نشریه هنرهای کاربردی
سال یکم شماره 4 (زمستان 1400)

The Seljuk metal Incense burner in the Metropolitan Museum attributed to metalworker Ja'far Ibn Muhammad Ibn Ali is one of the most significant and important works that belongs to the Seljuk period and it is one of the works of the golden age of Persian metalwork. The basis of artistic activities and creations is based on creativity and the concept of creativity in masterpieces and outstanding works of art is the main factor in their permanence. Today, experts have offered several definitions of creativity and in this study, have been studied the 14 definitions of creativity. Therefore, the Purpose of this study is to identify the definitions and concepts of creativity in the metal incense burner structure of the Metropolitan Museum and the questions that are asked include: 1- What are the visual specification of the metal incense burner of the Metropolitan Museum? 2- How are the concepts of creativity and its features reflected in the metal incense burner structure of the Metropolitan Museum? To answer the mentioned questions, library information and documents data have been studied with a descriptive-analytical approach and the main variable of the research is the concept of creativity and its reflection in a case study of a metal incense burner in the Metropolitan Museum and the results show that of the 14 definitions Explained for creativity concept, 13 definitions correspond to the Features of metal incense burner and a Creation definition of creativity is not accordance with the Islamic intellectual foundation and Islamic art Foundation. According to the definitions of creativity, this device has solved a daily need and has had therapeutic usage that with the new design and new ideas in construction and produce, and using appropriate artistic and technical techniques and methods, such as metal pierced, engraving and the method of body construction with casting method has led to new results and modern approach.

Among the historical buildings in Shiraz, there are many Qajar houses, that some of which have special decorations. Tore, painting, tiling, brickwork and decorating wooden doors are examples. Meanwhile, the wooden doors in the Qajar houses of Shiraz have special features and beauty. In this research, the technical characteristics and designs of the above doors are important. The present study focuses on what the subject is, therefore the authors have taken a qualitative approach with the aim of studying the wooden doors in the Qajar houses of Shiraz. In fact, this article is a kind of fundamental research, that the authors used a descriptive and comparative approach to examine the wooden doors in Naranjestan Ghavam, Zinat Al-Molk, Salehi, Saadat, Tavallai, Hassani Ardakani and Manteghinejad Historical houses as samples of the study. Data collection has been done through field research, library study as well as direct photography. The results show that Khatai (floral design), vase and flower and the two-color design of Joak kari (special type of inlay) are the most widely used patterns. The designs of flowers on all the branches and stems are often seen in an abstract way and in all of them the designs are executed symmetrically. In vase designs, the presence of two birds on either side of the vase is reminiscent of the Sassanid birds and tree design and induces Qajar archeology. In terms of composition, the designs are seen in two forms: medallion and framed (double and triple), in triple samples, the middle frame is smaller. The art of wooden mosaics and Joak-kari, have been used in all doors. In some doors, the art of wood carving is used in decorations, which shows the attention to these arts in the Qajar period. Teak wood, walnut and orange as well as oysters are common raw materials used for doors.

What we observe in the modern world is the existence of technology and the combination of technology, knowledge and various concepts around us. And also one of the effects is observable in the field of cloth designing. Nowaday, the relation between architecture and clothing has more obsevable configuration in the post-modern era and some topics are studied by researchers and each one of them have justified the matter to some extent. Decorating and arranging are inseparable items of the contemporary architecture, and among all of them, Geometric patterns can be used on the clothing array design as the parts of these decorations with Parametric property, efficency and high potential to create unique and modern patterns. The aim of the present study is conducted to acheive the new design with geometric patterns Inspired by buildings with contemporary architecture for cloth designing due to show a perspective of relation between fashion and architecture. In order to cunduct this matter, in the present study, clothes based on parametric architecture are designed meanwhile reffering to different characteristics of parametric architecture and are cunducted under analytical and descriptive method due to the wide range of these designs, and then in the sample, using the 3D designing doftwares such as Rhino and Grasshopper the arrays of clothes are presented as the suitable parametric plugins and the siuitable 3D printer is used as the efficient thechnology with high executive possibilities in order to create clothes arrays. The results showed that diverse architecture geometric patterns are capable to be used to create modern, diverse and favorable patterns of modern world, with inspiration of parameters through softwares and 3D printers.If we want to have a definition of clothing design in the modern world today, we have to use other sciences such as electricity and mechanics. Chemistry is also mentioned. Because this category must be addressed using all the modern sciences in the world

The purpose of this research is to investigate the characteristics and cultural traditions of the Iranian people regarding the method of rest at home and the requirements used in this regard and the evolution in furniture form and to know how these changes are influenced by the Iranian people's culture. What has been studied about furniture in Iran has been based on the furniture that has been imported from the western culture to Iran and so far has not been addressed to the furniture formed on the basis of the culture of this border and the canvas, therefore in this research, using descriptive research method and historical information regarding the type and manner of using the living room furniture and looking at the aesthetic features used in the necessities and furniture of the houses of the people from the Achaemenids to the Qajar era, due to the wide association of Iranians with the West that led to the entry of western furniture, would help us to derive the criteria that resulted in the required results for design criteria, as using these criteria, a living room with an apparent appearance of Iranianship and other necessary criteria can be designed. In this method, using the images of pre-Islamic architectural designs and the pictures on the seals, as well as the designs of pottery and post-Islamic paintings, the form and furniture changes used by the people of that time were studied and the analysis of the relationship between the form of furniture and Sitting behavior of users has led to findings that can be used to design furniture with Iranian cultural features. All these criteria should, of course, be adapted to the anthropometric and ergonomic standards of Iranians in order to achieve the ultimate comfort and acceptability in Iranian furniture designs which requires more research.

Tombs are important elements in the culture of Islamic Iran which are dispersed in throughout of Iran that by studying the architectural structure as well as the artistic and decorative elements used in them, a lot of knowledge can be obtained. The existence of Shiite governments and the migration of Sadat and Alawids into the plateau of Iran, has been one of the reasons for the expansion of such buildings. With the death or martyrdom of these people, those places became the focal point for the growth of Shiite thought as well as the uprising or uprisings for justice. Lavasanat and Rudbar Ghasran area, which is located in the north of present-day Tehran, has long been in direct contact with Rey area. Today, the metropolis of Tehran connects the two regions in the north and south. The present study is a comparison between some buildings in Lavasanat and Rudbar Qasran areas, and Rey area, which has been studied in terms of antiquity, type of materials, decorations and architectural styles. Data were collected by field and documentary methods and analyzes were presented in a descriptive - analytical method. According to studies, tower tombs can be seen in both areas, which are polygonal, ridged and multilateral. The plan, materials and shape of this tomb tower have similarities. Their materials are mainly carcass stone with gypsum mortar and mortar, and brickwork has also been used.The decorations of the building in the examples of Rey region, in the outer part of the building are in the form of arched and pointed arches along with the brick decorations in the corners. Also in Lavasan area, these decorations are in the form of arched and pointed arches. There are some old and historic caskets with the names of artists who have worked in both areas, and the name of the even kings, shows the continued importance and respect of these tombs as well as the close relationship of artists in both regions.

Munshi Nawal Kishore's publication is an important center in India due to collecting and publishing many Persian and Islamic books and resolving the needs of many Muslim countries in the world and the Indian subcontinent. The name of its founder, Munshi Nawal Kishore, is always glorified in world of publications around the world. Since the 1840s a new style of lithography was created in India. This style is based on designing a title page, in the form of inscriptions, with significant features that make the page as valuable as a work of art. Thus, in this article, we aim to study the text of inscriptions with the content of praising God as a part of the title page's decoration in the Persian and Arabic books of Munshi Nawal Kishore publication. The article uses a descriptive-analytical method and library-based research has been carried out through careful analysis of the existing literature. The findings reveal that the inscriptions praising God in Arabic manuscripts only encompass Quranic verses and contain a variety of verses that is related to the message of the books. In the Persian books, on the other hand, the praising God is inscribed in Persian literary sentences which, based on the content and subject of the book, have added to the aesthetic aspects of the pages. Also, the elegance of the phrase structure of the inscriptions is admirable due to the skill of scribes in designing the letters’ composition coherently and its gentle and eye-catching rhythm as well as creating an imaginary and ethereal space. In addition to the Arabic books, the Quranic verses are used in Persian books, too.