نشریه فردوس هنر
پیاپی 2 (پاییز 1399)

During the Qajar Era (1789 - 1925), lots of transformative events took place in Iran, the effects of which could still be seen in the Iranian society. At the beginning of the Qajar Era, the situation of the carpet trade was not favorable and even many famous carpet weaving centers had lost their former prosperity. In the middle of the Qajar Era, the Persian carpet weaving industry reflourished, caused by many interacting factors. This lucrative trade attracted foreign investors to the Persia. During the Gilded Era in America, the West showed an interest to invest directly in Persian rug production. Multinational corporations began extensive activities in this field. According to some experts, with establishing multinational companies, claimed to be merely for the carpet weaving’s growth, The Western companies were following their colonial goals; an example of many privileges given to the Europeans, Russians and Americans by the Qajar kings.  These Western companies were benefited by carpet weaving technology which already existed in Persia (Iran) as well as low-priced local workers. Investing in several Iranian cities and due to their financial upper hand, they were able to employ many workers in both centralized and decentralized carpet weaving workshops. These companies initially applied the indigenous technology but after mastering the techniques and learning the craft’s skills, they started to make changes in the methods of carpet production which affected the craft both quantitatively and qualitatively. In some weaving centers, the efficacy was so severe that it totally changed the aesthetic principles of the region’s rug weaving. The pioneer was a British-Swiss company called Ziegler, which established its workshops chiefly in Sultanabad (Arak), Tabriz, Kerman, etc. The company started its activity in 1883. Its parallel interest was Persian opium cultivation. They learned the ropes from Tabrizi merchants who were expanding their workshops around Sultan-Abad at that time. So Ziegler and co., too, established their workshops there, followed by American companies, initiating a new type of designs in Sultan-Abad (nowadays called Arak). The total structure and identity of Persian carpets have not changed in these productions. Ziegler went after its Western tastes, which was forming under the influence of artistic movements such as Art Nouveau. The new products enjoyed Persian patterns and motives but in different designs. The shapes mostly followed curvilinear designs but in a somehow rectilinear way. The result was something similar to loom-drawings on graph papers which was a shake-up for that time. Multinational corporations caused many designs, patterns, colors, and even textures to be forgotten. After the Ziegler’s dissolution, the loom drawings remained in Arak’s workshops and the style mingled with the previous traditions of the regions in which the company had used to produce carpets. The present study tries to analyze the designs and patterns of carpets produced by Ziegler Company in Sultanabad (Arak) - which has been the center of Ziegler’s activities. The main questions of this article are:1. What are the characteristics of Ziegler carpets? 2.  What innovations Ziegler made in Persian palettes and designs? 3. Did Ziegler give something new to the Persian carpet? The study’s results indicate the so-called Ziegler carpets have been designed with a new type of composition using patterns from various Iranian hand-woven pieces. Ziegler’s designers used freely the various elements from different Iranian regions, making new compositions with them. At first glance, one may assume the Ziegler’s designs as novel patterns with no relation to the traditional Persian designs. But with a more accurate look it would be apparent that the general forms of Persian patterns remained unchanged in these pieces. It is not the patterns, but the designs and compositions that have been changed as well as the palettes and favorable sizes.  Ziegler’s designs enjoyed Persian patterns and motives but in different designs and with different proportions. In the long run, Ziegler's designs did not add anything new to the Persian carpets’ patterns and designs. Only by changing the proportions and colors Ziegler managed to achieve a new style that became fashionable in the target markets for a while. The presence of multinational companies, like Ziegler, in the Iranian economy had</em> some positive results, such as increasing foreign investments and growing the carpet production. Nevertheless, it degraded the quality and originality of Persian designs. The research’s method Analytical-descriptive method is used in this article. The data have been collected from both field and library. Historical texts have been also used as references. The method of analysis is qualitative. The results indicate that despite breaking the traditional rules, Ziegler designers could not introduce something new to the Persian carpets’ world. Following the Western markets’ temporary tastes, Ziegler designer made some changes in patterns’ proportions and arrangements. Such innovations may still be seen occasionally, here and there, in new Persian products.

Cleanliness and purity has been one of the basic principles of Iranian life in ancient and Islamic culture. For this reason, several objects and utensils have been made for this purpose, one of which is a container for storing and consuming water for washing, and its types have been called ewers. These vessels have been made of different materials in historical periods, including pottery and metal, but in the meantime, due to the strength of metal drains, more examples of them have been left. It can be said that the oldest historical period from which the remaining metal ewers can be studied and considered both in terms of number and stylistic features is the Seljuk period. During this period, there was a special style in making metal utensils, including ewers, which is known as Khorasan school. Since in general the ewers can be considered as two main parts of the body and neck and the existence of other parts, such as the base, handle and neck is variable in them, these differences and on the other hand the existence of different decorations on They can be effective in dividing them. A group of metal ewers of Khorasan school in the Seljuk period, which are decorated with fruits and pomegranate seeds can be considered as a separate group in ewers of this period. This research is carried out with the aim of determining the ponds after examining the ewers of these ponds, in addition to using the form of pomegranate fruit and its seeds in decoration, in other decorations as well as in the form of body, neck, What other formal and decorative commonalities do the handle and the base have in common, so that a specific structure in form and decoration can be defined for this group of ewers? The question is, what are the similarities and differences between pomegranate-decorated ewers, in addition to using pomegranate for decoration, in the form and decorations of the body, neck, handle and base? This research has been done by descriptive-analytical method that library and field methods have been used to collect information. Finally, after observing all these works, their form and decorations have been analyzed. After examining the pomegranate ewers, it can be concluded that these ewers have a cylindrical neck on a jar-shaped body with a prominent ring at the junction of the two sections. In pomegranate-decorated ewers, the shape of the body jars is the same in all of them and there is little difference in their diameter change. In this group of ewers, the neck is equal to or greater than the height of the body and the diameter of the neck decreases from top to bottom, the size of which varies in each sample. In the categories of all samples of this group of ewers, ergonomic curvature is used for better grip, which has a different form of curvature of the handle. The height of the base in these ewers is adjusted to fit the shape of the body and neck and for better standing. Regarding the decorations, the pomegranate fruit has a three-dimensional volume in a static position on top of them, with a slight difference in their position with respect to the vertical line, the slope of which reaches a maximum of 20 degrees with the straight line. On their bunches, there are grain-shaped protrusions that symbolize the seeds inside the pomegranate fruit and their number varies between 4 and 8. After examining the neck and body decorations, it was found that in all of them, the neck is divided into three horizontal sections with lines, and plant decorations and inscriptions can be seen in them. The inscription decorations are worked in two parts, upper and lower, and in the middle part of the decorations. The face of the vertical lines is used. The body also includes plant, animal and inscription decorations - the inscription decorations are mostly seen on the shoulder. Also, the study of the relationship between pomegranate and the use of these dishes, considering the historical background of this element in Iranian image culture, led to two hypotheses: First, the role of pomegranate in relation to water (use) and woman (user of these dishes) carries the concept of fertility and life: A concept that has long been in the ancient religions and customs of Iran. Secondly, the role of pomegranate, like many motifs inherited from the culture of the Sassanid era, may have been used as a decorative element in these dishes and lacks any special meaning.

Haft Awrang (Seven Thrones) is one of the most important works of Persian literature and is written by Abdolrahman Jami Which includes seven Masnavi and has composed from 1468 to 1485.  There are an illustrated manuscript of this book that preserved in the Freer Gallery of art in Washington, D.C. this manuscript is known as both Sultan Ibrahim Mirza's Haft awrang and the Freer Jami. This valuable manuscript is one of the masterpieces of Safavid dynasty in Mashhad school of painting that produced with the support of Sultan Ibrahim Mirza nephew of Shah Tahmasp safavid. Mashhad Painting School flourished with support of Abolfath Sultan Ibrahim Mirza. He was the son of Bahram Mirza and the grandson of Shah Isma'il Safavi. Shah Tahmasp appointed Ebrahim Mirza as the ruler of Khorasan. This valuable manuscript wrote in Mashhad from 1556-1566 /963-972 AH. This work consists of more than three hundred pages with the decorated margins. The text is written in nasta'liq script by six of the most prominent calligraphers of that period. It has twenty-eight paintings that executed by famous artists such as Sheikh Mohammad, Sultan Mohammad Khandan, and Mirza Ali, son of Sultan Mohammad Tabrizi, Muzaffar Ali Agha and Aqa Mirk. Moheb Ali was in charge of the library and was responsible for providing the necessary items, including two different paper. The awareness of the process and order of decorations in royal manuscripts such as this manuscripts is important for today's research. In this study, we try to answer the following questions: what kind of decoration used in Freer Jami? What steps has been done and how? The results point out that each of decorative elements in this manuscript in addition to aesthetic function also had practical function. For example, headings were as an introduction to the literary text. Colophons provided valuable information about time, place, calligrapher, and sponsored names. Even the location of the illuminated panels that decorated verses had been done for a specific purpose. Their function is to introduce the presence of painting pages or colophons. The widest area for decoration in Islamic manuscripts, after the headings, are the margins around the texts and paintings. From the beginning of the fifteen century, the margins often decorated with golden designs and in various ways. Most of leaves in the Freer Jami have marginal decorations, which executed as the last stage of the illustration program. Most of the marginal motifs are floral that painted in gold. There are Animal figures in margins of some paintings. These marginal paintings have conceptual functions that related to the main painting. For example marginal animal motifs on some paintings show the combating of animals that indirectly related to the internal conflict in the middle paintings. These motifs probably have also symbolic meanings. Rubric or colorful titles are one of the most common decorative forms in Islamic manuscripts that convey the message of the text separately. Freer Jami has more than 750 decorative colorful titles. The number of them in each Masnavi and their location in the writing space completely depend on the text of each Masnavi. The three Masnavi are short and mostly educational texts that have more colorful titles. The other four Masnavi are in the form of interconnected narratives and stories written in longer sections. Therefore, they have less colorful titles. Each colorful title consists of one to four lines (sometimes more) that are placed inside a rectangular frame and extend along the two central columns of the text. Study of the decorative program of Freer Jami shows that in the first step, after preparing the sheets, the ruling the tables and writing the text and colophons and illuminating the verses were done respectively. The colorful titles, headings, and marginal drawings, as well as paintings, were executed after attaching the text sheets to the marginal sheets. In fact, any decorative items has both the aesthetic role and practical function in this manuscript. The production this manuscript during the nine years indicates the precise and detailed planning and flexibility of implementing decorative program in three cities by several calligraphers, painters, illuminators. It seems that the artists involved in this project had individual independence and in the performance of their works, in addition to following the common style of that period, had personal styles. Method of this study is descriptive – analysis and to access the information library and database resources is used.

Human beings are social creatures and they have to attend public and informal spaces for the meeting of their needs. This is while we are faced with the shortage of the public spaces in the course of the cities’ development and there is felt a need for places for social interaction and gathering with the ascent in the society’s individualization trend. Third place is a general term for various kinds of the public spaces that host the regular, voluntary and informal assemblies away from the work and home areas. The third place is a space enabling the meeting and conversation with friends, neighbors, coworkers and even strangers. The individuals with various age and gender properties can satisfy their required wants and perform their needed activities through presence in these social spaces. The third place possesses the potential for the creation of opportunities in line with the individuals’ gathering around and establishment of social relations and it can set the ground for the development of a sense of attachment. The human beings’ need for the affectionate interaction with the place where in they live and/or, in other words, attachment to the place is amongst the most important aspects of the human-place relationship that has to be taken into account by the urban architects, designers and planners. Attachment to a place is the point at which the contextual elements, activities and mental concepts of the place intersect. This sense of attachment causes the transformation of space to a place with certain sensory and behavioral attributes for the individuals. Library is a sort of public space and, as clearly understood from its definition, the public spaces should be the ground of the citizens and users’ use and collective communication and they have to be able to contribute to the increase in the opportunities of the social interaction. Thus, a public urban space like a library should induce the trait “attachment to the place”. Due to the communication with the various individuals of the society, libraries play a particular role in the promotion of science and enhancement of the culture of book and book-reading. As a third place, a public library should be designed in such a way that it can set the ground for the citizens’ presence as the proper social locus and container and encourage them to study and create a sense of attachment in the attendants. Amongst the outcomes of this issue’s negligence, the reduction in the amount of the libraries’ use and reduction in their social roles, vanishing of the sense of attachment and individuals’ separation can be pointed out. Therefore, approaching the library as a place for the social interaction has come about for responding to the needs of the today’s society. The present study aims at achieving the indicators effective in the creation of attachment to the public libraries. In line with this, efforts will be made for finding answers to the following three essential questions: what factors cause attachment to the place in the public spaces? What variables exert a larger deal of effect on the creation of attachment to place in the studied case? What are the solutions for designing libraries as the third place in such a way that a sense of attachment can be provoked in the attendants? The present study is an applied research which has been carried out based on a qualitative and quantitative study method. The study has been drawn on logical reasoning. The method of gathering information for the achievement of the study’s theoretical foundation is the library and documentary research and the indicators have been extracted from inside the texts. In this study and in the first step, concepts like third place, attachment to place, attachment to public libraries as the first of the society’s public spaces and legality governing the designing of the libraries have been scrutinized for the achievement of the study’s theoretical foundations; then, the attachment to place has been analyzed and investigated in four successful library in Iran, namely Tehran’s garden of books, Iran’s national Library, Jondi Shapour Library and Pen Library. In the end, the extent of the indicators’ influence on the sample “garden of books” has been assessed through questionnaires based on flexible method following which the indicators were extracted within the format of diagrams. Next, solutions have been offered for designing libraries as the third places with an approach to sense of attachment to place in the users. It was made clear in this study that six aspects, namely contextual, social, functional, semantic, sensory, individual and temporal, have effects on the creation and enhancement of attachment to place in the public libraries. The results of this study emphasize on the importance of the sensory and contextual indicators with the highest coefficient of correlation with the sense of attachment to place. Based thereon, amongst the indices of the indicator “sensory aspect”, “satisfaction” and, amongst the indices of the indicator “contextual aspect”, “comfortability and convenience” have the highest effect on the sense of attachment to the place. In the end of the article, practical solutions have been offered for the designing of the library based on the attributes of the third place and with an emphasis on the increase in the attachment to the place. In the end, the designing solutions have been offered with the format of six aspects, namely contextual, social, functional, semantic, sensory and temporal, and 25 indicators. Therefore, the application of these solutions in the designing and redesigning of the public spaces like public libraries enables the transformation of these spaces into third places that can create a sense of spatial attachment in the attendants. This means that the higher the sense of attachment to the public spaces citywide such as libraries in the individuals and attendants, the more frequent would be their voluntary presence in the intended spaces. Thus, sense of attachment to a place is a significant factor when designing an environment.

The shrine of Sheikh Safi al-Din Ardabili is one of the magnificent monuments left from the patriarchal and Timurid eras, which is one of the most important museum and historical collections in Iran. This collection contains museums of different art disciplines. Among the manifestations of art and beauty are very valuable wooden works that have been executed with a variety of executive techniques, including Inlay and Jovak. The tomb of Shah Ismail Safavid, the founder of the Shiite national government of Iran, is located in a part of the tomb of Sheikh Safi al-Din Ardabili, which was built during the reign of Shah Abbas I with special architectural arrays and decorations. The tomb of King Ismail is also one of the most exquisite wooden works in which various execution techniques can be seen. This very beautiful box that is on his grave is decorated with various artistic techniques such as: mosaic, embossing, embroidery, embroidery, knitting, inlay, wood painting, jovak decoration ... are observed. The present study investigates and adapts the themes and how to perform the jovak and inlay technique in the mentioned tomb fund.  Inlay artists create regular polygons by combining colored wood, metal, and bone. inlay is the generator of knots and in principle, inlay can be called a kind of king knot. Inlaying is done by cutting, polishing the raw materials and putting them together according to a geometric design by gluing and tying them with thread. Finally, it forms the inlay frame. After framing, the cutting is done. Obtain a layer from the cross section of the stem. But Jovak is a work of art made entirely of wood, to which no materials are added until the end of the work, and various geometric shapes are used in it, and in addition to the procedure, in addition to the work procedure, it is also used in the main coil. In addition to the type of materials used, these two techniques are different in terms of performance variety, dimensions, etc., while in most studies conducted on this tombstone, no mention has been made of this technique. For this reason, this study tries to study these two techniques on the tomb of Shah Ismail according to the definitions and the type of work method of inlay and Jovak. Also, in Jovak technique, the variety of patterns and regular geometric shapes has been much more than inlay, and that inlay technique can be considered as a subset of Jovak technique. The research method is descriptive-analytical inlay and Jovak designs and the research is a qualitative research with a comparative approach. The main part of this project is based on library and field studies, observation of patterns and photography. These techniques, which are now forgotten art, the authors try to preserve this Iranian-Islamic art with the aim of identifying these techniques and introducing them in the contemporary era, to achieve which we first analyze the patterns and Then they are matched with each other. In this article, by comparing the designs of inlay and Jovak, the question will be answered to what extent the designs of these two techniques are different or similar to each other. The question raised in this research is what are the differences and similarities between the themes and the method of making inlay and Jovak on this box. The results indicate that these designs are similar in terms of design and are somewhat close to each other, but in the type of framing and variety of shapes used in the jug is much more than inlay. Historical relics from different periods show this example, an example of which can be seen in the tomb of Shah Ismail that the inlays are mostly done by flower-cutting method, but there is a limitation in the execution of the Jovak technique. And there is no role. It should also be noted that more than 30% of the decorations of this fund are made up of inlay and Jovak. The use of geometric patterns and framing in the construction method has been the similarities of these two techniques. The technique of jovak in the type of framing and its executive forms (use of rectangle, hexagon, hexagonal, etc. in working jovak) is much more varied.... You can see the variety of shapes in them.

Part of graphic art that deals with informathion design and visualization of data is called Infographic. The present study intends to use the traditional elements to design infographics in urban environments. For this purpose, we present a design methodology. There are several ways to design. The present article aims to design a cultural-historical infographic model using a rotating strategy design method. The main issue of the present research is whether in the model of the design of infographics, the elements of traditional art can be used in such a way that both the function of information in the infographics, and in its visual aspect, consistent with the culture of visual and artistic Traditional is the land of Iran. The premise of the present study is that traditional arts are the perfect solution for localization and identification of infographics. The general objectives of the present research are to use the capacity of traditional arts in the infographic expression of cultural messages and to shape the cultural-historical identity of the city. The second objective is to provide a conceptual model for designing cultural-historical infographics appropriate to the historical context of contemporary cities of Iran. Finally, the conceptual model of research with the case study approach has been tested in the real environment and has been generalized to the Kheshty Dome. The research method is descriptive-analytical and survey method. The most important findings of the present research show that using the elements of visual art of traditional art can create an aspect of cultural-historical identity for modern infographics. On the other hand, due to the cultural and native features of the historical regions, it is possible to design infographics appropriate to the historical context of contemporary cities of Iran. The main questions that the following question seeks to answer: First, can traditional arts be used to design infographics in the context and historical context of contemporary cities of Iran that are consistent with the cultural and historical identity of the city? Second, how can we develop and generalize the cultural-historical infographic model of the present research for use in the historical context of each city? In response to research questions, two hypotheses are raised. The first assumption is that by using visual elements, the way of expressing and visualizing data in the works of traditional art, it is possible to create a cultural-historical and native identity aspect for modern infographics. According to the second hypothesis, with regard to the cultural and native features of the historical regions, infographics adapted to the historical context of different cities of Iran in the contemporary period can be designed. In order to test these hypotheses, the model of cultural-historical information-graphic design based on the literature of research is designed in five stages and after confirmation of the experts as the final model of the research will be presented. In order to test the model, with the approach of the case study; Infographic of the Kheshty Dome located in the historical context (Samen area) of Mashhad city.