نشریه هنرهای کاربردی
سال یکم شماره 1 (بهار 1400)

Clothing is one of the most significant tools in formation and development of a culture. After the age of structuralism and modernism, the researchers in postmodernism era, have paid a peculiar attention to the past traditions, religion and the art of tribes. Accordingly, a wide range of studies have been done on patterns, symbols and art of ethnic groups. The semiotic approach was presented by Saussure and pierce’s view in the  first half of 20th century and was used in many applied researchers in order to read the structural and semantic system of signs and symbols in artworks. Analytical reading of tribal clothing with a semiotic approach, will face us with deep cultural layers and acquaints us with understanding the ideology and the native culture within the civilizations. In the research process, we will study the used elements in clothes (men’s and women’s) such as shape, color and motifs. Understanding symbolic signs, icons and hyper-icons in clothes, acquaints us with a set of valued systems and aesthetic, individual, social and cultural functions of ethnic groups. This research was done on 13 samples from some clothes and accessories of Lorestan ethnic groups in order to identify the signs and symbols in determining their culture, customs and clothing. The research is a qualitative- applied and its analysis is inferential- Descriptive. Collecting data was library and field method through Cultural Heritage library, museum of anthropology and traditional markets. The result of the studies show that in forming Lorestan tribes’ clothing, some factors such as national and religious beliefs, customs, religion and climate are effective. The influence of these factors in the shape, design, color, fabric and utilizing the combination of cultural- economic instruments in a piece of clothing indicates the complete Coverage, authenticity, beauty and respect of these ethnic groups on individuals and society.

The Dark Age (which lasted from Goodarz I to Farhad III) According to sources, the Parthians are ethnically related to the Dāhe tribe, a nomadic tribe in the Transoxiana region and the southern plains of Sabiri. The effect of the yellow tribes' pressure on the other tribes of the region caused the tribes of the region to turn to the west. Among these tribes are the Dāhe tribe, the Dāhe tribe mixed with the Yellow tribes in the area due to migration. This tribe is one of the white Sakāī tribes who came into contact with the yellow tribes. Immigrant skin of the region was influenced by their customs and beliefs. Numismatics and symbolism of this study indicate the conscious use of Greek symbols by the Parthians, changing these symbols in order to establish indigenous traditions and use these symbols in the legitimacy of the Parthian government. We do not have general and original information and due to being vague and with the disappearance of a lot of available evidence We will examine the role of icons on and on the back of coins and their classification and typology. The purpose is to compare coins with each other, which has helped the historical and numismatics section of this period. It is a tool to classify and compare coins with each other. The research method is classification and typology. Recognition of images of coins has been done through the approach of calligraphy and iconography.

Persepolis is from the relics of the Achaemenid era in southern Iran, where the elements of architecture, decorative, and written texts are studied from various angles. The purpose of this research is to identify and identify the elements of the element of collective identity as well as the symbols of the national integrity in the elements mentioned above. The motifs used in the construction of Persepolis, alongside the great structure, have been directly and implicitly indicative of the communist spirit or the convergence of the builder kings. The question that the present paper tries to answer is that, despite the fact that in the Achaemenid world of different nations, the Persian rulers have elements and components in Persepolis (including structures, motifs and Inscriptions), which made the nations a subsidiary part of the political sovereignty of the empire towards the establishment of a global state? It seems that the Achaemenids in the use and adaptation of the artistic and technical elements of the nations in the Persepolis, in addition to the aspect of aesthetics, have also considered their cultural-political dimension. All of these elements and artistic elements have, in a way, expressed the notion of collective identity in a whole and in the sense of the empire. In general, all elements were served in such a way that their visitor was considered in a perfect agreement with other nations and equal, and considered for himself and his nation a single identity. This issue was very influential in the coherence of the empire, and the Achaemenid kings also knew about it. The method of this research is based on library studies, walking surveys of relives and descriptive-historical analysis.

The aim and issue of the research is to evaluate the references of Sassanid era artists to Avesta texts to Sassanian era of decorate of metal dishes. To select the statistical community in this article, 45 of Sassanian era metal dishes were investigated, that were chosen among them 15 were selected which were include indicators related to Sassanian religious texts. The method of collecting was library information and also the selection of samples and imaging has been made from scientific books. Considering the great use of animal designs in decorating the works of the metal of Sassanian era, the following questions can be asked: What was the aim of using animal designs on the motifs deshes of this period? What place has each role? Are the concepts of animal designs related to Sassanian religious themes? The data from this research show that animals in Avesta religious texts much has been mentioned such as:Horses, cows, ewes, hen and grains, goats, cocks, tigers, hogs, rams, eagles, lions, and simorgh that also in the Sassanian metal deshes thise animals have found an objective symbol .The study of ancient Iranian art during the period from the Median to the end of the Sassanid period indicates a deep link between Zoroastrian art and religion, in the same way that most of the remaining valuable works are based on the spiritual themes related to the beliefs and beliefs of Zoroastrian religion and images. And the artistic symbols in various arts and architecture are all of the traditional and allegorical features of Zoroastrian religion. The symbolic designs that have been established over time in the national and mythological culture of Iran and have always been the opposition between good and evil, truth and untruth, and darkness and light have been influenced by Zoroastrianism in Iranian art. The art of pre-Islamic Iran, such as the art of the Achaemenid era, has been blended with the methods and forms used in foreign cultures, but the alienated elements have also given the Zoroastrian effect. Ancient Iranian art, especially during the Achaemenid and Sasanian periods, has been formed on the basis of Zoroastrianism, universology, and humanology.

Fractal art can be presented in simple, reproducible language that is at the same time orderly in the postmodern world. In fractal art, such as visual arts, visual elements such as dots, lines, surfaces, etc. have been used to combine and repeat them and have been expressed in complex shapes and beautiful visual textures. Fractal is an interdisciplinary art related to geometry and mathematics and plays a major role in today's world. It should be said that fractal knowledge makes a unique design possible for the artist. This study intends to investigate the role of fractals in Iranian cultural symbols. In this research, we seek to find fractal applications in signs and with the concern of the audience and the nature of naturalism of art, how can effective and practical solutions be obtained from fractal geometry and new visual patterns in interaction with the audience. The purpose of this study is to get acquainted with fractal geometry and its effect on art; through analysis, adaptation and scientific studies on this geometry, new and practical designs of signs could be achieved. The question arises in which part of art, the traces of fractal geometry can be seen more and it seems that fractal geometry as one of the important tools with a scientific basis in the direction of graphic art can be used more. The research method of this research is descriptive-analytical and the method of collecting information in the form of documents and specific sources about fractals and signs is scattered and more in the form of articles. Fractal has the ability to be widely used as a theoretical basis in logo design.

Dining table is not only a place to gather for food and drink, but it also the art and culture of people throughout time. Related cultural traditions and rituals pass from generation to generation. Through the utensil use as significantly as the victuals. Persian lifestyle and culture has long played a major role in shaping the dining table utensil. The contemporary designs, however, are not much indicative of the Persian heritage particularly in case of dishes for drinks. Crystal and porcelain dishes modelled on Chinese, Japanese and Czech designs clutter in the market. In addition, most people show little willingness to include dishes with old design on their table. This study deals with the question of how to model modern design characterized with Persian- Islamic art. In so doing, it is attempted to design drinking utensils based on Qajar goblet and decanter which can be considered as then successful product and a reminiscent of past culture. The research methodology is descriptive- analytic and the required data was collected through archive as well as the analysis of the paintings of Isfahan places and the decanters of Safavid and Qajar eras. Tracing back the Qajar model to its Safavid precursor certain characteristic features of Persian design were extracted. The model was then investigated from an aesthetic perspective to drive the key design based on Persian art. Focusing on design principles such as order, rhythm, point of commonality and axis definition, the proposed model based on Qajar design creates Persian identity and cultural base for contemporary products. Emotional design approach consiste of three levels. Considering the visceral level, the study focused on form design, weigh, color and the touch of the product to impress people. Ergonomic rules and the catch of the product were taken in to consideration at the behavioral level. The reflective level was consolidated through following Isfahan artistic style as well as the pattern and form of Qajar decanter and goblets.