@article{ 
author = {Rahmani, Ashkan and Moghanipour, Majidrez},  
title = {Recognition of Ottoman Carpets with Emphasis on the Influential Factors of Iranian Art on its Formation and Expansion}, 
abstract ={Ottoman carpet weaving has a wide range of designs and patterns, colors and weavings that are of special importance in the history of world carpet weaving. During the Ottoman rule (1299-1922 AD) carpet production flourished, so that the sixteenth century and the first half of the seventeenth century is considered the most glorious period. By examining the carpets of this period, one can see the traces of Iranian art. The influence of Iranian art on Ottoman carpets intensified after the conquest of Istanbul (1453 AD) and its effects can be seen in changing the design, pattern and weaving technique of carpets. For this purpose, Ottoman carpets can be historically divided into two groups. The first group includes carpets that are often woven before the 16th century and the influence of Iranian art and carpet weaving is not directly visible. This group of carpets continues the Seljuk style and their designs are geometric. Animal carpet, Holbein carpet are some of them. The second group is carpets that are woven and presented under the influence of Iranian art and artists. The main purpose of this paper is to examine the Ottoman carpet in order to identify the influential factors of Iranian art in the formation of the second group of Ottoman carpets. Accordingly, the main questions of the present article are: What carpets from the second group of carpets of the Ottoman period were woven under the influence of Iranian art? What are the influential factors of Iranian art in forming Ottoman carpets? The research method is descriptive-comparative analytical. The method of collecting information is library studies and some images have been obtained by searching in museums. Research findings show that some factors such as the influence of Iranian art, gifts of kings, forced and voluntary migration of artists to the Ottoman court, looting of Iranian works of art by the Ottomans during the occupation, and the export of Iranian carpets to the Ottomans are the main reasons for the expansion Ottoman carpet. Among Iranian arts, Safavid carpets have had the greatest impact on the formation of Ottoman carpets. Influence can be seen in the two components of the design, patterns and weaving of Ottoman carpets. Medallion, multi medallion, star medallion, prayer carpet design, animal and hunting design, tree design, herati design, khatai and arabesque designs are among their designs and patterns. Regarding the type of weaving, for the first time, Ottoman carpets (palace carpets) are woven with asymmetrical knots, which is unprecedented in the past. The density of knots is woven between 200000-700000 knots PSM and much finer than before. The main reason is the use of silk and very fine wool. The most influential factors can be seen in the identification of three groups of Ottoman carpets: 1) Ushak Carpets, especially carpets with medallion layouts, and star medallion carpet 2) Ottoman palace carpets: medallion carpet, carpet with saz (leaves) design, prayer carpet with natural (floral) design 3) Herke carpets: Hereke carpets are like Iranian carpets with medallion design, vagireh design, all over design, prayer carpet design.},  
Keywords = {Carpet, Ottoman, Safavid, Iran, Anatolia},
volume = {5},
Number = {1}, 
pages = {1-18}, 
publisher = {Tabriz Islamic Art University},
title_fa = {بازشناسی قالیهای عثمانی با تاکید بر عوامل تاثیرگذار هنر ایرانی بر شکلیابی و گسترش آن},
abstract_fa ={قالی عثمانی دارای گستره وسیعی از طرح و نقش، رنگ و بافت بوده که در تاریخ قالیبافی جهان اهمیت خاصی دارد. در مدت حکومت عثمانیها (1299-1922م) تولید قالی نسبت به دوره پیشین توسعه بیشتری پیدا کرد به گونه ای که قرن شانزدهم و نیمه اول قرن هفدهم میلادی باشکوه ترین این دوره تلقی می شود. با بررسی قالی های عثمانی میتوان ردپای هنر ایران را ملاحظه کرد. نفوذ هنر ایران در قالی عثمانی بعد از فتح استانبول (1453م) شدت بیشتری میگیرد و آثار آن، در تغییر طرح و نقش و بافت قالی ها دیده می شود. به همین منظور، میتوان قالی عثمانی را در دو گروه، دسته بندی کرد. هدف این مقاله، بازشناسی قالی های دوره عثمانی و عوامل تاثیرگذاری هنر ایران، در شکل گیری قالی های گروه دوم این دوره است. براین اساس پرسش های مقاله حاضر این است؛ چه قالیهایی از گروه دوم قالی های دوره عثمانی تحت تاثیر نفوذ هنر ایران بافته شده است؟ چه عواملی زمینه ساز تاثیر هنر ایران بر شکل دهی به قالی های عثمانی شدند؟ روش تحقیق توصیفی تحلیلی تطبیقی است، گردآوری اطلاعات کتابخانه ای و بخشی از تصاویر از طریق جستجو در موزه ها تهیه شده است. یافته های تحقیق نشان میدهد که نفوذ فرهنگ و هنر ایرانی از طریق مهاجرت اجباری و اختیاری هنرمندان به دربار عثمانی، هدایای پادشاهان، غارت و چپاول آثار هنری ایران توسط عثمانی در زمان اشغال، صادرات قالی ایران به عثمانی از عوامل تاثیرگذار بر هنر قالیبافی عثمانی بوده است.},
keywords_fa = {قالیبافی, عثمانی, صفوی, ایران, آناتولی},

doi = {10.52547/jic.5.1.1},
url = {http://jih-tabriziau.ir/article-1-144-en.html},  
eprint = {http://jih-tabriziau.ir/article-1-144-en.pdf},  
journal = {Journal of Islamic Crafts},  
issn = {2588-316x}, 
eissn = {2588-3178}, 
year = {2021}  
}

@article{ 
author = {AbbasiShokatAbad, Amir Hossei},  
title = {A Comparative Study of the Religious Components of Qajar and Pahlavi Carpets}, 
abstract ={The place of religious subjects in Iranian arts is very important and most of the arts are rooted in religious culture, which is evidenced by the art of carpet weaving,  in which religious motifs are used that sometimes even represent the forgotten beliefs of the past. In this research, those religious concepts and themes that connect us directly and without intermediaries to the subject of religion will be examined. In Qajar period, due to cultural, social and artistic conditions, designs and patterns of carpets continue the previous traditions and changes have occurred in them. This period is important because of the creation of many examples in history. As carpet weaving became popular during this period, people became more involved with the motifs of this art. As a result, the art of carpet weaving in this period was the best means of conveying the concepts of Islam. Also in the Pahlavi period, trade and export in the field of carpet weaving became very important and in addition to the design process of the Qajar period, due to the royal support, carpet weavers were able to create carpets with high elegance. But in the following years, this art underwent changes and there were not many changes in Iranian carpets. Since the position of religious subjects among Muslim artists in the creation of works of art during different periods is obvious and many examples of them are observed in Iranian carpet art, the purpose of this study is to investigate the Qajar and Pahlavi period carpets in which religious motifs are used. And it is necessary, considering the commonalities that exist in the carpets of these two periods, by analyzing, adapting and classifying these carpets, to examine their commonalities and differences, and to examine their capabilities in order to determine their importance, position and manner, and show the use and attitude of the artist and the people of these two periods in this design. Questions raised in this research were: 1- What are the themes and concepts used in the Qajar and Pahlavi period carpets? What was the status of the use and durability of religious subjects in the carpets of the Qajar and Pahlavi periods? The research is a historical, descriptive-analytical one and the data has been collection through library studies which that has been done after examining samples of carpets with religious themes. The samples examined includes Qajar and Pahlavi carpets in Tehran museums that have religious motifs. Among the surveyed museums, only 7 museums had carpets with religious themes, which included: Iranian Carpet Museum, Carpet Museum of Rassam Arabzadeh Cultural and Artistic Foundation, Golestan Museum Palace, Niavaran Museum, National Museum of Iran, Malek National Museum, Ganjineh Dafineh Museum. There are 28 samples with religious themes, 11 of which are in the Iranian Carpet Museum, 6 in the Rassam Arabzadeh Museum, 4 in the Ganjineh Dafineh Museum, 2 in the Niavaran Museum, 1 in the Malek Museum, and 1 in the Golestan Museum. Seventheen samples of these carpets are related to the Qajar period and 11 samples are related to the Pahlavi period. In Pahlavi carpets, most of the religious issues have been around the events of the life of the Prophet of Islam (PBUH) and Shiite Imams, especially the image of Imam Ali (AS). Because Qajar society was a religious society, these images influenced the religious beliefs of the people from the beginning to the end of this period. Then, in the Pahlavi period with the change of social conditions, people's tastes towards the new conditions were formed and therefore, the religious rugs of the Qajar period had a more important place in the transmission of religious concepts than the Pahlavi period.},  
Keywords = {Religious subjects, Qajar, Pahlavi, carpet},
volume = {5},
Number = {1}, 
pages = {19-34}, 
publisher = {Tabriz Islamic Art University},
title_fa = {بررسی تطبیقی مؤلفه‌های مذهبی حاکم بر فرش‌های دوره قاجار و پهلوی},
abstract_fa ={جایگاه موضوعات مذهبی در هنرهای ایران از اهمیت زیادی برخوردار بوده و بیشتر هنرها ریشه در فرهنگ مذهبی دارد که هنر فرش‌بافی خود گواه بر این موضوع است. هدف از این پژوهش بررسی قالی‌های دوره قاجار و پهلوی است که نقش مایه مذهبی در آن به‌کاررفته و ضروری است با توجه به مشترکات در فرش های این دو دوره، با تحلیل و تطبیق و طبقه‌بندی این فرش‌ها به بررسی اشتراک و افتراق آن¬ها پرداخته و قابلیت های آن¬ها را بررسی کنیم تا اهمیت، جایگاه و نحوه¬ی به‌کارگیری و نگرش هنرمند و مردم این دو دوره در این طرح‌ها را نشان دهیم. پرسش¬های مطرح شده در این پژوهش:1-موضوعات و مفاهیم به‌کاررفته در فرش‌های دوره قاجار و پهلوی چیست؟2-وضعیت به‌کارگیری و دوام موضوعات مذهبی در فرش‌های دوره قاجار و پهلوی چگونه بوده است؟ روش تحقیق تاریخی، توصیفی-تحلیلی و روش گردآوری اطلاعات میدانی و کتابخانه¬ای که پس از بررسی نمونه‌های فرش‌های دارای مضامین مذهبی انجام شده است. نتایج به‌دست ‌آمده از این پژوهش نشان می‌دهد که تصلویر مذهبی در فرش‌های این دو دوره، موضوع اصلی فرش‌های تصویری هستند که بیشترین آنها به تصویرسازی یک روایت یا متن پرداخته اند. این فرش‌ها، برای بیان اعتقادات مذهبی، دینی، عرفانی به کار گرفته می‌شدند. در فرش‌هایی دوره قاجار، چهره‌ها و شمایل، روایات و وقایع مذهبی شیعی و همچنین سایر ادیان رواج داشته و در دوره پهلوی، اکثر موضوعات مذهبی، حول وقایع زندگی پیامبر اسلام(ص) و امامان شیعه، به‌ویژه شمایل حضرت علی (ع) بوده است. به دلیل اینکه جامعه قاجار یک جامعه مذهبی بوده، این تصاویر از آغاز تا به انتهای این دوره بر باورهای دینی مردمان تأثیر گذاشته؛ و سپس در دوره پهلوی با تغییر شرایط اجتماعی، سلیقه مردم نسبت به شرایط جدید شکل‌گرفته و بنابراین، قالیچه‌های مذهبی دوره قاجار جایگاه مهم‌تری را در انتقال مفاهیم مذهبی، نسبت به دوره پهلوی داشته‌اند.},
keywords_fa = {فرش, مؤلفه های مذهبی, دوره قاجار, دوره پهلوی},

doi = {10.52547/jic.5.1.19},
url = {http://jih-tabriziau.ir/article-1-147-en.html},  
eprint = {http://jih-tabriziau.ir/article-1-147-en.pdf},  
journal = {Journal of Islamic Crafts},  
issn = {2588-316x}, 
eissn = {2588-3178}, 
year = {2021}  
}

@article{ 
author = {AbdullahiFard, Abolfazl and MoradianGojehbaglo, Zeynab},  
title = {Analysis Geometric knots used in the tomb of Shah Ismail Safavid}, 
abstract ={The tomb of Shah Ismail Safavid is located at the end of the Kandilkhaneh near the Dome of God in the tomb of Sheikh Safi al-Din Ardabili. A very exquisite and delicate chest is located under the blue dome of the tomb of Shah Ismail Safavid on his grave. This box, with various patterns and designs, have been executed with a very diverse and beautiful techniques in a coherent geometric system. Geometric knots are one of the types of designs used on this box that can be seen all over the work. This research tries to untie all the geometric patterns on this valuable work and find out how to draw them. The aim of the present study is to decode the geometric knots used on the box of Shah Ismail Safavid. The question of this research is, what drawing method did the geometric knots of the mentioned fund follow and what is the secret of its knots? The research method is descriptive-analytical, which is discussed by analyzing a historical work. Data has been collected by documentary and field methods. The use of geometric patterns has been seen mainly in the fields of Islamic arts, including wood, metal, pottery techniques. One of these works in the field of wooden arts is the tomb of Shah Ismail Safavid, which has been used in various techniques and decorations. One of the most widely used designs on this box is geometry, which has been used in various places with the technique of porcelain knot (drainage) by the method of "Alat and lugat" and all the plots created from it are decorated with different patterns and techniques. Three types of knots have been observed on this box: "twelve", "ten" and "eight" knots, which have been used in total of 2 complete twelve Shamseh and 8 times as half Shamseh in the side parts. Shamseh10 is also seen 32 times in full, 46 times in the form of half Shamseh and 32 times in the form of a quarter in the text of the upper, front and side parts of the upper and lower rectangular cubes of the box. The eight knots is also seen 32 times in full shape in the upper and side parts of the box, all of which are designed with a very precise and delicate combination next to each other. In drawing these nodes, mainly in a quarter of a circle, their Shamseh are drawn, and finally, in a square or rectangular frame, a quarter of a node is created. Of course, depending on the type of node, other parts are also drawn. For example, in the side part of the box, three types of nodes are placed next to each other in a square composition. It is connected with twelve Shamsehs on both sides and with eight nodes on the lower part. In general, Shamsehs are formed with a five-pointed star or a cracker. The different sides of this box are in the upper and lower rectangular cubes, each side of it in a separate box with a different combination of other sides. They have been decorated with various designs such as Arabesque, Khati and inscription in a context of geometric patterns with special colors which are made of colored wood, bone, turquoise and silver, with techniques such as inlay, mosaic, mosaic lattice, carving, joist, painting on wood, etc. The type of composition of the general work space, as well as the type of tools that are created with the mentioned nodes, are different in all its aspects, and despite the variety and multiplicity of nodes in the work, there is a special unity and coherence in the parts. Various funds have been created and in a way have exhibited Iranian-Islamic artistic features.},  
Keywords = {Tomb of Shah Ismail Safavid, casket, geometric knots},
volume = {5},
Number = {1}, 
pages = {35-44}, 
publisher = {Tabriz Islamic Art University},
title_fa = {تحلیل گره چینی های بکار رفته در صندوق قبر شاه اسماعیل صفوی},
abstract_fa ={آرامگاه شاه اسماعیل صفوی در قسمت انتهایی قندیلخانه در مجاورت گنبد الله الله در بقعه شیخ صفی الدین اردبیلی قرار دارد. صندوق بسیار نفیس و ظریفی بر روی قبر ایشان واقع است. این صندوق از نقشها و طرحهای متفاوتی با تکنیکهای بسیار متنوع و زیبا در یک نظام هندسی منسجم به اجرا در آمده است. گرههای هندسی یکی از انواع نقوش به کار رفته بر روی این صندوق می باشد که در تمامی جوانب کار مشاهده میشود. این پژوهش سعی دارد تمام نقوش هندسی موجود بر روی این اثر ارزشمند را گره گشایی کرده و به نحوه ترسیم آنها دست یابد. مقاله حاضر درصدد پاسخگویی به این سوال اصلی است که، گرههای هندسی صندوق قبر شاه اسماعیل صفوی از چه روش ترسیمی پیروی کرده است و رمزگشایی گرههای مذکور در چیست؟ روش پژوهش به صورت توصیفی – تحلیلی بوده که با آنالیز یک اثر تاریخی به بحث و بررسی آن پرداخته میشود. جمع آوری اطلاعات به روش اسنادی و میدانی می باشد. یافته های حاصل نیز نشان میدهد که سه نوع شمسه «هشت»، «ده تند» و «دوازده تند» در تمامی جوانب کار با ترکیب بندیهای متفاوت دیده میشود که شمسه «ده تند» به مراتب کاربرد بیشتری در اجرا دارد. نوع تقسیم بندی فضای کلی کار و همچنین نوع آلت هایی که با گرههای نامبرده، ایجاد شده در تمامی جوانب آن متفاوت از هم میباشند. با وجود تنوع و تعدد گره ها در کار، یک وحدت و انسجام خاصی در قسمتهای مختلف صندوق ایجاد شده است. گره های بکار رفته بر روی این صندوق موقع ترسیم در یک چهارم دایره، شمسه آنها ترسیم شده و در قاب واگیره مربع یا مستطیل البته براساس نوع گره قسمتهای دیگر آن نیز ترسیم میشود. در حالت کلی شمسه ها با ستاره پنجپر و یا آلت ترقه شکل میگیرند. بخشهای مختلف این صندوق در مکعب مستطیل بالایی و پایینی هر کدام مانند یک تابلو با نقوش متعددی مثل اسلیمی ها، ختاییها و کتیبه که در بستری از نقوش هندسی با رنگهای خاصی به اجرا درآمده اند به نوعی ویژگیهای هنری ایرانی – اسلامی را به نمایش گذاشته اند.},
keywords_fa = {آرامگاه شاه اسماعیل صفوی, صندوق قبر, گرههای هندسی, روش ترسیم},

doi = {10.52547/jic.5.1.35},
url = {http://jih-tabriziau.ir/article-1-140-en.html},  
eprint = {http://jih-tabriziau.ir/article-1-140-en.pdf},  
journal = {Journal of Islamic Crafts},  
issn = {2588-316x}, 
eissn = {2588-3178}, 
year = {2021}  
}

@article{ 
author = {AliAbadi, Maryam and Paydarfard, Arezoo and Niknasab, Zeinab},  
title = {Study and Analysis of the Illustrated Version Of Varqa and Gulshah Belonging to the Seljuk School of Painting}, 
abstract ={The poem of Varqa and Gulshah Ayyuqi is a very valuable manuscript of the Seljuk era, which has been preserved for the quality of the drawings and the representation of its story by the painter. Books such as Survey of Persian Art of Arthur Apham Pope, Persian Miniature of Basil Gray, Islamic Art and Architecture of  Ernst Kuhnel, catley marguerite and humby louis in the their book, Seljuk and Kharazmi art described a brief history of Seljuk painting and the characteristics of painting of this period. This research seeks to answer these two questions: To what extent does the painting of the manuscript of Varqa and Gulshah express the story and which plots of the story does it contain? How was the atmosphere of the drawings according to the written text? Based on a story told by Arabs, the poem was (re-) composed by Ayyuqi in the eastern Iranian world during the Ghaznavid period. The poem Varqa and Gulshah is a love story about the life of two lovers in Saudi Arabia in Islamic period, which describes their mania, problems and sufferings, wars and their separation in the way of love and joiner. The story of Varqa and Gulshah is set in Arabia in the time of the Prophet Muhammad and revolves around the misfortunes of a pair of lovers. It is in the fourth century and early fifth century AH. Varqa and Gulshah are the children of two brothers who are joint chiefs of a tribe named Bani Shayba. The two are raised together, fall in love and become engaged (Grubar, 2019, p. 73). Considering that Varqa and Gulshah manuscripts is the earliest Islamic romantic manuscript in which the roots of the connection between poetry and painting can be recognized, there was a reason to choose this manuscript and to study and adapt its drawings with poems, so that the painter’s success in visual expression of the poem could be realized. Adopting a descriptive-analytical method and collecting data by library studies, the findings indicate that in this illustrated version, all the features of Seljuk painting are reflected and there is a valuable connection with literature. In illustrated manuscripts, how the story is represented as an image is of special importance. Therefore, in this study, the adaptation of the story of Varqa and Gulshah with its painting has been considered. Seljuks with emphasis on the art of this period, the characteristics of painting of the Seljuk school are mentioned. By depicting 71 paintings from a copy preserved in the Topkapı Palace Museum Library in Istanbul, containing the most important events and characters that contain the main plot of Ayyuqi, the painter has shown the fidelity of image to the literary text. This story was classified in the form of 17 main plots, and it turned out that the painter illustrated 13 examples of it and, following the text, dealt with them very sensitively and has illustrated the turning points of the story into four plots and several narrations.},  
Keywords = {Seljuk period, literature, painting, love, Varqa and Gulshah},
volume = {5},
Number = {1}, 
pages = {45-63}, 
publisher = {Tabriz Islamic Art University},
title_fa = {بررسی و تحلیل نسخه مصور ورقه و گلشاه متعلق به مکتب نگارگری سلجوقی},
abstract_fa ={منظومه ورقه و گلشاه عَیوقی، نسخه خطی ارزشمند دوره سلجوقی است که کیفیت تصویرسازی و بازنمایی داستان آن توسط نگارگر، این نسخه را ماندگار کرده است. نسخه ورقه و گلشاه قدیمی‌ترین وکاملترین نسخه خطی عاشقانه و حماسی اسلامی است که می‌توان در آن ریشه‌های پیوند شعر و نقاشی را باز شناخت، دلیل انتخاب این نسخه، تطبیق نگاره ها با داستان آن است تا بتوان به موفقیت نگارگر در بیان تصویری سروده پیبرد. بر این اساس، برای بررسی محتوای داستان (جنبه های عاشقانه و حماسی)، پیرنگها که اساس داستان هستند، مورد توجه قرار گرفت. هدف پژوهش حاضر، بررسی و تحلیل محتوای سروده عیوقی بر اساس نگارهها و پیرنگهای اصلی است تا تطبیق یا عدم تطبیق شعر و نگاره بررسی شود. این پژوهش در پی پاسخگویی به این سوالات است: 1. نگارگری نسخه خطی ورقه و گلشاه تا چه اندازه بیانگر محتوای داستان و حاوی کدام پی-رنگهای داستان است ؟ 2. فضاسازی نگاره‌ها با توجه به متن نوشتاری چگونه بوده است؟ یافته‌های پژوهش حاکی از آن است که در این نسخه مصور، تمام ویژگی‌های نگارگری دوره سلجوقی، نمود داشته و پیوستگی ارزشمندی با ادبیات دارد. نگارگر با به تصویر کشیدن 71 نگاره از نسخه کتابخانه موزه توپقاپی استانبول  حاوی مهمترین حوادث، شخصیتها و پیرنگهای اصلی داستان عیوقی، وفاداری تصویر به متن ادبی را نشان داده است. این داستان در قالب 17 پیرنگ اصلی طبقه بندی و مشخص شد که، نگارگر به تبعیت از متن، با حساسیت بسیار به آن‌ها پرداخته و نقاط عطف داستان را در4 پیرنگ(شالوده) و روایت‌های متعدد مصور کرده است. روش تحقیق پژوهش، توصیفی– تحلیلی و تطبیقی و روش گردآوری اطلاعات، کتابخانه‌ای است.},
keywords_fa = {دوره سلجوقی, ادبیات, نگارگری, ورقه و گلشاه, عیوقی},

doi = {10.52547/jic.5.1.45},
url = {http://jih-tabriziau.ir/article-1-148-en.html},  
eprint = {http://jih-tabriziau.ir/article-1-148-en.pdf},  
journal = {Journal of Islamic Crafts},  
issn = {2588-316x}, 
eissn = {2588-3178}, 
year = {2021}  
}

@article{ 
author = {Chareie, Abdolreza and Zekavat, Sahar and Keshtgarghasemi, Reyhaneh},  
title = {A comparative study of Jamshid’s kingdom and picture of him court in the Baysonqor’s Shahnameh and Tahmasp’s Shahnameh from the viewpoint of Erwin Panofsky Iconology}, 
abstract ={One of the important and mythical characters of Ferdowsi's Shahnameh is Jamshid. In the Baysonqor’s and Tahmasp’s Shahnameh, a scene attributed to Jamshid is illustrated. Jamshid’s kingdom miniature in Baysonqor’s Shahnameh and Jamshid’s court miniature in Tahmasp’s Shahnameh are both visual representations of the content of Jamshid's kingdom and its king functions. The importance of the common theme in both of the Shahnameh paintings has led to the necessity of a comparative study. The purpose of this research is to identify how Jamshid's personality is represented in the Jamshid’s kingdom miniature in Baysonqor’s Shahnameh and Jamshid’s court miniature in Tahmasp’s Shahnameh and to understand the similarities and differences between Jamshid's personality and illustration type of two miniatures. The study addressed these questions: 1- How is Jamshid's personality represented in Baysonqor’s and Tahmasp’s Shahnameh miniatures and what are the features? 2- What cultural, political and social factors have led to more and more detailed and precise in Tahmasp’s Shahnameh painting than Baysonqor’s Shahnameh? In this research, library information and documentary data have been studied with descriptive-analytical and comparative approach and the research results show that more details and visual elements are illustrated in the Jamshid’s court miniature in Tahmasp’s Shahnameh compared to the Jamshid’s kingdom miniature in Baysonqor’s Shahnameh. Also Jamshid’s government in Tahmasp’s Shahnameh is illustrated authoritative, powerfully, luxurious and excellent and also the number of human elements in Baysonqor’s Shahnameh miniature is 15 and in Tahmasp’s Shahnameh miniature is 28 and the image of two demons. Also, the focus of the two paintings is dedicated to Jamshid's character. But the clothes and throne of Jamshid in Baysonqor’s painting are simpler than Tahmasp’s Shahnameh and have less decorations. Even the difference between Jamshid's clothes and other people in Tahmasp’s painting is very noticeable. The king wears a magnificent crown and a robe full of motifs and the throne, which is guarded by two demons and adorned with large elephants at the base, added to his royal power. Meanwhile, Jamshid's dress is simple in Baysonqor’s painting and the king's character is known only from his throne. Also, in Baysonqor’s Shahnameh, Jamshid is illustrated with a glove in his hand and exchanging birds of prey with his attendant, which shows the symbol of the hunt of this king and on the other hand, his Charisma (Farreh Izadi) and in Tahmasp’s Shahnameh Jamshid is shown drinking and drinking shows the characteristics of having fun, increasing blessings, well-being and comfort during the Jamshid era. The space around Jamshid king is illustrated in the painting of Baysonqor’s Shahnameh as a free space, while Jamshid is depicted in the painting of Tahmasp’s Shahnameh inside the royal palace and more details of the king's actions are illustrated with visual expressions. It should be noted that the method of visual expression in Tahmasp’s Shahnameh is a more accurate representation of Jamshid to the viewers, which is more correspond to the text of Shahnameh poems.},  
Keywords = {Jamshid’s kingdom, Jamshid’s court, Baysonqor’s Shahnameh, Tahmasp’s Shahnameh},
volume = {5},
Number = {1}, 
pages = {65-83}, 
publisher = {Tabriz Islamic Art University},
title_fa = {مطالعه تطبیقی نگارۀ پادشاهی جمشید و تصویر دربار او در شاهنامۀ بایسنقری و شاه طهماسبی از منظر شمایل‌شناسی اروین پانوفسکی},
abstract_fa ={یکی از شخصیت‌های مهم و افسانه‌ای شاهنامه فردوسی، جمشید است. جمشید شاه و جزئیات حکومت او در برخی نگاره‌های دونسخه به تصویر درآمده است. نگاره‌ پادشاهی جمشید در شاهنامه‌ بایسنقری و نگاره‌ دربار جمشید در شاهنامه‌ طهماسبی هردو بازنمایی تصویری پادشاهی جمشید و عملکردهای او است. اهمیت موضوع در هر دو نگاره ضرورت انجام پژوهش حاضر را ایجاب کرده و هدف پژوهش، شناسایی چگونگی بازنمایی شخصیت جمشید در شاهنامه‌ بایسنقری و طهماسبی و نیز شناخت وجوه اشتراک و افتراق ویژگی‌های جمشید و نوع تصویرسازی صحنه‌ها در دو نگاره‌ می‌باشد. بنابراین دو پرسش مطرح شده است: 1- شخصیت جمشید در دو نگاره‌ پادشاهی جمشید و دربار جمشید در شاهنامه‌های بایسنقری و طهماسبی چگونه و با چه ویژگی‌هایی بازنمایی شده است؟ 2- چه عوامل فرهنگی، سیاسی و اجتماعی باعث شده جزئیات بیشتر و دقیق‌تری در نگاره شاهنامه شاه طهماسب نسبت به شاهنامه‌ی بایسنقری اعمال شود؟ شایان ذکر است پژوهش پیش‌رو با جست‌وجو در منابع کتابخانه‌ای و مشاهده‌ دو نمونه نگاره، به شیوه‌ توصیفی- تحلیلی- تطبیقی انجام شده است. نتایج پژوهش نشان می‌دهد نگاره‌ شاهنامه‌ طهماسبی نسبت به نگاره‌ شاهنامه‌ بایسنقری جزئیات دقیق‌تری از حکومت جمشید را ارائه کرده و حکومت جمشیدشاه مقتدرانه‌تر، پرتجمل‌تر و به صورت عناصر تصویری بیشتر و مفصل‌تر بازنمایی شده به طوری‌که تعداد عناصر انسانی در نگاره‌ بایسنقری 15 نفر و در نگاره‌ طهماسبی 28 نفر به همراه تصویر دو دیو می‌باشد.},
keywords_fa = {پادشاهی جمشید, دربار جمشید, شاهنامه‌ بایسنقری, شاهنامه‎ طهماسبی},

doi = {10.52547/jic.5.1.65},
url = {http://jih-tabriziau.ir/article-1-127-en.html},  
eprint = {http://jih-tabriziau.ir/article-1-127-en.pdf},  
journal = {Journal of Islamic Crafts},  
issn = {2588-316x}, 
eissn = {2588-3178}, 
year = {2021}  
}

@article{ 
author = {Garoosi, Atefe and Sadri, Mi},  
title = {Study of six drawings of Esfandiar\'s battle with dragons from Ferdowsi Shahnameh from Shiraz and Tabriz schools}, 
abstract ={What connects Ferdowsi's Shahnameh with people's culture and painting are stories with heroic and mythical themes that have made painters to try to depict it for many years. One of the themes in Shahnameh is the battle of famous heroes with legendary animals, including Simorgh and Dragon. Among the evil animals, which are a symbol of demonic and evil forces, the dragon has a special place and in Iranian mythology, it often appears as an embodiment of evil and evil deeds. One of the ways to portray the confrontation of these two opposing forces in Iranian epic literature is in the form of a superhuman war with a dragon. Haft Khan is his battle with the dragon, which is the manifestation of the battle between good and evil in the whole world. The dragon is one of the elements that is considered in all cultures and has many meanings. The battle with the dragon is a symbol of man's battle with the ego. This is the battle between good and evil. Dragons are commonly used in painting to represent demonic forces, and the role of dragons has had a special place in describing evil, darkness, evil, and the power of the soul. Therefore, in both schools, one of the most significant works illustrated by painters is the Shahnameh and the battle of Esfandiar and the dragon is one of the subjects in which it is depicted in various forms. This issue is important among the paintings of the two leading schools of Shiraz and Tabriz, and the paintings of this period have a different structure than the paintings of their predecessors. The main focus of this paper is a comparison of the visual and structuralist relationship between Esfandiar and the dragon in the drawings of Shiraz and Tabriz II schools. The present study is conducted to answer two questions: what visual features did the painters use to depict the dragon? and what do the selected images have in common with the visual-visual differentiation? This research is descriptive-analytical and the data is collected in a library method. The results show that the drawings of Shiraz school, unlike the drawings of Tabriz II school, have not been as successful as they should be and perhaps in using the functions and visual features to depict the desired theme. Painters in each period in accordance with the conditions of the time and the need for painting have used special visual features and it can be said that the features used in the works is greatly influenced by Ferdowsi's descriptions in Shahnameh which is the richest source for painters and the images. It has provided a clear and concise picture of the dragon, and the painters have been able to find a special artistic language, appropriate to the literary expression of the Shahnameh, and to give the images a value equal to that of literary crafts. Among the features that are commonly seen in all periods and are mentioned in the verses of Shahnameh, we can mention the following: the size of the dragon, fire and incitement, as well as the dragon's claw. Other visual features include the texture of scales such as the body of a snake, the body of a twisted body, the body color of a dragon and large teeth, the position on the screen and the direction of movement, which may not be seen as the same in Ferdowsi literature, but the artist of each has considered these descriptions as an adjective in the dragon he has depicted in various forms. Visual functions also include the type of composition, cutting the frame with the dragon body, twisting clouds, drought, a small presence of spectators, showing the scene in terms of the moment of confrontation, the color space that governs the image and the type of lines that govern it.  },  
Keywords = {Ferdowsi Shahnameh, Shiraz School, Tabriz School, Dragon, Visual Communication, Visual Elements},
volume = {5},
Number = {1}, 
pages = {85-104}, 
publisher = {Tabriz Islamic Art University},
title_fa = {مطالعۀ شش نگارۀ نبرد اسفندیار با اژدها از شاهنامه فردوسی دو مکتب شیراز و تبریز},
abstract_fa ={آنچه شاهنامه فردوسی را با فرهنگ مردم و نگارگری پیوند داده، داستانهایی با مضامین پهلوانی و اسطورهای هستند که سبب شده اند تا نگارگران طی سالیان طولانی در صدد به تصویر کشیدن آن درآیند. از جمله داستان‌هایی که نگارگران بدان توجه کرده اند، "نبرد اسفندیار با اژدهـا" است، که خان ‌سوم از هفتخان اسفندیار محسوب می شود. اژدها یکی از عناصری است که در تمامی فرهنگ ها بدان توجه شده است و معانی متعددی را شامل می شود. این موضوع، در میان نگارگری دو مکتب شاخص شیراز و تبریز حائز اهمیت است و نگاره های این دوران نسبت به نگارههای پیش از خود، ساختاری متمایز دارند. مسئلۀ اصلی این جستار، مقایسۀ تطبیقی ارتباط بصری و ساختارشناسانه بین اسفندیار و اژدهـا در نگاره های مکاتب شیراز و تبریز دوم است. پژوهش حاضر در راستای پاسخگویی به این سئوال ها که نگارگران از چه خصوصیات بصری در جهت به تصویر کشیدن اژدهـا استفاده کرده‌اند؟ و نگاره های منتخب چه وجوه اشتراک و افتراق تصویری دارند؟ سازماندهی شده اند. این پژوهش از منظر روش، توصیفی و داده های آن نیز به شیوۀ کتابخانه ای جمع آوری شد. تفحص های صورت گرفته دربارۀ نگاره های منتخب دو مکتب، نشان میدهد: نگارگران از ویژگیهای بصری همچون اندازه، تزیینات، فرم، ترکیب بندی، رنگ، خطوط، بافت و... بهره برده اند. ازجمله خصوصیات تصویری، تفاوت‌ نگاره‌های دو مکتب از موارد مشابه بیشتری برخوردار بوده از جمله در تزیینات، جثۀ اژدهـا و نوع ترکیب بندی، خطوط، فرم، رنگ و خشکسالی صحنه می باشد. نگاره‌های شیراز ساختاری تک ‌وجهی دارند و هنرمندان در بهره‌گیری از این عناصر در مقایسه با نگارگران تبریز دوم، آنچنان موفق نبوده اند که ویژگی های تصویری متنوع تری به کار بگیرند.},
keywords_fa = {شاهنامه فردوسی, نقاشی ایرانی, مکتب شیراز, مکتب تبریز, اژدها},

doi = {10.52547/jic.5.1.85},
url = {http://jih-tabriziau.ir/article-1-130-en.html},  
eprint = {http://jih-tabriziau.ir/article-1-130-en.pdf},  
journal = {Journal of Islamic Crafts},  
issn = {2588-316x}, 
eissn = {2588-3178}, 
year = {2021}  
}

@article{ 
author = {Boozari, Ali and Saharvand, Parvaneh},  
title = {A Comparative Study of Caps in Lithographic Images of Shāhnāmeh 1846 (Bombay) Shāhnāmeh 1849-1851 (Tehran)}, 
abstract ={The use of the printing industry in Iran and India caused the cultural and artistic exchanges of these two lands to expand more than before, along with the spread of the Persian language and literature. In this way, the images of lithographed books provided a new visual medium for artists to be able to reflect social developments and changes, in addition to illustrating the glorious texts of Persian literature. The first lithographed edition of Shāh-nāme was published in Bombay in 1262/1846 and only five years later, the images and text of this Shāh-nāme were a model for the publication of the first Shāh-nāme in Tehran in 1267/1850. This work, illustrated by ‘Ali-Qoli Khoiee, an excellent illustrator of the Qajar period, is in many ways similar to India's first edition. However, in many cases, the Iranian artist has tried to reflect the characteristics of his work and the Qajar society in the pictures and to cover the Iranian dress in the Indian pictures. The goal of this research, which is to look at the cap in two lithographed editions of the Shāh-nāme in India and Iran, is to find out what changes ‘Ali-Qoli Khoiee made in the details and form of the caps in his images for the Shāh-nāme compared to the images of the first printed Shāh-nāme in India, and what design innovations he made. The result of this research shows the recognition and enlightenment of the use of caps and the use of their types to distinguish people in different social classes. While the high variety of caps in ‘Ali-Qoli's Shāh-nāme, assemblies and careful drawing of details distinguish ‘Ali-Qoli's work artistically from that the Bombay artist; these images provide a better introduction to the characters in the images. The result of studying and comparing the illustrations of the two lithographed editions of Shāh-nāmeh 1262 /1846 (Bombay) with Shāh-nāmeh 1265-1267/1850 (Tehran) shows a remarkable variety of caps and the illustrator's great attention to drawing the details of the illustrations in Shāh-nāmeh 1265-1267/1850. This research shows the twenty covers that were drawn in the illustrations in Shāh-nāmeh 1262/1846 have been increased to 27 caps in the illustrations of Shāh-nāmeh 1265-1267/1850. Meantime, some of the caps in the Shāh-nāmeh 1262/1846 have been replaced by other caps used in the same version. It seems that the increase, change and transformation of the covers was done for two purposes: first, the new covers are more familiar to the Iranian readers and are derived from the visual tradition of Iranian Shāh-nāmeh or from the Qajar period, which in both cases leads to more tangible images for the readers. On the other hand, this diversity combined with delicacy has made it easier to distinguish differences between characters, ethnicities and social categories in imagesit.  },  
Keywords = {Qajar Art, Shāh-nāmeh, Lithography, Cap, ‘Ali-Qoli Khoiee},
volume = {5},
Number = {1}, 
pages = {105-119}, 
publisher = {Tabriz Islamic Art University},
title_fa = {مطالعۀ تطبیقی سرپوش‌ها در تصاویر چاپ‌سنگی شاهنامۀ 1262 ق. (بمبئی) و شاهنامۀ 67-1265 ق. (تهران)},
abstract_fa ={ورود صنعت چاپ به ایران و هند سبب شد تا در کنار اشاعۀ زبان و ادب فارسی، تبادلات فرهنگی و هنری این دو سرزمین بیش از پیش گسترش پیدا کند. بدین ترتیب تصاویر کتاب‌های چاپ سنگی، رسانۀ‌ بصری جدیدی را در اختیار هنرمندان قرار داد تا بتوانند در کنار مصورسازی متن‌های فاخر ادبیات فارسی، تحولات و تغییرات اجتماعی را نیز بازتاب دهند. اولین شاهنامۀ چاپ سنگی در بمبئی و به سال 1262ق. (1846م.) به طبع رسید و تنها پنج سال بعد، تصاویر و متن این شاهنامه، به عنوان الگویی برای چاپ نخستین شاهنامه در تهران 1267ق. (1850م.) مورد استفاده قرار گرفت. این اثر که به‌دست علی‌قلی خوئی، تصویرگر مبدع دورۀ قاجار، مصور شده بود، از بسیاری جهات مشابه چاپ نخست هند است. با این حال هنرمند ایرانی، در موارد فراوانی تلاش کرده تا ویژگی‌های کار خود و جامعۀ قاجاری را در تصاویر منعکس کند و جامۀ ایرانی بر تصاویر هندی بپوشاند. این تحقیق از لحاظ رویکرد، کیفی است و از منظر هدف، کاربردی طبقه‌بندی می‌شود، با هدف مطالعۀ بصری سرپوش ‌در تصاویر دو شاهنامۀ چاپ سنگی در هند و ایران انجام شده است و در پی یافتن پاسخ به این پرسش است که هنرمند تصویرگر شاهنامۀ 1265-1267ق. (طهران) در تصاویر خود برای شاهنامهاش چه تغییراتی را در جزییات و فرم سرپوش‌ها به نسبت تصاویر نخستین شاهنامۀ چاپ هند، ایجاد کرده و در زمینۀ طراحی چه ابداعاتی انجام داده است؟ حاصل این پژوهش که به روش توصیفی-تحلیلی انجام شده، نشان‌دهندۀ شناخت و احاطۀ هنرمند نسبت به موارد استفادۀ سرپوش‌ها و به‌کارگیری انواع آن‌ها برای تفکیک اشخاص در طبقات مختلف اجتماعی است. در حالی که تنوع بالای سرپوش‌ها در مجالس شاهنامه علی‌قلی و دقت در ترسیم جزییات، کار علی‌قلی را به لحاظ هنری از هنرمند بمبئی متمایز می‌کند، این تغییرات، سبب شده معرفی بهتری از شخصیت‌های داستان در تصاویر صورت پذیرد.},
keywords_fa = {هنر دورۀ قاجار, شاهنامه, چاپ سنگی, سرپوش, علی‌قلی خوئی},

doi = {10.52547/jic.5.1.105},
url = {http://jih-tabriziau.ir/article-1-138-en.html},  
eprint = {http://jih-tabriziau.ir/article-1-138-en.pdf},  
journal = {Journal of Islamic Crafts},  
issn = {2588-316x}, 
eissn = {2588-3178}, 
year = {2021}  
}

@article{ 
author = {Horri, Tina and Hajiani, Farideh and Moghaddam, Banafsheh},  
title = {Survey of women\'s views on the factors of wearing dark clothes and the effects of uniform color}, 
abstract ={Colors are radiant forces and energies that are manifested in various aspects of life, including social coverage of individuals, and depending on their darkness, brightness and inner characteristics can have a positive or negative impact on the individual and social life of citizens. People may not know for sure that the color of their clothes plays an important role in creating vitality, mental health, and how they communicate. Most of the color choices in Iran are limited to dark, repetitive, and lifeless colors in people’s clothes, especially women in society and the offices. Today, women play a special role in the city and at work. If women are not aware of the importance of using colors correctly in their social clothing and uniforms, and also do not know enough about the effect of dark colors on the quality of life and work, their health and peace of mind will be in danger. Therefore, this lack of awareness not only has a significant impact on the quality of life of women but also on the quality of life of men and children and the perspective of the whole city. In the meantime, it is important to pay attention to people's uniforms as a manifestation of the connection between the employee and his profession in the community. Applying suitable colors in work clothes, because of their long-term daily use, is important as the simplest and most effective way to create vitality. This study has aimed to identify the factors affecting the wearing of dark clothes by the people in society and to raise awareness about the use of appropriate and various colors in the clothing of people, especially women. Moreover, this study tries to answer the question of what women think about the effect of the application of various colors in their clothes? Also, what factors are effective in choosing the color of people's social coverage?. The present study is applied in terms of purpose, which has been done by reviewing library resources and collecting and analyzing data using a questionnaire, so the research is quantitative. The population of the study was women employees of chain stores in Tehran who were randomly selected. Quantitative data analysis was performed with SPSS26 software. The results show that although many women believe using bright colors in clothes affects their lives, mood, and communication in society, they are not sufficiently aware of the role and effect of colors on their job quality in the workplace. Consequently, due to some influential factors, they still tend to wear dark uniforms and social clothes. The investigation of factors of wearing dark clothes and research findings shows that individual, social and aesthetic factors, each affect the color tendency of social clothing such as uniforms. Finally, by surveying women's views about the factors of wearing dark clothes, it is found that three factors are important in the tendency to dark colors: "contamination of dark clothes is less visible", "dark colors make the body look slimmer" and "dark colors are more compatible with other colors of the clothing."},  
Keywords = {clothing color, social coverage, wearing dark clothes, women’s uniforms},
volume = {5},
Number = {1}, 
pages = {121-132}, 
publisher = {Tabriz Islamic Art University},
title_fa = {بررسی دیدگاه بانوان نسبت به عوامل تیره پوشی و تاثیرات رنگ لباس فرم},
abstract_fa ={رنگ‌ها نیروها و انرژی‌های درخشنده‌ای هستند که در ابعاد مختلف زندگی از جمله پوشش‌ اجتماعی افراد نمود دارند و بسته به تیرگی، روشنی و خصوصیات درونی خود، میتوانند بر زندگی فردی و اجتماعی شهروندان تأثیر مثبت و یا منفی بگذارند. افراد به‌طور دقیق نمی‌دانند که رنگ لباس هایشان در ایجاد سرزندگی، سلامت روح و روان و نحوه ارتباط آنها نقش دارد. معمولا بیشتر انتخاب‌های رنگی در پوشش‌ افراد به‌ویژه بانوان در اجتماع و محیط کار، به رنگ‌های تیره، تکراری و بی‌روح محدود می‌شود. این پژوهش با هدف شناسایی عوامل مؤثر بر تیره‌پوشی افراد در جامعه و پرداختن به آگاهی سازی حول محور کاربرد الگوهای رنگی مناسب و متنوع در لباس افراد، به‌خصوص بانوان انجام شده است و میکوشد به این پرسش پاسخ دهد که بانوان چه دیدگاهی نسبت به تاثیرکاربرد رنگ‌های متنوع در پوشش‌های خود دارند؟ همچنین چه عواملی در انتخاب رنگ پوشش‌های اجتماعی افراد مؤثرند؟ تحقیق حاضر به لحاظ هدف کاربردی است که  از طریق بررسی منابع کتابخانه ای و  گردآوری و تحلیل داده ها  با استفاده از پرســشنامه انجام پذیرفته اســت، از اینرو پژوهش موردنظر ماهیتی کمی دارد. جامعه آماری بانوان کارمند فروشگاههای زنجیره‌ای شهر تهران بوده که به روش تصادفی انتخاب شدند. تجزیه و تحلیل داده‌های کمی با نرم‌افزار SPSS26 انجام شده است. یافته های پژوهش حاضر نشان می‌دهد که بسیاری از بانوان باوجود اینکه معتقدند استفاده از رنگ‌های شاد و روشن در پوشش بر زندگی، روحیه و نحوه ارتباط آنها در اجتماع تاثیرگذار است، اما از نقش و تاثیر رنگ‌ها بر کیفیت شغلی خود در محیط کار آگاهی کافی ندارند. در نتیجه به‌دلیل برخی عوامل تاثیرگذار همچنان تمایل به تیره-پوشی در لباسفرم و پوشش های اجتماعی خود دارند. در نهایت با توجه به عوامل تیره پوشی و بررسی این عوامل از دیدگاه بانوان مشخص شد که سه عامل"کمتر دیده شدن آلودگی‌ لباس‌های تیرهرنگ"، "نقش رنگ‌های تیره در لاغرتر و باریک‌تر نشان‌دادن اندام افراد"و "قابلیت راحت‌تر و بیشتر هماهنگی رنگ‌های تیره با رنگ سایر اجزای پوشش" در تمایل به تیرهپوشی بانوان تاثیر بیشتری دارند.},
keywords_fa = {رنگ لباس, پوشش اجتماعی, تیره‌پوشی, لباسفرم بانوان},

doi = {10.52547/jic.5.1.121},
url = {http://jih-tabriziau.ir/article-1-141-en.html},  
eprint = {http://jih-tabriziau.ir/article-1-141-en.pdf},  
journal = {Journal of Islamic Crafts},  
issn = {2588-316x}, 
eissn = {2588-3178}, 
year = {2021}  
}

@article{ 
author = {Derakhshani, Mojdeh and Kolahkaj, Mansour},  
title = {Time-based authenticity in handicrafts according to Dutton\'s theory of evolutionary aesthetics (Case study of woodturning)}, 
abstract ={Authenticity is a sublime concept whose application to anything makes it valuable, and as a result it often finds a symbolic aspect, one of the consequences of which is usually to give economic value to that thing. Originality requires several components, of which time is one of the most important. Time plays an important role in understanding the concepts and meanings related to human life and its surrounding phenomena. The time of birth of living beings, the time of creation of an object or work of art, the period of life or time of death, and the like, are among the elements that give us a different interpretation of the surrounding phenomena. The photographic image of a historic building that has been destroyed and no longer exists embodies another aspect of the value of time for man. The role of time in collective memories and the formation of identities is another part of the value creation of time in peripheral phenomena.On the other hand, traditional handicrafts and skills are considered as part of indigenous cultural landscapes and intangible cultural heritage by global cultural institutions. This makes the preservation of the authenticity of traditional handicrafts particularly important for the preservation of this part of the cultural heritage. This is so important that, the global registration of traditional handicraft skills is one of the cultural concerns of countries and indicators such as the Nara document are used as a measure to examine the authenticity of tangible and intangible cultural heritage, they are also used in handicrafts. Based on this document, which includes various dimensions affecting originality, material and immaterial components of originality such as raw materials, design and form, method of construction, application and function, spatial and cultural context, spirit and feeling and the like are examined. And each of these components can be evaluated in four dimensions: aesthetic, historical, social and scientific. Such measures deal with the set of material and immaterial factors of originality and valuable reasons for unique handicrafts, which the historical aspect mentioned in the Nara document also refers to the role of time in the components of originality (Derakhshani, 1399). In this study, according to Dutton's view on the type of expressive and nominal originality in works of handicrafts and indigenous arts, which is one of the cases mentioned by him in the theory of evolutionary aesthetics and the importance of time in this theory, an attempt has been made to influence the time component in originality. The art of carpentry is discussed according to his theory of evolutionary aesthetics and the principles and criteria for it are explained as much as possible. The questions of this research are: What is the role of time in determining the authenticity of handicrafts and how is this role explained and how is it demarcated in the field of handicrafts? In this research, exclusively one of the components of originality, namely the role of time and historical aspects in handicrafts, has been dealt with and the position of the element of time has been explained by using field information from the experience of masters called this art. Therefore, the present study, as a problem-oriented research, seeks to find practical solutions derived from the theories of thinkers, in order to promote the knowledge of producers and the originality of handicrafts as part of the living cultural heritage. Since the existence of such researches in the form of basic researches in the field of handicrafts and traditional arts seems necessary, doing them to pave the way to achieve the global framework of the originality of handicrafts is a priority of the research.},  
Keywords = {Dennis Dutton, Theory of Evolutionary Aesthetics, Spirit of Time, Time Spent, Originality, Crafts, Turning},
volume = {5},
Number = {1}, 
pages = {133-144}, 
publisher = {Tabriz Islamic Art University},
title_fa = {اصالت‌مندی مبتنی بر زمان در آثار صنایع دستی براساس نظریه زیبایی‌شناسی تکاملی داتن (مطالعه موردی آثار خراطی)},
abstract_fa ={زمان یکی از عوامل تعیین و تبیین اصالت در حوزه‌های هنری و فرهنگی است. آثار صنایع‌دستی با گسترده‌ وسیع خود در بافت تاریخی، اجتماعی، زیبایی‌شناسی، بخشی از اصالت خود را مرهون عوامل مرتبط با زمان هستند که داتن آن را از الزامات اصالت یک اثر هنری به شمار می‌آورد. هدف پژوهش حاضر، تبیین نقش زمان و تأثیرگذاری این مؤلفه در اصالت‌مندی آثار صنایع‌دستی با توجه به نظریه‌ی «زیبایی‌شناسی تکاملی داتن» و مطالعه موردی هنر خراطی در منطقه دزفول است. پرسش‌های این پژوهش عبارتند از؛ 1- نقش زمان در تعیین اصالت صنایع دستی چیست و چگونه تبیین می‌شود؟ 2- این عنصر در هنر خراطی چگونه مرزبندی می‌شود؟ روش تحقیق این پژوهش کیفی و مسئله محور است که به شیوه‌ی توصیفی ـ تحلیلی به انجام رسیده است. در این فرایند نخست داده‌ها از طریق، منابع کتابخانه‌ای و پایگاه‌های استنادی و همچنین روش میدانی گردآوری شد، سپس با تدقیق مفاهیم «اصالت» و «زمان» از دیدگاه داتن، به تحلیل داده‌ها در خصوص سه مقوله «روح زمان»، «زمان صرف شده برای خلق اثر» و «تاریخ اثر» نتایج آن ارائه شد. نتایج این پژوهش حاکی از این است که عناصر زمانی اصالت از نظر داتن در برگیرنده روح زمان، تاریخ ساخت اثر و زمان صرف شده برای خلق اثر است که تطبیق این سه عنصر در آثار چوبی بدین شرح است: مقوله روح زمانه در آثار خراطی، به رسم و رسوم، تکنیک‌های خاص زمان تولید و نیز سنت شکنی‌های خلاقانه دلالت دارد. همچنین موضوع صرف زمان در تولیدات چوبی بر اساس نظریه داتن، ناظر بر میزان زمان صرف شده در خلق اثر هنری است . مقوله دیگر از دیدگاه داتن، تاریخ اثر است که در خراطی گواهی‌دهنده‌ی تأثیر و تأثر اثر از دوره پیش از خود یا معاصرین است.},
keywords_fa = {دنیس داتن, نظریه زیبایی شناسی تکاملی, روح زمان, زمان صرف شده, اصالت‌مندی, آثار صنایع دستی, خراطی},

doi = {10.52547/jic.5.1.133},
url = {http://jih-tabriziau.ir/article-1-129-en.html},  
eprint = {http://jih-tabriziau.ir/article-1-129-en.pdf},  
journal = {Journal of Islamic Crafts},  
issn = {2588-316x}, 
eissn = {2588-3178}, 
year = {2021}  
}

@article{ 
author = {DolgariSharaf, Mahnaz and Attarzadeh, Abdolkarim},  
title = {Analysis of glass enamel techniques and designs in the Qajar Museum in Tabriz}, 
abstract ={The glass enameling is one of the artistic skills with a long history in Iran, which at the same time with the Qajar period, with the arrival of donated and custom works from Europe, was influenced by their techniques, designs, and the manifestations of these effects continue to this day. The combination of decorative techniques and patterns and similarities between domestic and imported products sometimes obscures whether they are Iranian or non-Iranian. In the Qajar Museum of Tabriz, a precious treasure of such glassware with a wide range of colors and designs is kept, which has been analyzed in the present study. The purpose of this study is to identify the technical characteristics of enamel (execution methods) of the glass of this collection and analyze the role of the ink used on them. This research sought to answer the question that what technical characteristics (execution methods) and visuals (designs) do the enamel works of Tabriz Qajar Museum have and what message do they have in their visual arrays? The necessity of the forthcoming research arises from the fact that so far no detailed and comprehensive study has been done to extract and analyze the techniques and patterns of glazed glass in this collection. The purpose of this study is to identify the technical and artistic characteristics of glazed glass in this collection and analyze the pattern used on them. The present research is of basic-applied type and descriptive-analytical method. The method of data collection is based on observations of works in museums and library studies. The samples examined include 30 enameled glass works of Qajar Museum in Tabriz. Tables and diagrams have been used to show the technical and decorative features of the works and the frequency of each of the variables. The results of the study and description of the variables led the research to analyze the data based on library resources. The results showed that the enamel glass of Qajar Museum of Tabriz has been applied on all kinds of decanters, vases, jewelry boxes, inks, teapots, glass bowel, hookahs, vases, glass candlesticks and oil lamps. The glass of this collection is made of opaline, Cameo glass and colorless and clear colored glass and their enamel is done using opaque, luster glaze and gold enamel paints. The director of the Qajar Museum in Tabriz introduced two pairs of straits in this collection as a gift from Napoleon Bonaparte to Fath Ali Shah Qajar. The high quality of the enamel of this collection indicates that the mentioned works were produced by famous factories in European countries and Turkey in the field of glassmaking and were sent as gifts to the Qajar kings or by order of Iranian merchants and statesmen. The main motifs of the enamels in this collection include human motifs (the role of European men and women, Qajar kings and politicians), plant motifs (western ivy plant, which the Iranians call Kondan, various leaves, rosette, medallions which the Iranians call bergamot, five feathers flower, pomegranate flower), the lion and the sun and the inscription. The works of this collection are luxurious, donated and imported. In some of them, features of Western aristocratic art styles such as Rococo can be seen, and in another category, according to the motifs of Qajar kings, politicians and the role of lions are onsetved. The sun has been a propaganda tool in the service of showing the glory of Shah Qajar and the discourse of government power.},  
Keywords = {Qajar Museum of Tabriz, Iranian glass enamel, European glass enamel, glass decorations, Motifs on glass},
volume = {5},
Number = {1}, 
pages = {145-158}, 
publisher = {Tabriz Islamic Art University},
title_fa = {تحلیل فنون و نقوش مینای آبگینه‌های موجود در موزه قاجار تبریز},
abstract_fa ={میناکاری بر آبگینه از جمله مهارت های هنری با سابقه‌ای طولانی در ایران است که همزمان با دوران قاجار با ورود آثار اهدایی و سفارشی از اروپا، تحت تأثیر تکنیک‌ها، نقوش و طرح‌های آنها قرار گرفت و مظاهر این تأثیرات تا عصر حاضر ادامه دارد. تلفیق تکنیک‌های تزیینی و تشابهِ نقوش در محصولات داخلی و وارداتی، گاهی ایرانی یا غیر ایرانی بودن آنها را با ابهام مواجه می‌کند. در موزه قاجار تبریز گنجینه نفیسی از این‌گونه آبگینه‌ها با طیف وسیعی از رنگ و طرح نگهداری می‌شود که در پژوهش حاضر مورد تجزیه و تحلیل قرار گرفته است. هدف پژوهش پیش رو شناخت شیوه های اجرای مینای آبگینه های این مجموعه و تحلیل نقش مایه های ‌به کار رفته بر روی آنهاست. این پژوهش به دنبال پاسخ به این پرسش بود که آثار مینای موزه قاجار تبریز از چه ویژگی‌های فنی (شیوه های اجرا) و بصری (نقوش) برخوردارند و در آرایه های بصری خود چه پیامی را به همراه دارند؟ ‌به همین منظور، نمونه هایی از این مجموعه انتخاب و بررسی شد. نوع پژوهش بنیادی، ‌توصیفی _ تحلیلی با رویکردی تطبیقی و گردآوری اطلاعات کتابخانهای و میدانی است. نتایج به دست آمده نشان داد که مینای آثار این مجموعه با استفاده از رنگ‌های اُپک، لاستِر و طلاکاری انجام گرفته و آرایه‌های تزئینی به کار رفته در آنها، حاوی نقوش اروپایی و سنتی ایرانی است. در این میان نقوش انسانی (نقش زنان و مردان اروپایی، شاه و رجال سیاسی قاجار)، گیاهی (کُندن، انواع برگ، ترنج، گل پنجپر، گل انار)، شیر و خورشید و رقم (کتیبه)، اصلی ترین نقوش به کار رفته در آثار این مجموعه بوده است. آثار مذکور تجملاتی، اهدایی و وارداتی بوده، که به سفارش تجار و دولتمردان ایران ساخته شده و تزئینات مینای دسته ای از آنها متاثر از سبک هنری اشرافی غربی، چون روکوکو بوده و دسته ای دیگر نیز با توجه به تصویر شاهان قاجار، رجال سیاسی و نقش شیر و خورشید، ابزاری تبلیغاتی در خدمت نمایش شوکت شاهان قاجاری و گفتمان قدرت حکومت بوده است.},
keywords_fa = {موزه قاجار تبریز, مینای شیشه ایرانی, مینای شیشه اروپایی, تزئینات شیشه, نقوش روی شیشه},

doi = {10.52547/jic.5.1.145},
url = {http://jih-tabriziau.ir/article-1-136-en.html},  
eprint = {http://jih-tabriziau.ir/article-1-136-en.pdf},  
journal = {Journal of Islamic Crafts},  
issn = {2588-316x}, 
eissn = {2588-3178}, 
year = {2021}  
}

@article{ 
author = {Rafiei, Milad and Abedi, Faezeh},  
title = {The evolution of framing and space in the works of Tajuddin Mohammad Haidar Shirazi}, 
abstract ={Illumination or gilding is a work of Iranian painting. Many artists in different periods of Iranian history have been skilled in this art and have left delicate and magnificent works that are often done in the margins of paintings, literary and Quran texts. Among the illuminator of Iran during the Safavid period and in the school of Shiraz, Taj al-Din Mohammad Haidar the illuminator of Shiraz (11th century AH), which have left various glorious works, some of which are kept in the Qapi Ball Museum in Istanbul. In this research, the separation of color spaces and the framing and spacing of Taj al-Din Haidar's works have been dealt with, which is one of the most important concerns of illuminator artists. This research has been written in a descriptive-analytical method and the questions that have been answered in this research are: firstly, what is the difference between technical modifications of molding, spatialization and framing, and secondly, what kind of spatialization and framing is used by Taj al-Din Mohammad Haidar Shirazi in his works? And what is the characteristic of framing his works? According to the result, the difference between the template, spacing and framing is that the template is the general and final form of the illumination and the spacing is the separation of the spaces of the general form and the framing is the use of tables, roles, Islamics, etc. in the form. It is general, and also according to the analyzes done in Taj al-Din Haidar's works, geometric margins, Islamic frames and congressional frames have been used more. Also, according to the calculations and measurements performed, it can be said that on average between 30 to 70% of the space is allocated to the margin and also the text of the works occupies an average of 30 to 60% of the space. Which shows that he did not use a specific rule in spatial planning and mostly tried to create diverse and different works},  
Keywords = {Illumination, Template, Spatialization, Framing, Taj al-Din Mohammad Haidar Shiraz},
volume = {5},
Number = {1}, 
pages = {159-173}, 
publisher = {Tabriz Islamic Art University},
title_fa = {سیر تکوین قاب‌بندی و فضابندی در آثار تذهیب تاج‌الدین محمدحیدر شیرازی},
abstract_fa ={تذهیب یا زراندودکاری از شاخه‌های هنر نقاشی ایرانی محسوب میشود. هنرمندان زیادی در ادوار مختلف تاریخ ایران در این هنر مهارت داشته‌اند و آثار فاخری را برجای گذاشتهاند که اغلب در حاشیه نگاره‌ها، متنون ادبی و قرآنی کار شده است. از جمله مذهبان ایران در دوران صفوی و در مکتب شیراز تاج‌الدین محمدحیدر مذهب شیرازی(قرن 11هجری قمری) بوده است که آثار کم‌نظیر و متفاوتی را از خود به یادگار گذاشته‌ است. در این پژوهش به تفکیک فضاهای رنگی و قاببندی و فضابندی آثار تاجالدین حیدر موجود در موزه توپ‌قاپی پرداخته شده است که از مهم ترین دغدغه‌های هنرمندان مذهب به شمار میآمده است. این پژوهش به روش توصیفی- تحلیلی نوشته شده قصد دارد به این سوالات پاسخ دهد  که اولا تفاوت بین اصلاحات فنی قالب، فضابندی و قاب‌بندی چیست، ثانیا تاج‌الدین محمد حیدر شیرازی در آثارش از چه نوع قالب‌ها، فضابندی و قاب‌بندی استفاده کرده است و ویژگی قاب‌بندی آثار وی چیست؟ با توجه به نتیجه انجام گرفته تفاوت قالب، فضابندی و قاببندی در این است که منظور از قالب فرم کلی و نهایی اثر تذهیب است و فضابندی یعنی تفکیک فضای کلی اثر به بخش‌های کوچکتر و قاببندی به معنای  استفاده از جداول، نقوش، اسلیمیها و غیره برای تزیین بخش‌های فضابندی شده است. همچنین با توجه به تحلیل‌های صورت گرفته در آثار تاجالدین حیدر بیشتر از حاشیه هندسی، قاب اسلیمی و قاب‌های کنگرهدار استفاده کرده است. ضمنا با توجه به محاسبات و اندازهگیریهای انجام شده نیز میتوان گفت که به طور میانگین بین 30 تا70 درصد فضا به حاشیه اختصاص داده شده و همچنین متن آثار هم به طور میانگین بین 30 تا 60 درصد فضا را اشغال کرده است که نشان می‌دهد وی از قاعده مشخصی در فضابندی استفاده نمی‌کرده و بیشتر سعی در خلق آثار متنوع و متفاوتی داشته است.},
keywords_fa = {تذهیب, قالب, فضابندی, قاببندی, تاجالدین محمد حیدر شیرازی},

doi = {10.52547/jic.5.1.159},
url = {http://jih-tabriziau.ir/article-1-152-en.html},  
eprint = {http://jih-tabriziau.ir/article-1-152-en.pdf},  
journal = {Journal of Islamic Crafts},  
issn = {2588-316x}, 
eissn = {2588-3178}, 
year = {2021}  
}

@article{ 
author = {Mohammadzadeh, Mehdi and Talebi, Yaˈqūb},  
title = {Expression of Syrian nationalism in Tawfiq Tariq\'s paintings}, 
abstract ={Art as an arena that is the manifestation of the endeavors of the human soul and its human concerns has a two-way interaction with the political, social and cultural conditions of the society. Syrian painting is also influenced by cultural events in its formation in continuation of the Ottoman style, which first tests the experiences of modern Western art, then cultivates what it has learned and tries to present its approaches and beliefs in the art world. The sense of backwardness among Syrian intellectuals and artists draws them to the West, some of whom have become acquainted with the modern Western style by studying in European universities and trying to introduce and apply it in the Syrian society. Meanwhile, the spirit of independence instilled in human nature has been fostered by some artists of the first decades after World War I, and under the control of the French guardianship, in search of their historical identity, appears nationalism in their paintings. Tawfiq Tariq, the most well-known artist of the early decades of Syria's formation as an independent state, returns to Syria from France with military family upbringing, patriotism, membership in the Turkish Nationalist Party and knowledge of modern Western art and as one of the pioneers of the Rawwad generation. Relying on the artistic techniques of the West, he shows his commitment and prejudice to the Arabs and the Syrian nation in his paintings. His great interest in history and gaining knowledge in the field of restoration of historical monuments, urged him to work as an architect and topographer after returning to Damascus and while he continued to paint all the time, he also participated in the restoration of several historical buildings in the city and restored them, which was effective in his paintings of the architecture of Syrian historical and religious buildings. The main question of this research is how nationalism is realized in Tawfiq Tariq's paintings based on the examples of the present study? With the establishment of the first modern educational institute of art, Tariq, in addition to creating his works, trains a generation to address his concerns in the field of Syrian art, which lead to a new approach to contemporary Syrian painting. Late art historians and critics have considered Tariq's works, like other Rawwad's works, often adapted and devoid of originality, and have written about them more ideologically or nationalistically. However, it can be argued that the paintings of this particular artist were created with very clear purposes and with a political and social commitment to the period and society in which he lived. While his paintings followed European patterns in style, the themes of Tariq's works were closely related to his support for national independence and his concern for contemporary issues in Arab and Syrian society. His works provide a framework for the artist's commitment to the changes he wished to see in his community and to use his art tirelessly in this direction. Even in Tariq's less "political" paintings, the emphasis on Arabic or Syrian identity remains central. This study aims to review Tariq's role in contemporary Syrian art and to examine and analyze some of his works such as Majlis Mamun and Abu Abdullah Saghir and even works that are apparently not political and historical and only illustrate natural landscapes, and show his tendency to nationalism and conclude his commitment to the Syrian community. This research intends to study and analyze some of his works, such as Majlis Mamun and Abu Abdullah Saghir, by means of descriptive analysis, and to demonstrate his inclination towards nationalism and his commitment to the Syrian society by reviewing his role in contemporary Syrian art, which shows his interest in the Arab background and his prejudice against his homeland.},  
Keywords = {Syrian painting - Tawfiq Tariq - Nationalism - Syrian Modern art},
volume = {5},
Number = {1}, 
pages = {175-184}, 
publisher = {Tabriz Islamic Art University},
title_fa = {تجلی ملی گرایی سوری در نقاشی های توفیق طارق},
abstract_fa ={هنر به ‌عنوان عرصه‌ای که جلوه‌گاه تکاپوهای روح بشر و دغدغه‌های انسانی او محسوب میشود، بَرهَم‌کنش و ارتباطی دوسویه با اوضاع سیاسی، اجتماعی و فرهنگی جامعه دارد. هنر نقاشی سوریه نیز متأثر از رویدادهای فرهنگی در مسیر شکل گیری خود در ادامۀ سبک عثمانی، ابتدا تجربیات هنر مدرن غربی را میآزماید، سپس آموخته های خود را میپرورد و در تلاش برای ارائۀ رویکردها و باورهای خویش در جهان هنر، قدم برمیدارد. حس عقب ماندگی در میان روشنفکران و هنرمندان سوری، آنان را متوجه غرب میکند و برخی با تحصیل در دانشگاه های اروپا با شیوۀ مدرن غربی آشنا می شوند و در تلاش برای معرفی و کاربردی نمودن آن در جامعۀ سوریه برمی آیند. در این میان، همزمان با اینکه سوریه تحت قیمومیت فرانسه بود، روحیۀ استقلال طلبی برخی هنرمندان دهه های نخستین پس از جنگ جهانی اول به اوج رسید و در جستجوی هویت تاریخی، در آثار نقاشی، بارقه های ملی گرایانه تجلی یافت. توفیق طارق، به عنوان شناخته شده ترین هنرمند دهه های آغازین شکل گیری سوریه، به عنوان کشوری مستقل، با تربیت خانوادگی نظامی، حس وطن دوستی، با پیشینۀ عضویت در حزب ملیگرای ترکیه و دانشی از هنر مدرن غرب، از فرانسه به سوریه باز میگردد و به عنوان یکی از مؤثرترین هنرمندان نسل رُوّاد، با تکیه بر تکنیک های هنری غرب، تعهد و تعصب خود به عربیّت و ملیّت سوری را در نقاشیهای خود به منصۀ ظهور میرساند. علاقۀ وافر او به تاریخ و کسب دانش درحوزۀ مرمت آثار تاریخی، موجب میشود تا ابتدا به مرمت آثار تاریخی بپردازد که همین امر در نقاشیهای او از معماری و بناهای تاریخی ومذهبی سوریه مؤثر میافتد. سئوال اصلی این تحقیق، این است که ملیگرایی در آثار نقاشی توفیق طارق با تکیه بر نمونه های پژوهش حاضر، چگونه تحقق یافته است؟ این تحقیق بر آن است تا با شیوۀ توصیفی – تحلیلی از میان آثار در دسترس توفیق طارق، که به صورت هدفمند انتخاب شده اند، همچون مجلس مأمون و ابوعبدالله صغیر را بررسی و تحلیل کند و با مروری بر نقش او در هنر معاصر سوریه، که نشان از علاقۀ او به پیشینۀ عربی و تعصب او به سرزمین مادری دارد، گرایش او به ملی گرایی و تعهد به جامعۀ سوری را نتیجه گیری کند.},
keywords_fa = {هنر دورۀ قاجار, نقاشی سوریه, توفیق طارق, ملی گرایی, هنر مدرن سوریه},

doi = {10.52547/jic.5.1.175},
url = {http://jih-tabriziau.ir/article-1-146-en.html},  
eprint = {http://jih-tabriziau.ir/article-1-146-en.pdf},  
journal = {Journal of Islamic Crafts},  
issn = {2588-316x}, 
eissn = {2588-3178}, 
year = {2021}  
}