نشریه مطالعات میان رشته ای هنر و علوم انسانی
پیاپی 14 (دی 1402)

Carpet holds a special place among Iranian and Islamic arts as an Iranian art. Historical studies show that the design and role of the carpet are one of the main issues and concerns of the Iranian artist, and this handwoven carpet was not woven solely for the purpose of practical support, and the beauty and visual effect were also considered along with its efficiency. In different eras, the tendency to use different designs and motifs in carpets has been common, and over time, the richness of designs and patterns of Iranian carpets has been added. Carpet weaving was at its most perfect and brilliant during the Safavid period, and the artists who worked during this period have left behind their unique works. The Qashqai carpet weavers created the carpet designed by Nazem, which is a rich work. A few centuries later, during the Qajar period, due to Iran’s relationship with European countries, changes occurred in Iranian art, especially carpet weaving, and the Mihrabi design is one of these examples. The main purpose of this research is to investigate the characteristics of design and pattern in the samples of Nazem and Mihrabi carpets, and this question is raised, what are the similarities and differences between the Safavid Nazem carpet and the Qajar Mihrabi carpet in terms of motifs, and what is the use of each one? In this research, an analysis and comparison of the design structure of Nazem Safavid and Qajar Mihrabi carpets have been conducted, identifying commonalities and differences between the two mentioned carpets. The method of collecting materials is library-based and its approach is descriptive-analytical. Based on the results of the research, it was found that the overall design of Nazem carpets of the Safavid period is very similar to Mihrabi carpets, and the difference is in its decorations, dimensions and use. The design, form, and additional motifs of Qajar Mihrabi carpets are more diverse when compared to Nazem and Mihrabi designs.

Fauvism is considered to be the first significant movement in painting of the 20th century. Due to their similar stylistic tendencies, the Fauves, a group of young painters, collaborated for several years. In the meantime, Henri Matisse, the most important painter of the Fauvism style, achieved the following results the use of pure color, as an equivalent for light, the visualization of space by using different effects of colors, the clarity and simplicity of shape-forming lines, the organization of the image with the help of the inherent forces of the line and color The theme finds artistic expression through this formal harmony in the painting, and this is a kind of harmony comparable to the combination of sounds in music. The foundations of Matisse’s aesthetics were established as a result. He tried to turn the scenery in front of him into a decorative design or make people and trees more harmonious with the wallpaper flowers, which were very simple or modified. He aims to combine forms with strong colors and side lines of a simple facade with decorative effects of children’s illustrations. The objective of this research is to discover the origins of the Fauvism style. Henri Matisse’s paintings, which are considered the most important in this style, will be examined. The primary objective of this study is to determine how Fauvism and decoration interact in Matisse’s paintings. After establishing the theoretical foundations and introducing several works of Henri Matisse that utilize decorative elements in their creation, they will be examined. The use of a descriptive-analytical method is used in this practical research. In a library-like manner, they are gathering information and viewing images. The sampling in this study is selective and the research is qualitative. This research states that from an aesthetic point of view, Henri Matisse objectified his dreams and inner emotions with the help of two-dimensional motifs, expressive lines, and symbolic coloring, and used the motifs with an emphasis on their decorative and emotional values on flat surfaces.

A shared workspace is an open-plan workspace that creates a platform for collaboration between independent employees, and user satisfaction is very important in this space because it can improve the efficiency and performance of employees. The main goal of this research is to find the physical components that are effective in creating satisfaction in office spaces and to analyze the physical components of satisfaction in the case study of Nitek’s creative house and digital content innovation. The current research is qualitative in nature and applied in terms of methodology. Collection of information has been achieved through the use of library and field studies. The findings show that satisfaction is influenced by various components, and among these, it is very important to pay attention to the physical component because it creates a positive experience and a good feeling in users. The analysis of the physical components in the case sample showed that the index of color, materials, artificial light, and the type and arrangement of furniture in the case sample have good conditions and can provide user satisfaction, but the indicators of natural light and natural elements need more attention.

Sheikh Abdul Hussein Mosque and Seminary is a place that best exemplifies the architecture and art of the Qajar era. Amir Kabir and Sheikh Abdul Hussein Tehrani worked together to build this mosque and school in Tehran’s Grand Bazaar. It remains a center for student education and promotion of Islamic culture even though it has been constructed for more than 150 years. The mosque and seminary’s architecture and decorations are both stunning and noteworthy, with numerous inscriptions from the Qajar, Pahlavi, and Islamic revolution eras installed in them. Despite the scattered notes and few articles that have dealt with this matter, the inscriptions and architecture of the Sheikh Abdul Hussein Mosque and Seminary have not been fully investigated, and there are still some vague details that require libraries and especially field research. The mosque and seminary’s status, style, and architecture are explained and examined in this article, and its inscriptions are examined. Descriptive and analytical methods are used to collect library and field information and process it. In the text, reference and citations are handled using the APA in-text method, and seven documents (architectural images and inscriptions) are utilized.

Expressionism is prevalent during the years between 1910 and 1925. The Expressionists, through their peaceful thought and intense feeling, aimed to revitalize and enhance the world. Art and literature were influenced by the image of the First World War at this time. Max Beckmann (1884-1950) was a German artist who excelled in painting, drawing, printmaking, sculpture, and writing and was associated with the “New Objectivity” style. In response to expressionism, new objectivity emphasized the connection between inner feelings and outer reality. This research, which was formed to analyze the work of Azimit, one of the famous works in the history of European painting, seeks to answer the question, of how and to what extent is contemporary visual art influenced by the important philosophical theories of its time, such as Nietzsche’s Dionysian philosophy? The data of this research has been collected by library-document method, evaluated by the descriptive-analytical method, and analyzed qualitatively. The conclusion is that this work has a complex symbolism that is conveyed through figurative language. The artist’s life experiences, which are symbolically and skillfully woven into legend, allegory, and morality, are presented as a case study of new realist art in this work. Works of this style, such as Azimit’s work, have shown the entry of an aggressive and militant mood into an important part of contemporary art, and it can mean that works of art are not just beautiful objects, but they can be coded systems of concepts and ideas. Philosophers who skillfully turn the natural phenomena and rich possibilities of the world into works of art with the wide and exciting adventures of human life, such as the phenomenon of Nazism in Germany.

Copyright has existed as a phenomenon in ancient human societies throughout its history. In spite of this, it has not been adequately supported in the legal or customary systems. In intellectual property, the right to publish it is the most important and prominent one. In order to benefit from the work, it is necessary to have the right to copy. Copying a work without the author’s permission is regarded as a breach of individual personality and freedom. The author is the only one capable of allowing his work to be published or introduced, or agreeing to allow others to use it to organize a composite or collective work. Support is required for the aspect of intellectual property that falls under the category of copyright. Support is necessary because copyright infringement damages the spirit of creativity and weakens society’s culture. It’s not sufficient to identify intellectual property rights for the owners of these rights by itself. Considering the guarantee of the enforcement of the violation of literary and artistic property rights (copyright) can help to protect the rights of the creators of copyrighted works as much as possible. Although there are many laws in this area, there is no punishment for violating literary and artistic property rights in Iranian laws. Iran does not participate in any international conventions related to copyright and has not signed the TRIPS Agreement either. Works created in Iran by individuals who live there are not protected in other countries for this reason.