reason, the type of production or consumption of the individual is not important in traditional societies, and in addition, it has no bearing on the individual. Thus, consuming or not consuming pottery does not make the person identifiable. In fact, in the traditional pottery community, organically the organism is a part of people's lives and not a luxury and cultural commodity. If a person needs to use pottery in his daily life, he will not use it if he does not need it. So, pottery in traditional societies has nothing special to do or not to do with identity or identity. But in modern societies, one's identity is shaped by social class, production system, and consumption system. But in modern societies, one's identity is shaped by social class, production system, and consumption system. Particularly in modern times, consumption is becoming increasingly important and shaping the lifestyle of people who create an identity for them. In this time of the pottery as a cultural commodity in the lives of people and in addition to the need, contains many meanings in their consumption. The present study aims to provide a paradigmatic model regarding consumption and non-consumption of pottery products in Tabriz and the answer to the question of how the consumption of pottery products in Tabriz causes varied life styles and what the result will be. To answer the research questions qualitative approach based on grounded theory is used. The interviews were used to collect data and from 60 pottery and ceramics producers, distributors, and consumers in the city of Tabriz, the interviews were conducted with the theoretical sampling method. The content of the interviews was identified based on the developed model of coding data and a total of 249 concepts were identified as initial code. After eliminating repetitions and conceptualization in open coding, 87 concepts were extracted. By screening the basic concepts, we found 40 sub categories and 15 main categories that were identified in the five dimensions and in accordance with the grounded Paradigmatic model. Meanwhile, to ensure the quality of the coding, the researchers' self-esteem and member controls were used. In conclusion, the results show, the Pottery products with the aim of gaining dignity, identity, social and cultural capital, creating healthy living, nostalgia and remember the creation of man were used and by doing this, they make their lives sylish by using cultural and poettry products.

Studying the ways that glass was made prior to the Industrial Revolution is not possible through existing works that are often not well cited due to illegal drilling. Archaeological excavations also lack precise information regarding the preservation process of glass furnaces that have been demolished and rebuilt over time. Considering that image resources are one of the most valuable documents available for historical studies, this study examines the methods of glass making including working methods, furnaces, workshop layout, tools, etc. based on visual documentation. Existence is dealt with. This study seeks to address the question of what the prevailing conditions of the pre-industrial glassmaking workshops were based on the methods of construction and facilities and manpower. In this research, which is a type of historical-analytical research, the method of data collection as library is based on available resources. The results of this study show that the pre-Industrial Revolution paintings contain valuable information on how the workshops are arranged, including the types of furnaces, the type of furnaces, their location, the fuel used, Tools and ... In addition, in these pictures the glass is studied by the glassmaker. It is clear that before the industrial revolution, the glassmaker was doing the glass making activity individually. In the course of time, glassware has come in a variety of tools and formats using advanced furnaces. In fact, the very finesse and small size of the historical examples were dependent on the style and instrumentation of the period.

The concept of Islamic art has an irreconcilable relationship with tradition and traditional thought and the religious and spiritual views of the world. This concept has many functions and its various manifestations throughout Islamic culture and civilization, both in past works and in contemporary works, can be seen. Throughout the history of graphic design, there were many artists who used traditional musical designs in their graphic design work. This has been seen in the history of Iranian graphic design, and many artists have always used cultural, indigenous, national and religious elements in their logos, cover books, posters and other works. In most of these works, combining elements of traditional art with a variety of subjects is a smart choice and helps to better translate the message. However, the use of these elements is not always a choice and not likely to be, for designers, such as lack of recognition and sufficient experience have used Iranian-Islamic motifs in the design of unrelated themes, which resulted in the reduction of the function and the place of valuable motifs into a mere decorative texture. From this perspective, the use of traditional arts without studying their background and function can create uneven links in the design of graphic arts and other arts, which both diminishes the value of these designs and duplicates graphic designs. The purpose of this research is to identify and analyze elements of traditional arts in poster design. Therefore, in the present study, while referring briefly to the term traditional, traditional arts and Islamic arts, posters of the past six years, 1391 to 1396, the international Qur'an contest emphasizes The poster of Sioux is the fourth time that has been held in the Mashhadi Imam Khomeini in Tehran from April 30 to May 6, 1396. Therefore, this research is essentially a fundamental research. Descriptive-analytical method and purposeful sampling were selected for this research. The essential information was also collected using combination methods such as observation and library. The main tool for producing data in this study is the view and the snap. So, after observing the samples, the variables were analyzed by semantics in the artworks proposed by Pahlavan (2005 and 2008). According to the research questions, the designed observation card includes several categories of questions about the visual, figurative and linguistic aspects of the works. The procedure was followed by six samples being originally numbered. These numbers were used as inbound and unchangeable codes for information, up to the conclusion stage. Then, a sample image of each poster, with the number insert below its picture and its design year, appears at the top right of the card. The results of the observation card were presented in five tables. Then the thirty-fourth poster of the tournament was examined and described more precisely. After recognizing elements of traditional Islamic art in this poster, its features were studied in terms of traditional art standards. Finally, the results of the study were presented in four tables. The most important findings and outcomes are: the use of elements of traditional art and its combination with new arts such as graphic design can be clever for national, religious, and cultural issues, because in addition to aligning with the chosen subject, there are references to the forgotten traditional art of society and On the other hand, artists are forced to take a deeper look at the revival of the traditional arts of their community. From this perspective, it can be concluded that by knowing enough of Iranian and Islamic visual traditions and combining them with contemporary graphic design, in many cases, good results can be achieved and this is something that should be considered by graphic designers.

The image of “Alexander Builds a Wall Against Gog and Magog” is mutual in disperesed Falnama and Topkapi Persian copy. In almost all instances, the meaning of an omen remains consistent across various volumes. In two cases, however, identical subject has two different interpretations. The question is what factor or factors have caused differences in meanings of omens with the same subject. The main aim of the present research is to study the elements of each illustration, which has caused differences in meaning of omens. This current study was done through descriptive analysis and it’s data gathering was carried out in library method . The findings indicate that the reason for the difference between meanings of the horoscope is hidden in the elements governing the images. The stability and balance of the image, the presence of the two divine prophets, pomegranates and spandans, revealed the splendor of the horoscope in the disputed version. In contrast to the instability of the image, the presence of the people of Nav'il, the Qur'anic verse on the corruption of the people of Gog and Magog in the land and the large size of the bogies in the image, In the Topkapi version.

Murals are the main, media of human culture and civilization and the place and its long history in Iranian art is clear. There are specific forms of mural paintings in some Iranian architecture that are different from other usual wall paintings in materials, methods as well as implementation techniques. Unfortunately, these mural paintings are not studied certainly until now. Therefore, further investigation is needed due to the importance of this issue. Regarding to importance of necessity of art understanding before conservation, it is obvious that common conservation procedures on these relics (without appropriate understanding) have an inappropriate results on authenticity and integrity of the relics. Unfortunately, there is not adequate research about technology and conservation of these relics and related fields.  Historical points, manufacturing and used materials, effects of technological problems, as introduction to conservation plan were main questions. The aim of this research is the identification of history of development, and used materials and techniques in these historic paintings by field and literature investigations. Technological understanding of this kind of murals during the time by application of literature review and data explanation. Due to low information in Persian, European Marouflaged Mural has been studied more than Iranian relics. The research subject and case studies are studied in a qualitative and descriptive research method and the subject is considered with ten historical and theoretical aspects. These paintings are executed on the layer of cloth (canvas) and then installed on the wall that is known as a part of the architecture arrays. This research at the first library study is conducted and then according to the results, the field studies are carried out and finally, the data are analyzed. Knowing the number of Marouflage according to literature review, the identification of constituent layers of Marouflage according to field studies, and Understanding the differences between a common wall Paintings and Marouflaged Mural in Iran, are the results of this paper. In this paper, the process of formation of this type of wall painting in Iran was studied and present examples of this method in Iranian architecture are introduced and explained. some of the architectural interior surfaces are decorated by the textile painting by  Marouflaged in Ilkhanid, Safavid and Quajar period; funerary monuments with polygonal plan have the most decorative surfaces such as Soltanieh Dome, Sheykh Safi mausoleum, Maryam church, Golestan palace and etc. According to studies, there was technical change in manufacturing process of large wall paintings and ceiling paintings at Renaissance period. It resulted to production of new kind of murals which known as Marouflaged Mural. The research obtained appropriate results about production, manufacturing, historical samples and effect of technological problems on conservation of Marouflaged Mural.

Tiles from Islamic times and their unique decorations are one of the main manifestations of deep spiritual concepts and cultural events, which are changed to one of the treasures of the Islamic art. These decorations have several abilities in the field of design and visual communication and are important in the contemporary applied arts. The documentation of the present research is the Islamic architectural works, especially tiles of Nasir al-Molk mosque of Shiraz. Studying and investigating the tile decorations of this mosque can help to recognize the cultural identity of it. This paper attempts to answer the question by analyzing and describing the collected data in a field and library about decorating arrays of this building. This reflects how the tile designs of this historical building can be used in textile design and interior home decoration. In this way, first we take pictures from the motifes of the tiles so they are evaluated and analyzed. In the next step, existent capabilities of these motifs be investigated for textile design. Finally, the suffiecent motifs are selected and changed and textile design for interior home decoration is performed. The findings of the research show that however most of the motifs used in Nasir al-Molk mosque of Shiraz is affected by west decorative arts and are naturally and non-abstract, but the principles of aesthetics and the specific features of the Iranian tradition have been deliberately and timidly taken into consideration by the designers of the time. So these designs have sufficient applied and visual capabilities to use applied arts, especiaaly textile design, in accordance with Iranian identity and the standards of the modern society.

Although colors are, in their physical aspect, only a reflection of a particular wavelength, they have become, in human culture, a vehicle for expressing emotions, descriptions, imaginations, codes and symbols and other human subjects. The significance of this is that the colors have been used in various forms and concepts, both in the language of the creature and in the scripture in the language of the Creator. The question is, what are the differences and similarities between the semantic functions of colors in the Holy Quran and the Persian Irony literature? Also, does the Holy Quran have any influence on the expansion of the meaning of color in the Irony literature? In response to these questions, this research uses a descriptive-analytical and comparative method, by collecting all the verses in the three encyclopedias of "Dehkhoda", "Amid" and "Culture of Persian Fables" as well as collecting all the verses in which the colors have been used and Also, library resources have achieved results. Colors in the Holy Qur'an for "describing human spiritual state", "describing human physical condition", "describing natural phenomena (plant, animal, nature)", "describing specific miracle colors", "describing ideal phenomena in paradise", "describing Extra-realistic is applied to the natural phenomenon of the resurrection. Colors in Persian quotes, in the four functions of color in the Holy Quran mentioned above, namely "description of natural phenomena (plant, animal, nature)", "description of human physical condition", "description of miracle color" and "description of ideal phenomena in paradise" ", They have in common. Both in the Holy Quran and in Persian quotes, there are cases in which colors are used to describe one's spiritual state. These descriptions of the spiritual state of man using color, in the Holy Quran, are purely related to the Resurrection. But in the Persian ironys, this function of colors refers to the description of the spiritual state of man, both in the resurrection and in the world. Colors are sometimes used in Persian ironys to express appearance and also to describe a place or an object that has no such application in the Holy Quran about color. Instead, color in the Holy Qur'an is also used to describe in a more realistic way the natural phenomenon of the resurrection, which does not exist in the Persian ironys. Colors in the Holy Quran have mainly realistic functions and their ironys function is very low. The growth of Islam in Iran has had a profound impact on Persian language and literature, both in terms of content and structure. Influences such as the inclusion of words and idioms and Quranic verses increased the alphabet and translation approaches, and the writing of Quranic dictionaries increased the vocabulary and meanings of the Persian language. In such a way that the function of white refers directly to the story of the Holy Quran, the miracle of the hands of Prophet Moses. Green, like the Holy Qur'an, has been used to dress heavenly people. Also, as we have shown, some Persian ironys have given color to the function mentioned in the Holy Quran. Like black, in terms like: black letter (black letter), black bowl (sin). Or the blue color in the Holy Quran is used only for the eyes of sinful people who are sad at the resurrection. This color, in addition to being used in ironys, also as the color of the sky, has the same metaphorical function, which for the human eye is "blindness and bruising" in the sense of darkness, misery and sorrow. But the difference is that it does not refer to a specific time like the resurrection.

Art creation is a philosophical and philosophical subject that you can call into being about humanity and being. The excellence in the creation of the disciples of creation and the creationists in Islamic art shows that it is a product of the artist's esoteric powers such as intellect. What is the Artist's Guide to Creating Artworks? And how does this make the artist's excellence and state of the art interconnections so much more meaningful? There are issues you can explain by looking at an approach and analyzing it by studying the library and searching for Qur'anic services and transcendent wisdom with logical reasoning. The human soul is a single substance that is vital to the body and useful in its creation. This static essence of Bill and Bill can also move within you and provide you with a hierarchy that includes anticipation and positivity. Leading documents provide the basis for self-presentation of the highest rational and abstract plan and testimony of perfection. The essence of the self continually moves from one level to another, and the personal identity that encompasses the artist's personality is constantly refined. In this authentic interpretation of creation, the emergence of truth of a balanced order is far more permissible, and you can ask for the creation with you, and the emergence can also be transcended in the physical body and in the universe. She also used slices. You can see the artist's Creed Stride can be an explanation of the reality of the soul in terms of the essence of the essence and the reality of the soul in the imaginary and intellectual realm of the origin of the artistic creation. With the banquet experience of the artist, the artist can realistically capture and capture their potential self-consciousness in the potential meaningful mission and mission, and bring a new creation to the visitors that is summed up in this new creation and a new perfection for the soul. You will be.

Handicrafts are art-industry that women always play an important role in the process of designing and producing it, and a significant part of the activists in this field are women. Products of handicrafts, in addition to applied value, form the national and cultural identity of nations and, despite the features such as high value added and the low dependence on foreign sources can play an important role in economic development, which is the basis of cultural and social developments. The increase in population and the expansion of urbanization on the one hand, and the emergence of virtual communication tools on the other hand, have changed the markets of production and supply of handicrafts. This change caused the artist-artisan gains the opportunity to expand the range of activity and relation from indigenous ranges to global markets. For decades, the field of handicrafts is taught in Iranian universities, and most of these graduates are women. However, this question arises. What solutions can be provided to empower graduates in the management of design, production and supply in spite of changing nature of the market and the lifestyle of people of community and the development of domestic and foreign competition? The results of the research indicate that according to the small or medium businesses by graduates, the acquisition of new managerial knowledge and skills along with specialized art education has a significant effect on increasing the ability of graduates in the competition and successful presence in three areas of design, production and supply of handicraft works and products.

Among the important findings of excavations and archaeological research in Seymareh, the discovery of its mosque and its stucco decorations is highlighted. Regarding the Sasanian background of Seymareh and the direct effect of Sassanid stucco art on its mosque, the main objectives of this study are, first, the typology of herbal designs and then, identification of the mythological and sacred herbal patterns of this mosque. Accordingly, the main questions of the research are: 1) what are the mythological plant designs used in the mosque? 2: How explainable is the use of these motifs in decorations of the mosque, besides its religious and Islamic atmosphere? According to the studies, the sacred herbal patterns of this mosque include: pomegranate, vine, acanthus, palm, lotus, pine and oak fruit. Findings show that among the cultures of different nations in pre-Islamic period, pomegranate, vine, palm, and pine were symbols of fertility, immortality and blessing. Also, lotus, oak and acanthus were symbols of life, security, fertility, victory and success. Moreover, due to the establishment of Sassanid government in region, the moldings used in this mosque are derived from the Sassanid stucco art, lack of pre-Islamic mythological and symbolic views. Therefore, the plant designs of the mosque stucco decoration are derived from Sassanid era in terms of shape and form; also, regarding conceptual and content themes, these patterns are based on Islamic teachings, empty of mythological themes of Sassanid period. This study has been done by the descriptive and analyzing methodology, based on field and library studies.