نشریه هنرهای صناعی اسلامی
سال ششم شماره 1 (پیاپی 8، بهار و تابستان 1401)

The glorious version of Shāhnāmeh of Shāh Tahmāsebi was written and illustrated in the Second Tabriz Safavid School (907-938 AH). According to the authors' research, out of 258 paintings in it, 74 have illustrated buildings that depict different areas of life, living spaces and interactions with different degrees of detail. The purpose of this study was to provide a way to quantify the complexity of the relationship between human figures and the architectural realm in terms of form in this version; For this purpose, after clarifying the concept of "complexity", the factors affecting it, including the number and variety of human figures in terms of gender and age, the number of components and area of the architectural realm and their relationship and interaction with the figures were considered and the function of the index "Complexity" was presented based on them. Calculating the value of the index in the drawings of this version, shows that the painting "Nightmare of Zahhāk" has the highest amount of complexity equal to 392, the painting "Isfandiyār’s Seven Labours" has the lowest value of 66, and the complexity index of 74% of the drawings is between 124 and 266.Following the approaches that have existed so far to understand the art of Persian painting, this method offers a new way to examine the drawings from a formal and structural point of view. By providing such indicators, it is possible to evaluate and categorize the paintings from various aspects, have a suitable solution for selecting, studying, as well as comparing them with paintings from other versions, and gain a better understanding of this precious heritage. This research is quantitative in terms of the nature of the data and is applied in terms of purpose, and data collection has been done by library method.

Iranian carpet is a prominent expression of Iranian culture and art. The design and patterns of Iranian carpets show different characteristics of the culture and art of different regions and climates and historical periods. Although the origin of carpet weaving is not clearly known, historians and experts believe that carpet weaving started with Iranians. Historical achievements show that carpet was originally created as insulation against cold and dampness and over time it played its role in form of ornamental and artistic work in homes and castles of nobles. Carpet weaving and carpet design, like other Iranian arts, flourished in the Safavid period. Valuable and impressive examples of carpets in various renowned museums of the world, such as the Ardabil carpet, are generally obtained from the royal carpet weaving workshops of this era. As it had original and outstanding achievements in various aspects from craftsmanship to visual art and patterns, the most prominent of which is the rich floral motifs on the carpet. These motifs form the image of many carpets in all subsequent periods until today. Also, the frames are more diverse and the natural colors are bright on the carpet. In this article, patterns, color, material and texture of a carpet with plant motifs from the Safavid period are examined; The present article studies the visual and physical structure of the Safavid-era Kashan Rothschild carpet in the Doha Museum of Qatar. In the Safavid period, mixed and new pictorial elements are used and the technique of carpet weaving with silk flourishes in the production of carpets for the nobility. This study answers these questions: What are the properties of Kashan Rothschild carpet motifs? What is the background of designs in this carpet? What is its weaving, material and color structure and properties? This research method is descriptive-historical and the method of collecting information is documentary. The Rothschild carpet is woven during the time of king Tahmaseb of the early Safavid dynasty, the beginning of the flourishing era of Iranian-Islamic art, and Kashan is the place of its weaving. The art of this city is famous for using symbolic motifs and warm colors are mainly used in its works. The analysis of the motifs shows that the arrays used in the Rothschild rug generally include the particular Safavid flowers such as Shah Abbasi and Chandpar and decorative arrays from the Timurid period such as Chinese clouds which are depicted based on historical floral motifs and Far Eastern motifs. These flowers, leaves, and stems are embossed on the Khatai bands in positions and angles of image from above and sideview, in various sizes and colors such as yellow, cream, navy blue, and red.  The weaver artist and designer of this carpet is unknown and uses bright and main colors in its structure. This carpet is made of pure silk and the colors shine on it. The method of weaving the Rothschild carpet is internal and flat without lint. In general, this 16th-century carpet has many influences from the art of the Far East, China, and the Timurid period, which is combined with unity and uniformity with native craftsmanship, rich culture, and new and common Iranian motifs of its time.

The book “Fi Ma'arifat al-Hiyal al-Handasiya” by al-Jazari, an engineer and artist of the sixth century AH of Islamic Civilization, in which fifty automated devices are described in a similar way to the product design process, with illustrations. The importance of this book becomes clear when we know that today dozens of its manuscripts are kept in museums around the world. This multiple copying of a book in different periods and geographies shows its many uses in different ages. In recent centuries and after the transfer of books and cultural heritage of Islamic civilization to the West, many scientific researches have been conducted around this book, the absolute majority of these researches have been conducted by researchers in the fields of mechanical engineering, physics and robotics, and therefore its artistic aspects have been almost ignored. has been While al-Jazari's book can inspire many artistic researches in various fields of art such as product design, music, painting and calligraphy. One of the few artistic researches about this book is " The treatise of al-Jazari on automata ", written in 1924 by Coomaraswamy. This booklet, which has not yet been translated into Persian, has been analyzed in the present study. This study both through its research approach and its author's position, has a great value in the history of art. The method of this research is descriptive – analytic and Historical, during which the text of the Coomaraswamy was translated into Persian and was analyzed and reviewed along with some other library data. The main question in this research is that What features of al-Jazari’s book are emphasizes by Coomaraswamy, as art researcher? Therefore, the purpose of this study is to find the features of the book of al-Jazari from the view of Coomaraswamy. These artistic features were extracted from the text of the booklet in 7 cases; Diagnosing the painting of the door of Amida palace, negating the possibility of painting the face of a specific sultan, introducing al-Jazari as an artist, the characteristics of the illustrations of a manuscript, not changing the names of kings in the illustrations of later versions, Arabic and Greek markings, and examining 8 paintings. It can be said that Coomaraswamy has tried to answer some of the ambiguities and errors by limited informations in the time of text compilation using visual arguments, and the artistic features and especially the features that can be applied to the history of this work of art and science, Provides information such as writing, slave names, markings, specialty stylistics, and so on, but most of the points that Coomaraswamy puts forward is based on the history of art rather than on aesthetics and stylistics, and in fact this booklet may be the first art historical document about al-Jazari’s book. One of the most important achievements of this text is the one in which Coomaraswamy reads al-Jazari in the first place as an artist and eventually second to a thinker, and this inference from a historian of art can be very important.

The period between the rise to power of Nader Shah Afshar and the reign of Nasser al-Din Shah Qajar should be considered a turning point in the painting of flowers and birds in Iran.  During this period, painting flowers and birds in "Muraqqat"(album), Lacquer works and architecture became a popular genre.  In Muraqqat, single flower, in lacquer works a florilegium, and in architectural decorations, flowers and vases, «afshan» and spirals were used.  During this tumultuous period, artists were forced to relocate state painting traditions.  Studies show that the difference between the structure of flower and bird painting in the cities of Shiraz and Isfahan cannot be recognized, or it is not so noticeable that they were given two different styles.  Slight differences are sometimes seen between the works, such as birds with steretched body and heads in Shiraz and birds with large eyes in Isfahan during the Qajar period can be seen.  But these methods in design, composition and "pardaz"; they were quickly shared by top artists in the states who collaborated at the court, and the patterns were usually the same in composition in Shiraz, Isfahan, and Tehran.  The purpose of this study is to visually study the paintings of flowers and birds of Zand-Qajar period to answer questions such as: Technical and visual characteristics of flowers and birds of Zand-Qajar period in lacquer works, muraqqa's and architectural decorations?  What are the factors influencing the painting of flowers and birds in the Zand-Qajar period?  Let's answer.  For several decades, Mirza Mehdi Khan Astarabadi "muraqqa" the paintings of the Safavid period of Iran or the Gurkani of India, which often had floral and bird themes, and left the flower arrangement to Ali Ashraf and his students.  These works influenced artists such as Ali Ashraf and students who inherited Safavid painting traditions due to the relationship between teacher and student (Safavied School).  Ashraf and his disciples probably used the "gardeh"(copy paper) of Qalamdan to floral design of the "muraqqat" that had been looted from India.  A noteworthy thing about the "raqam" (Signature) is that the artists attached their names to their master as long as they worked in his workshop and had their raqam after artistic independence.  In addition to the royal muraqqa's, there are monochromatic watercolor "roqe" that work faster and don't have pardaz.  Pardaz are different from muraqqa's and Lacquer work.  Probably the pardaz in the lacquer works were large and rounded so that they would not lose color or the texture of the flower after the lacquer was applied.  In Lacquer works, the combination of Gulshans (Floriogium) is seen in three circular methods with an indefinite and circular growth section, a dense indefinite growth section and a definite growth section.  The desire of kings and artists for antiquity and the arrival of European works led to the emergence of eclectic elements such as angels, "Gulfarang"(European Rose). In this combination is a method of research, descriptive, analytical and reputable sites are done.

Imitation and import of methods of producing works of art and the basics of art to Islamic civilization from other civilizations that rely on the theoretical foundations of those civilizations, in the contemporary era, has led to the mass production of works with different characteristics, and sometimes contradictory to the intellectual foundations of Islamic thought. The purpose of this study is to take the first steps to present a theory based on the Qur'an based on the way of thinking of Ibrahim (AS), which meets some of the functional and theoretical needs of artists in the Islamic world. Ibrahim (AS) in the Qur'an, as a historical figure, with five unique characteristics and overseeing his rationality and jurisprudence, such as intellectual development before prophecy, a good role model for believers, the possessor of insight, the possessor of a healthy and flawless heart and the observation of the kingdom of heaven and earth, has been introduced. Also, the opponents of his arguments, are idiots and fools. The question is, how can a theory based on the Abrahamic scientific way of thinking be constructed using the data-based approach? The present research is of qualitative type and has been done using Grounded theory method. After collecting all the data and performing open, pivotal and selective coding, while finding the answers, the mechanism of thinking of Ibrahim (AS) as a rational process, which creates new criteria based on the frequent critique of previous criteria, as the theory of "breaking idols" "It was expressed and its function in art was determined. Then the similarities and differences of this theory and critical thought that emerged in the context of subjectivism and the basis of modern art from Greenberg's point of view were introduced and the limits of human thought in Islamic thought were stated. Also, the absence of any discrepancy or contradiction of this theory with the principles, constants and unchangeable and eternal things that are necessary in the creation of traditional art, and in the heart of that religious art, was examined and determined. As a result, the mechanism of production and promotion of new criteria for creating new products based on successive criticisms in the context of the distance between servitude and lordship, was explained based on this theory. By dividing the world into the cognizant object and subject on the basis of the primacy of existence over nature, critical thought is allowed in the field of empirical science, relying on inductive reasoning, to critique the self-made criteria of the subject's mind indefinitely, thereby constructing new criteria. But in the theory of breaking idols, criticisms are made of the criteria in the human mind that move between servitude and lordship. This theory views man as the Caliph of God, who considers the infinite extent of the monotheistic world to be genuine, and at the same time, by building and breaking idols in the world of multiplicity, it prepares the ground for understanding the monotheistic world. It also provides a practical way to produce and critique existing works and past artistic values in conjunction with traditional art concepts.

Hafte Arang book shows the strength and glory in the structure of Safavid period paintings. Despite the efforts of researchers to explain the structure of paintings, there is still a need for research on the secret relationships between the elements and structures of paintings. The issue is how the artist deals with the structure in the works in question, so for this purpose, two drawings of an artist from the book Haft Avang Jami were selected. These paintings are attributed to Sheikh Mohammad. The reason for selecting these works is purposeful and there are many commonalities in the appearance of two paintings, which seems to be intentional and requires research. The aim is structural and formal adaptation of these two images. The questions include: What are the structural features of the two paintings of Sheikh Muhammad? What can be the use of using a similar structure in works? This study seeks to answer the research questions with a structuralist approach and with a descriptive-analytical research method and Comparative and the use of library resources. In the studies, four cases were studied: the frame, the placement of the figures, the position of Yusuf and Zuleikha, and the dark-light contrast in the drawings. In both paintings, there is a person watching the scene and Sheikh Mohammad has expanded her frame in the second parliament. The two figures in both drawings function structurally the same despite their different personalities. In the second work, the host and in the first work, one of the halves, which is separated from the others, both have the function of creating sequence and sequential movement in the spiral movement of the drawings, and if they are removed, the spiral frame fails and has no connection with There are other figures. The most important meaning that can be obtained from the analysis of the structure of drawings is that; In the second parliament, the painter implicitly praised his supporter, Sultan Ibrahim Mirza, and thus sanctified him and his government.

The antiquity and continuity of the art of illumination has led to many formalist studies in this field. In addition to formalist studies, some traditionalist scholars, such as Nasr, have offered mystical and tasteful interpretations of illumination. He considers illumination as an intermediate art of feminine and masculine arts. Despite a large number of studies in the field of illumination, no study has been done on the relationship between the type of illumination and the content of the manuscript (genre of manuscript). Therefore, the aim of the present study is to select two separate groups in terms of genre and then determine the structural features of illumination in each of the two groups (Khamsahs and Shāhnāmas) based on quantitative characteristics and finally explain the reason for the differences in illumination in these two groups. The features that were selected to examine the illumination are: 1- Examining the rectangular type of illumination frame. 2- Check the width of the illumination frame. 3- Examining the structure of the central part of illumination. 4- Examining the structure of the illumination frame. As a result, in order to achieve this goal, the following questions were answered: What was the evolution of the structure of double-page illuminated frontispiece in the tenth and eleventh centuries AH? What were the main features in the structure of double-page illuminated frontispiece of Shāhnāmas and Khamsahs in the 10th and 11th centuries? And how can their structural differences be explained?The studies in this article, which have been done by descriptive-analytical method and the necessary information is taken from library sources, show that, in the first half of the tenth century, illumination of double-page illuminated frontispiece in both groups (Khamsah and Shāhnāma) often had a geometric structure, simple frames with a small or normally width, and from the second half of the tenth century non-geometric structures along with geometric structures became common in double-page illuminated frontispiece. Subsequently, the frames have become wider, although these changes are seen more in the Shāhnāmas than in the Khamsahs. And the reason why non-geometric structure is used in illumination of Shāhnāmas much more than illumination of  Khamsahs is due to the difference in the type of text written on these pages. The text in these double-page illuminated frontispiece in Shāhnāmas is often prose (introduction of Shāhnāma) while in Khamsahs it is poetry. It can be said that the type of text written on these pages has influenced the gilded artist in how to choose the type of structure. If in Khamsahs, due to the need for more space for writing the poetic text, the illuminator used more geometric structures and for Shāhnāmas, due to the possibility of writing the prose text in a more limited space, the illuminator also had the opportunity to use non-geometric frames. In the eleventh century, this style of decoration continued in the Shāhnāmas, but their use in the Khamsahs has greatly decreased, and in the Khamsahs produced in the eleventh century, simpler styles have replaced the previous style.

From ancient times the horses have been present on the battlefield in the footsteps of soldiers and commanders and the making of protective coverings, including shaffron, has been common in different periods. In addition to the genius and interest of artists to etching, arrogance and rodomontade on the battlefield was a reason that increased the desire of artists to perform in this sample of works. In the Safavid shaffrons can also see interesting examples of designs that sometimes have in common with the shaffrons of Ottoman. The purpose of this study is to identify the commonalities and differences between the shaffrons of these two dynasties, to achieve their attributions due to these similarities and differences. The question is: what are the commonalities and differences between the shaffrons of the Safavid and Ottoman? And to what extent can the attributions made to each be considered correct? The research method is descriptive-analytical and the materials have been collected in a library and field manner. The results indicate that despite the apparent lack of unity in the Ottoman works, there are similarities and differences between the two; But there are examples among the Ottoman shaffrons that are very similar to the Safavid examples - which have preserved their formal unity-. In the most of Safavid examples, the forms have soft and uniform lines and the background of the work is covered with elaborate designs; But in Ottoman works, some examples have soft lines and some are broken and rough. The motifs are prolific in some cases and in some, few and sometimes without any motifs. Also, due to the similarity of some Ottoman examples to Safavid works, this issue cannot be considered only from cultural exchanges and the influence of each other's art, and it is hypothesized that the example of Ottoman shaffrons probably belong to Iranian culture or to made by Iranian artists living in that land.

The field of traditional sewing, as a subset of industrial arts, is one of the most important and extensive sections of applied arts and cultural traditions in all civilizations throughout history. At the same time, the industrialization of products and the indiscriminate use of machines in recent centuries in the field of textiles and clothing-related decorations have marginalized the traditional aspects of this art. Given that today, industrial arts along with historical monuments and natural attractions by recounting cultural and social features as part of the creative cultural industries, are complementary to the growth of the tourism industry, the revival of traditional sewing and production in this area with a look at the future will lead to economic development and job opportunities. Therefore, the present study aims to investigate the impact of the traditional field of tailoring on entrepreneurship, job creation and tourism and to look at the continuation of this art in the future; Recognizes the necessary conditions and facilities in the field of formal education and answers the following questions: 1. What is the effect of the presence of traditional sewing in universities and scientific education centers on productive employment, entrepreneurship and creative tourism? 2. What conditions and facilities are necessary for the presence of this field in the formal education environment and fourth-generation university systems? This research is qualitative in terms of what; It is practical in terms of purpose and descriptive-analytical in nature. Data were collected through documentary studies and library resources simultaneously with the field method (interview and observation) and based on a futures research approach. The findings of this study show that the presence of traditional sewing in future universities will provide employment and prosperity for the tourism industry and will lead to the revival of many jobs related to this art. One of the most important scenarios that can be proposed to achieve this result is the publication of a codified encyclopedia of traditional sewing as a scientific reference and teaching resource in this field and the harmonization of its teaching method in scientific centers, creating a specialized museum, holding domestic and foreign exhibitions, creating a national trade :union:. To support and guide artists and producers, the exchange of information between artists and the remove all existing barriers to research, production and sales. Production of creative products, use of target markets, correct use of modern technology and machinery, development of tourism and adequate productivity of traditional production workshops; are the result of the presence of this field in the fourth-generation universities. This is possible with the support of managers and officials from veteran and interested artists who have worked hard for years to preserve and introduce this field and have valuable experiences to pass on to the next generation.

Fine and perfect rugs are generally selected for preservation and weavings with distinct design and technique are seldom exhibited at the museums. Although the rug analyzed in this study has an asymmetrical and unconventional design, it is preserved at the Brooklyn Museum. The purpose of this study was understanding the interaction between the artist’s defiance of principles of perceptual organization and the audience’s perception based on gestalt theory. It seems that gestalt principles of uniform connectedness and closure justify the different and asymmetrical visual structure of the rug for the audience. The mina khani rug preserved at the Brooklyn Museum was studied based on the principles of alignment and emphasis and the principles of gestalt. The study aimed to analyze the law of prägnanz in this mina khani rug and determine which one of the seven principles of gestalt would apply to it. The findings indicated that the decentralized placement of the medallion outside the axis of symmetry signified the principle of emphasis and the principles of similarity, proximity, and closure were the most frequent. Selected through non-probability sampling, the sample was a rug from the twelfth century AH preserved at the Brooklyn Museum. This developmental study was descriptive-analytical as the principles of perceptual organization and the seven principles of gestalt were employed in the analysis. The data were collected through library research and were analyzed qualitatively. The results of the analysis of the audience’s visual perception using the principles of gestalt psychology were as follows. The principle of similarity was measured in dimensions and shape. Similarity was a powerful gestalt principle in the dimensions of vagirehs, shape of patterns, bands, and margins. The principle of proximity was used to study contact and overlap as it had a powerful field in the body of contact in the background and the contact point of the bands of every vagireh. The surrounding of the medallion and some parts of the vagirehs overlapped with the medallion. The continuity principle was most powerful in the refrains of the vagirehs. The closure principle was found most frequently at the convergence of khatai bands and the perimeter of the medallion and the convergence of khatai bands and the edges of the margins. In terms of the principle of figure-ground, the single-color context of the rug can be seen as the ground and the vagirehs or in other words, khatai bands filled with flowers, along with the medallion as the shape. The results of the study showed that based on the principles of alignment and emphasis, the magnified medallion is emphasized. In spite of the incompatibility of the viewer’s expectation and the number of structural attributes, the structure of the rug is not abnormal and the visual perception of the rug is facilitated by powerful gestalt principles such as similarity, proximity, closure, and continuity. The increased number of structural properties draws the audience’s attention, directing it towards its special use in the royal court and the deliberate replacement of the medallion.

Mural painting in Iran has been considered by artists and art critics for thousands of years. Paintings The image of heaven and hell is a part of the decoration of tombs in the Qajar period, which is known as the most important issues in the hereafter. In sacred buildings, this theme connects with the religious beliefs of the common people and the painter's aesthetic imagination, and creates a link for the transmission of spirituality, mysticism and religious sincerity in the context of society. The issue raised is related to the drawing of the image of heaven and hell in the mural of the tomb of Pir Rudband in Dezful in Khuzestan, which is the only surviving pictorial work from the Qajar period in this province, due to the religious nature of this city, style and The painter's context has a special semantic reflection in the creation of paintings. It can be said that the design and execution of these paintings was unique in its time. Therefore, the purpose of examining this remaining artistic treasure is to use a new approach and a new perspective in the field of art criticism and aesthetics, which is done according to the model of iconology. To find the authors' answers in a descriptive-analytical way, two frames of the tomb of Pir Rudband Dezful with the theme of "heaven and hell" with an iconological approach, the study of the painter and the training he received in Isfahan during the Qajar period, was able to form By combining religious, Iranian and Western elements, the designs create images that, by analyzing them, revealed that each of them has a meaning in order to create a spiritual and spiritual connection to the audience with the arrival of the pilgrims. Execution of paintings on top of the building makes this feature more evident. The present research is descriptive-analytical and its research method is iconology. This method has many capabilities in explaining, analyzing and interpreting historical works of art. So first by describing the iconological approach defined by Panofsky; Will be explained. And then to mural painting in Iran and the background that has passed until the Qajar period. During this period, important factors in mural painting have had an impact. Among the religious themes, in the sacred buildings, which distinguishes it from the court frescoes. Meanwhile, the city of Dezful, which is one of the religious cities in different historical periods of Iran. There is a famous tomb called Pir Rudband with a fresco on the other side (heaven and hell), which has become special. The study of the murals of this building, with the iconology approach, includes pre-iconographic description, iconographic analysis and finally the interpretation of iconology. Data collection has been done by library, documentary and field methods. It is worth mentioning that the execution of paintings in the upper part of the building makes this feature more evident. And engage the pilgrims in spiritual communication as they enter. It is worth mentioning that the execution of paintings in the upper part of the building makes this feature more evident.

The book ‌Zafarnameh Teymouri at the request of Shahrokhchr('39')s son - Ibrahim ‌Sultan- ‌ was written by Sharaf al-Din Ali ‌yazdi, which is a chapter on the life, campaigns and conquests of Timur Gurkhani and It has always been considered by painters in schools such as Shiraz school in 839 AH and Herat school in 872 AH. In fact, the art of painting is a reflection of the various arts and crafts of its period. Because painters have always used human-made objects, such as metal tools, to convey the meaning of their subject matter, including war and battle, as well as all the elements of nature, man-made objects. Therefore, the works of art of each historical period are a summary of the worldview of artists and their perceptions of existence and its surroundings. And genealogy is a method that examines phenomena in their historical evolution and, by identifying the "historical" formulations of phenomena, creates an "appropriate" critical position for understanding them. The present study has been attempting to rely on the Genealogy approach, to identify of  metal warfare tools and to formulate them in the war illustrations of the Shiraz and Herat Teymouri schools and to answer this question: what is the basis of the physical structure and functional diversity of the metal tools depicted in the painting of the Timurid period based on the book of Zafarnameh Yazdi? Therefore, the purpose of this study is to analyze, classify and genealogy of Timurid metal tools in painting from their physical and functional aspects. Finds of this study, which was conducted in a historical way the genealogical approach, states that the genealogical approach, which is the historical view of the phenomenon under study, can be of great help in understanding the tools of the Timurid war. All metal warfare tools have been used for combat and the authority of the Timurid government, which has been modified for them as a variable over time. In terms of shape, the software can probably be a bug that was used in the past and even in later centuries with little modification.