@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} } @article{ author = {Kazempour, Mehdi and Salahi, Maryam and Yari, Zar}, title = {Research in the Architectural decorations (the Qajar house Haj Mirza Ebrahim Sadeghi In the city of Ardabil)}, abstract ={The use of decorations in iranian traditional and native architecture has always had a special position. Among the noteworthy architectural contexts for presenting decorative arrays, the homes of wealthy individuals with social and religious credit differ in historical periods, which are now referred to as historical homes.Ardebil's Qajar houses are among the historic houses that feature extensive and varied indigenous decorations, contrarily many of these houses have been completely demolished or are being demolished. In the meantime, some of Ardebil province's monuments also have durable wooden decorations such as: grille, lattice window, door- window and so on, but among the most prominent are sash windows. there are many monuments from the historical era of qajar in this province, many of which have sash windows. They are used in various sizes and often in homes . The luxurious and magnificent home of the deceased Haj Mirza Ibrahim Sadeghi is located in the Uç Decan district of Ardabil in the heart of Ardabil's historical context. The monument of Sadeghi's house was built in 1283 AH in accordance with the 1342 SH , which is one of the valuable relics of the Qajar era in the field of residential architecture in Ardabil. one of the Qajar houses of Ardabil city is the house of the deceased Haj Mirza Ebrahim Sadeghi which has artistic features of Qajar period such as: wooden decorations (qavareh bori, mirror decoration, flexure , grille), glass underpainting, murals, Inscriptions, gypsum decorations (Moqarnas and stringcourse) and brickwork that are listed in the country's National List of Works. Studies of the writers through field observations, interviews, and library studies indicate that the decorations and decorations in Sadeghi's home are among the hallmarks of the Qajar art. Including  Affiliated wooden decorations to  sash window that follow the current pattern in the Northwest region, meaning that the sash window frame is rectangular in shape and with inscriptions with a dominant geometric knot design. This pattern is common in Qajar houses in Tabriz.  The use of qavare bori technique  in wooden ornamentation of architecture is common, in the Qajar period and Sadeghi's home was no exception.  Given that the history of Sadeghi's house construction dates back to the late Qajar period, new innovations and principles influenced by Western art influence on architectural decorations, such as inspired by European paintings on the wall of Sadeghi's house are such as this. ; Including the pattern of European landscapes, castles, ships and Corent's column . The presence of western themes alongside indigenous arts such as Mogharnas and  stringcourse   in the decorating of Sadeghi's house indicates the coexistence of Western and Oriental arrays at a temporal and spatial point; in other words, the artist commits himself to performing indigenous decorations with the religious themes of his time, such as Quranic inscriptions are known in Arasi Hall, and on the other hand influenced by Western art, he turns to European style painting in King's Hall. Also, by adapting decorations and arrays to other Qajar houses (whether in Ardabil or otherwise), can find a common concept and theme in them, indicating that a particular pattern of decorations dominated the Qajar period. The data and information were analyzed using a descriptive-analytic approach. The purpose of this study is to investigate the arrays of Sadeghi Historical House in order to identify a particular pattern of Qajar decorations in the Northwest region and to answer the following questions: The Sadeghi  Historical House include what Architectural arrays and ornaments and what are the themes and concepts? Is there a particular pattern of decorations in the Qajar houses in Ardebil with an emphasis on Sadeghi's historic home? What kind of attribute does this template contain?}, Keywords = {Historical Houses, Sadeghi House, Qajar Period, Ardabil Cyity, Architectural Arrays.}, volume = {5}, Number = {2}, pages = {1-17}, publisher = {Tabriz Islamic Art University}, title_fa = {بررسی آرایه‌های تزئینی خانه‌های قاجاری شهر اردبیل (مطالعه موردی: خانه تاریخی حاج میرزا ابراهیم صادقی)}, abstract_fa ={به کارگیری تزیینات در معماری سنتی و بومی ایران همواره جایگاه ویژه­ای داشته است. از جمله بسترهای درخور توجه جهت ارائه آرایه­های تزیینی، خانه­های اشخاص متمول و دارای اعتبار اجتماعی و مذهبی است که امروزه با عنوان خانه­های تاریخی از آن­ها یاد می­شود. خانه مرحوم حاج میرزا ابراهیم صادقی یکی از خانه­های قاجاری شهر اردبیل است که با داشتن شاخصه­های هنری دوره قاجار مانند: تزیینات چوبی، نقاشی پشت شیشه، نقاشی دیواری، کتیبه­نگاری، تزیینات گچی و آجرکاری در فهرست آثار ملی کشور، ثبت گردیده است. لذا ضرورت پژوهش حاضر شناسایی و تحلیل تزئینات این خانه تاریخی به عنوان   مطالعات و بررسی­های نگارندگان که از طریق مشاهدات میدانی، مصاحبه و مطالعات کتابخانه­ای صورت گرفته؛ حاکی از آن است که آرایه­ها و تزیینات موجود در خانه صادقی جزو شاخصه­های هنر دوره قاجار به شمار می­آیند. همچنین با تطبیق تزیینات و آرایه­ها با دیگر خانه­های قاجاری می­توان به وجود نوعی مفهوم و مضمون مشترک در آن­ها پی برد که نشان می­دهد الگوی خاصی از تزیینات در خانه­های دوره قاجار حاکم بوده است. داده­ها و اطلاعات در این پژوهشِ کیفی با رویکرد توصیفی تحلیلی [A1] [U2] مورد بررسی قرار گرفته­اند. هدف پژوهش بررسی آرایه­های خانه تاریخی صادقی جهت شناسایی الگوی خاصی از تزیینات دوره قاجاری در منطقه شمال غربی است. سوالات پژوهش عبارت است از: تزیینات وابسته به معماری در خانه تاریخی صادقی شامل چه مواردی است و بر چه مضامینی دلالت دارد؟ آیا الگوی خاصی از تزیینات در خانه­های قاجاری شهر اردبیل با تاکید بر خانه تاریخی صادقی حاکم است؟ این الگو دربردارنده چه نوع شاخص­هایی است؟ به طور کلی میتوان نتیجه گرفت خانه های تاریخی متعلق به بازه زمانی قاجار در شهر اردبیل دارای الگوی تزئینی خاصی است که به صورت انواع نقوش گردان و منحنی و کتیبه­نگاری با استفاده از تکنیک­های متنوعی از جمله نقاشی پشت شیشه و قواره­بری به اجرا درآمده است.    [A1]عنوان شود پژوهش کمی است یا کیفی.  [U2]عنوان کیفی قید شد}, keywords_fa = {خانه‌ های تاریخی, خانه صادقی, دوره قاجار, شهر اردبیل, آرایه های معماری}, doi = {10.52547/jic.5.2.1}, url = {http://jih-tabriziau.ir/article-1-137-en.html}, eprint = {http://jih-tabriziau.ir/article-1-137-en.pdf}, journal = {Journal of Islamic Crafts}, issn = {2588-316x}, eissn = {2588-3178}, year = {2021} } @article{ author = {Ahani, Laleh and Shokrpour, Shahryar and Abbaszadeh, Mohammad and KeshavarzAfshar, Mehdi}, title = {Commodification as a violence against art (case study: pictorial carpets)}, abstract ={This article examines violence against art. Nowadays in many cases, the artwork is used as a commodity without considering its artistic value. Ignoring the value of the artwork in anyway constitutes violence against art and over time, causes the artwork to disappear and become a commodity. The main purpose of this study is to study examples of violence against art and its consequences; In this research, we are trying to introduce a new category in the field of art by raising this issue; violence against art means that art is not for art, the discussion of violence against art can be a new topic in relation to art. In violence against art, the discussion of the commodification and instrumental use of art or the dominance of the material dimension of art over its spiritual dimension can be identified. In this article, violence against art in the field of pictorial carpets is studied in a specialized way and resulting damages in the field of pictorial carpets are examined. The results of research show that coordinating pictorial carpets with other home appliances and having a capital view on it and its commodification are examples of violence against art. The main discussion in these results is the discussion of significant developments in the field of pictorial carpets consumption. Over time, the artistic dimension in the field of pictorial carpets has diminished and the precedence of commodification over the cultural aspects of pictorial carpets can be seen. This article examines violence against art. Nowadays in many cases, the artwork is used as a commodity without considering its artistic value. Ignoring the value of the artwork in anyway constitutes violence against art and over time, causes the artwork to disappear and become a commodity. The main purpose of this study is to study examples of violence against art and its consequences; In this research, we are trying to introduce a new category in the field of art by raising this issue; violence against art means that art is not for art, the discussion of violence against art can be a new topic in relation to art. In violence against art, the discussion of the commodification and instrumental use of art or the dominance of the material dimension of art over its spiritual dimension can be identified. In this article, violence against art in the field of pictorial carpets is studied in a specialized way and resulting damages in the field of pictorial carpets are examined. The results of research show that coordinating pictorial carpets with other home appliances and having a capital view on it and its commodification are examples of violence against art. The main discussion in these results is the discussion of significant developments in the field of pictorial carpets consumption. Over time, the artistic dimension in the field of pictorial carpets has diminished and the precedence of commodification over the cultural aspects of pictorial carpets can be seen. . The results of research show that coordinating pictorial carpets with other home appliances and having a capital view on it and its commodification are examples of violence against art. The main discussion in these results is the discussion of significant developments in the field of pictorial carpets consumption. Over time, the artistic dimension in the field of pictorial carpets has diminished and the precedence of commodification over the cultural aspects of pictorial carpets can be seen.  }, Keywords = {pictorial carpets, violence against art, commodification, coordination, death of artwork}, volume = {5}, Number = {2}, pages = {19-31}, publisher = {Tabriz Islamic Art University}, title_fa = {کالا شدگی به مثابه خشونت علیه هنر (مطالعه موردی: تابلو فرش)}, abstract_fa ={نادیده گرفتن ارزش و جایگاه اثر هنری و تقلیل ارزش آن صرفاً به عامل انتقال هنجارها و ارزش­های جامعه به عنوان یک کانال جامعه­ پذیری افراد، به منزله خشونت علیه هنر بوده و به مرور زمان باعث از بین رفتن اثر هنری و تبدیل آن به یک کالا می­شود. هدف اصلی این تحقیق مطالعه مصادیق خشونت علیه هنر و پیامدهای آن است؛ در خشونت علیه هنر بحث کالایی شدن و استفاده ابزاری از هنر یا بحث سیطره بعد مادی هنر بر بعد معنوی آن قابل شناسایی است. در این پژوهش ضمن مطالعه موضوع خشونت علیه هنر، به مطالعه آسیب­های ناشی از آن در زمینه کالای هنری تابلو فرش پرداخته شده است. نگارندگان در این پژوهش در پی پاسخ دهی به این سوالات هستند که چه مواردی را می ­توان خشونت علیه هنر تلقی کرد؟ آیا در مورد تابلو فرش می­ توان ثابت کرد که خشونت علیه آن اتفاق می­ افتد؟ یافته­ های تحقیق نشان می­ دهد در عصر حاضر خشونت علیه هنر در عرصه­ های مختلف رخ داده است. هنر برای لذت بردن و ارزش معنوی آن همواره مد نظر بوده و هنر برای هنر در طول سالیان مورد توجه واقع شده ولی امروزه در اثر برخورد مادی با آن ارزش هنر نادیده انگاشته شده و به نوعی مورد خشونت واقع شده است. ست کردن تابلو فرش­ها با سایر لوازم منزل و داشتن دید سرمایه ­ای به آن و کالایی شدن آن از مصادیق خشونت علیه هنر است که منجر به تحولات معنادار در حوزه مصرف تابلو فرش شده است. به مرور بعد هنری در زمینه تابلو فرش کمرنگ شده و تقدم کالاشدگی بر جنبه فرهنگی تابلو فرش دیده می­ شود.}, keywords_fa = {تابلو فرش, خشونت علیه هنر, کالایی شدن, ست کردن, مرگ اثر هنری}, doi = {10.52547/jic.5.2.2}, url = {http://jih-tabriziau.ir/article-1-168-en.html}, eprint = {http://jih-tabriziau.ir/article-1-168-en.pdf}, journal = {Journal of Islamic Crafts}, issn = {2588-316x}, eissn = {2588-3178}, year = {2021} } @article{ author = {ChavoshiNajafabadi, Fatemeh and Mojabi, S. Ali and Sadeghi, Mahdi}, title = {A comparative study of the clothing of lily and Majnun based on Manzume Nizami Ganjavi and related figures}, abstract ={Abstract In every culture and civilization, there is a fundamental and the base art, on which other arts are created. Different arts are created for different purposes; Some are the origin of other arts and some derived from and influenced by other arts. In Iran, The foundation of many arts is known as poetry and a poet and poetry plays the role of the basic art in the creation of other arts. Among various arts, painting has a lot to do with poetry, in fact, painting is one of the arts that has a long-standing connection with poetry. among the works of painting, the role of romantic stories is outstanding, of which the story of lily and Majnun is of the most famous ones, compiled by Hakim Nizami Ganjavi. Nezami Ganjavi, the most famous poet in writing love stories, narrates the story of lily and Majnun with mysterious poems that each word gives different meaning to the audience. Poems in the poetry of lily and Majnun are cryptic, so To get the true meaning of poetry, they need to be carefully interpreted and their analysis, especially if a long history has passed since the creation of the work; also if the poet is world-renowned for speaking cryptically. This paper explores the art of the origin of poetry and tried to explore the relevance and extent of the art of painting of poetry; extract the descriptions related to the coverage of the main characters of the story of lily and Majnun from the poetry, and compare it with the clothing of related painting works. Ultimately, using the results, it is tried to answer the question: what is the effect of painting (follower Art) on poetry (basic art)? In this study, data collection method was documentation and library and the descriptive-analytical method was used to formulate and set it. the context of the poem, the poet in the poems describing the main characters of the story does not neglect to describe their coverage and devotes parts to it. It also appears that the artist, after reading the poem, has been illustrating the poetchr('39')s descriptions. In the present article, lily and Majnun coverage is derived from what is inferred from the military system and then, by comparing the paintings of lily and Majnun in the works of painting from the eighth to the eleventh centuries, the results are presented. among the points of interest to the poet in the poetry to describe the clothing of lily and Majnun are expressing material of the textile including Zarbaft, Parand, Diba, Fur, Khara, Plus and Leather. Indigo and sapphire were selected as colors. For the design, turban, bandage, Sarpech, clinch, mask, shirt, cuirass, plus, Salab, and Khalkhal were used for jewelry. By examining 14 pictures of the golden styles of Iranian painting, it is found that the effect of the painter from the text is more on the color of the clothing. It should be noted that all of the bits used the military jams, by Hassan Vahid Dastgerdi.  }, Keywords = {Nizami Ganjavi, lily and Majnun, Iranian painting, clothing}, volume = {5}, Number = {2}, pages = {33-47}, publisher = {Tabriz Islamic Art University}, title_fa = {بررسی و مقایسه تطبیقی پوشش لیلی و مجنون بر اساس منظومه نظامی گنجوی و نگاره های مرتبط}, abstract_fa ={چکیده در هر فرهنگ و تمدنی یک هنر بنیادین و پایه وجود دارد که سایر هنرها بر اساس آن ایجاد می­شوند. برخی هنرها پایه و منشا پیدایش هنرهای دیگر هستند و برخی برگرفته و تاثیر پذیرفته از سایر هنرها. در ایران، شعر نقش هنر بنیادین را در ایجاد سایر هنرها ایفا می­کند. از میان هنرهای مختلف، نگارگری ارتباط فراوانی با شعر دارد و در بین آثار نگارگری، نقش داستان­های عاشقانه قابل توجه است که حکایت لیلی و مجنون یکی از مشهورترینِ این داستان­ها بوده و توسط حکیم نظامی گنجوی گردآوری شده است. اشعار در منظومه­ی لیلی و مجنون رمزگونه هستند؛ بنابراین نیاز است که به تفسیر دقیق آن­ها پرداخته شود. در این مقاله سعی بر آن است که توصیفات مرتبط با پوشش شخصیت­های اصلی داستان لیلی و مجنون از منظومه استخراج، و به مقایسه­ی آن با پوشش موجود در  نگارگری­های مرتبط بپردازد؛ در نهایت با بهره­گیری از یافته­های پژوهش به پاسخ این سوال دست یابد که اثرپذیری نگارگری از شعر چگونه است؟ در این پژوهش روش گردآوری اطلاعات، اسنادی و کتابخانه­ای بوده و جهت تدوین و تنظیم آن از روش توصیفی- تحلیلی استفاده شده است. از گزینه­های مورد توجه شاعر در منظومه برای توصیف پوشش لیلی و مجنون، بیان چگونگی جنسیت پارچه­ها شامل زربفت، پرند، دیبا، خز، خارا، پلاس و چرم است. برای رنگ، نیلی و کبود انتخاب شده و برای طرح، از عمامه، عصابه، سرپیچ، کَله­بند، نقاب، پیراهن، دُراعه، پلاس، سَلَب و همچنین برای زیور از خلخال نام برده است. با بررسی 14 نگاره از سبک­های طلایی نگارگری ایران، مشخص می­شود که تاثیرپذیری نگارگر از متن، بیشتر در رنگ پوشش است.  }, keywords_fa = {نظامی گنجوی, لیلی و مجنون, نگارگری ایرانی, پوشش}, doi = {10.52547/jic.5.2.3}, url = {http://jih-tabriziau.ir/article-1-103-en.html}, eprint = {http://jih-tabriziau.ir/article-1-103-en.pdf}, journal = {Journal of Islamic Crafts}, issn = {2588-316x}, eissn = {2588-3178}, year = {2021} } @article{ author = {Shafizadeh, Assadollah and Gharbi, Serveh}, title = {The concept of upper and lower triangle symbol in architectural works, case study: the tomb of Sheikh Haidar in Meshkinshahr.}, abstract ={In architectural works, especially architectural decorative works, we see the abundance of designs and designs that are derived from geometric, plant or Islamic designs. The use of these designs is for two main reasons: first, it is used only for discussion of aesthetics and aesthetics in the building; Second, it is purposeful and has a meaning in its heart; These signs, which sometimes contain specific thoughts and ideas from a certain period that are closely related to the place and building used. One of these forms is a role consisting of two triangles that have been used in several different places; The composition of triangles in different mirrors has different meanings, in this article we try to find out whether this symbol speaks of another or not; If so, what is thinking or what is important behind it. The purpose of this research is to re-read this symbol and its general concepts based on the mystical details of its time; To find these influential thoughts, it is necessary to know and understand the mysticism of that period and the degree of its belief for that particular time. In this direction, we have tried to collect library and field information and analyze information based on temporal and spatial data to realize their effectiveness in this regard and by analyzing each topic to receive its effect. In a period in the Islamic history of Iran, a set of ideas was introduced and grew exponentially, which has led to the creation of a controversial line of thought up to the contemporary era; Illumination; This mysticism, of which Suhrawardi was the founder and thinker, and he also considered himself the inheritor of wisdom, which from his point of view was the preservers of the word in the two dynasties of East and West. Mr. Ibn Arabi considers the manifestation of divine love in creation and considers the motivator of God in this creation as love; They believe that man is the nature of love and the dough of existence is the product of love, and therefore we are moving towards the source of love. Ibn Arabi believes in the flow of love throughout life and believes that we cannot know existence until we understand love, and he considers love in the world as blood in the human vein; He believes that God's knowledge of His creatures is the same as His own knowledge, and ultimately means that His effect is unimpeded in the world. The most obvious issue in the subject is the symbol of its meaning, it is very clear that behind every form, there is a current and current thinking that has been influenced by the dominant thoughts of its time. In the same way, what has been presented before, the arc of ascent and descent, also represents the thought of that period and the mystical beliefs of Iran at the peak of mystical thoughts of the fourth to eighth centuries. According to this maximum, man has been from eternity and will return to eternity. Therefore, this descent is shown by the earthly life and the descent arc, and the ascent is represented by the ascending arc. Considering the time of construction and emergence of the tomb complex in 731 AH, one can clearly see the thoughts and beliefs related to the arc of ascent and descent, and it was concluded that they hoped that the noble man buried in his eternal place would originally to return. According to the sacred expression of the six-pointed star throughout history from the time of the Prophet Solomon to the Holy Prophet; It must be acknowledged that the two composite triangles and the arcs of its circumference can be the best sign of the published thoughts of Suhrawardi and Ibn Arabi, and by cleverly playing these volumes, it has made the return to the original understandable to all sections of its society.}, Keywords = {symbol, triangle, mysticism, architecture, decorations.}, volume = {5}, Number = {2}, pages = {49-64}, publisher = {Tabriz Islamic Art University}, title_fa = {مثلث بالا و پایین در آثار معماری، مطالعه موردی: بقعه‌ی شیخ‌حیدر شهر مشکین‌شهر}, abstract_fa ={در آثار معماری به‌خصوص آثار تزئینی معماری به وفور شاهد استفاده از نقش‌ها و طرح‌هایی هستیم که منشعب از نقوش هندسی، گیاهی یا اسلیمی می باشند. استفاده از این نقوش به دو دلیل عمده می‌باشد: اولاً صرفاً برای بحث زیبایی‌بخشی و چشم‌نوازی در بنا استفاده می‌شود؛ دوماً، هدفمند بوده و دارای مفهومی در دل خود می‌باشد؛ این نشانه‌ها که بعضاً دربر‌گیرنده تفکرات و عقاید خاصی از یک دوران مشخص هستند که با مکان و بنای مورد استفاده ارتباط تنگاتنگی دارند. یکی از این فرم ها، نقشی است مرکب از دو مثلث که در چندین جای مختلف مورد استفاده قرار گرفته است؛ ترکیب مثلث ها در آیین‌های مختلف دارای تعابیری متفاوت هستند، در این مقاله کوشش بر آن است تا دریابیم که آیا این نماد از غیری سخن دارد یا خیر؛  اگر اینگونه است چه تفکر یا چه مهمی در پس آن نهفته است. فرم مورد مطالعه در دو طرف درب ورودی جبهه شمالی بقعه‌ی شیخ‌حیدر در شهر مشکین شهر حک شده است. هدف از این تحقیق، بازخوانی این نماد و مفاهیم کلی آن بر مبنای جزئیات عرفانی هم‌دوره خود می‌باشد؛ که برای یافتن این تفکراتِ تأثیرگذار نیاز به شناخت و درک عرفان آن دوره و میزان باور پذیریَش برای آن زمان خاص می‌باشد. در این مسیر، تلاش شده با جمع‌آوری اطلاعات کتابخانه‌ای و میدانی و تحلیل اطلاعات بر مبنای داده‌های زمانی و مکانی متوجه میزان اثر بخشی آنها در این راستا شده و با تحلیل هر مبحث به دریافت اثر آن مبادرت کرده‌ایم. در نهایت با تحلیل‌های دقیق و موشکافانه و با آنکه این نماد از دوران‌های قبل از اسلام هم مورد استفاده بوده است، کاربرد آن در دوران پس از اسلام و اوج تفکرات عرفانی مربوط به سهروردی و ابن‌عربی تنها به یک دلیل منطقی می‌باشد و آن نمایاندن این نماد برای بیان بازگشت به اصل در هر تولد و مرگ می‌باشد.}, keywords_fa = {نماد, مثلث, عرفان اسلامی, معماری, تزئینات}, doi = {10.52547/jic.5.2.4}, url = {http://jih-tabriziau.ir/article-1-162-en.html}, eprint = {http://jih-tabriziau.ir/article-1-162-en.pdf}, journal = {Journal of Islamic Crafts}, issn = {2588-316x}, eissn = {2588-3178}, year = {2021} } @article{ author = {zakariaeekermani, Iman and MoradiBajestani, Sakineh}, title = {Strategic planning in the art of turquoise carving in Mashhad and its development strategies}, abstract ={Mashhad has been selected as the world city of precious and semi-precious stones by the World Crafts Council. Neishabour (Nishapur) turquoise stone mine is located near Mashhad. The use of turquoise stone has been common in Iran since ancient times and has been emphasized in Islam. Turquoise carving is one of the useful arts and turquoise carving artists in Mashhad, who work hard, have not made much progress. No research has been done on the development of this art. The purpose of this study is to identify the challenges in the art of turquoise carving, based on the right principles of strategic planning in Mashhad. Thus, the main question is described in this form: What can we do to improve the conditions in the turquoise carving art in Mashhad and achieve the desired conditions? The research method in this qualitative research is descriptive-analytical in type of content analysis; and using the evaluation matrix, the art of turquoise carving in Mashhad has been studied. The method of collecting information and field research was interview type, and the participants was ten informed person, Interviews’ information was labeled and inserted into the table. The result is that in quarrying turquoise stone by ore specialists, full productivity is obtained, training and practical skills are simultaneous; Veterans of this profession should be invited for the training practical skills to graduates. According to research, how to extract ore is still facing problems. Supervised specialists and engineers by maximizing the efficiency of ore mining by using new methods and in accordance with international standards. Turquoise and turquoise workshops have been set up in this area, which do turquoise work. If, according to their turquoise cutter, the turquoise cutting work is not done properly. Better results will be achieved if a turquoise school is built in this city and turquoise art is taught professionally in these schools, as well as veterans and highly skilled turquoise teachers are invited to teach this art. The art of turquoise carving requires a great deal of skill and experience. The art of turquoise carving requires a great deal of skill and experience. The skills and experience of turquoise carving artists, and veterans with experience in the field of education should be fully utilized. By creating jewelry art schools, and adding this field of study to the fields of work and knowledge, a positive step can be taken in expanding and teaching the art of jewelry making to the younger generation. In this way, the graduate who graduates from these conservatories will acquire both useful and useful skills and will have a high scientific level. Given the prospect, there is a world record for the art of turquoise carving in the future. It is better to teach this art as an academic discipline in art schools in provinces such as Khorasan, Isfahan, Kerman and the cities of Mashhad and Neishabour that have turquoise stone mines.}, Keywords = {Strategic Planning, Turquoise Art, Education, Skills, Strategies, Marketing}, volume = {5}, Number = {2}, pages = {65-79}, publisher = {Tabriz Islamic Art University}, title_fa = {برنامه‌ریزی راهبردی در هنر فیروزه‌تراشی شهر مشهد و راهکارهای برای توسعه آن}, abstract_fa ={شهر مشهد به عنوان شهر جهانی سنگ‌های قیمتی و نیمه قیمتی از سوی شورای جهانی صنایع دستی انتخاب شده است.  معدن سنگ فیروزۀ نیشابور، در نزدیکی شهر مشهد قرار دارد. استفاده از سنگ فیروزه در ایران از عهد باستان رایج بوده و در دین اسلام نیز تأکید شده است. هنر فیروزه‌تراشی از هنرهای کاربردی بوده و هنرمندان فیروزه‌تراش شهر مشهد که با سعی و تلاش کار می‌کنند، پیشرفت چندانی نداشته‌اند. پژوهشی در زمینه پیشرفت این هنر ملاحظه نشده است. هدف از پژوهش حاضر، شناخت چالش‌های موجود در هنر فیروزه‌تراشی، بر اساس اصول برنامه‌ریزی راهبردی در شهر مشهد می‌باشد. بنابراین سؤال اصلی این چنین تبیین می‌شود. برای بهبود شرایط موجود در هنر فیروزه‌تراشی شهر مشهد و رسیدن به شرایط مطلوب چه راهکارهای وجود دارد؟ روش تحقیق در این پژوهش کیفی توصیفی-تحلیلی از نوع تحلیل محتواست؛ و با استفاده از ماتریس ارزیابی به بررسی هنر فیروزه‌تراشی در شهر مشهد پرداخته شده است. شیوه گردآوری اطلاعات کتابخانه‌ای و تحقیق میدانی از نوع مصاحبه، و جامعه آماری با روش هدفمند، تعداد ده نفر از افراد آگاه بوده؛ مصاحبه‌ها کدگذاری شده و در جداول درج شده است. نتیجه این که در استخراج سنگ فیروزه با استفاده از متخصصین سنگ معدن، کمال بهره‌وری اتخاذ شود، آموزش و مهارت عملی، به‌طور همزمان باشد؛ و از پیشکسوتان این حرفه در بخش آموزش مهارت‌های عملی به دانش‌آموختگان، دعوت به عمل آید.‌ برای رسیدن به شرایط مطلوب، ساخت زیورآلات فیروزه مطابق با استانداردهای جهانی را ارتقا بخشیده؛ با ایجاد بازارهای اینترنتی و اتصال به بازارهای جهانی می‌توان به جای صدور سنگ تراش خوردۀ فیروزه، زیورآلات فیروزه را صادر کرد.}, keywords_fa = {برنامه‌ریزی راهبردی, هنر فیروزه‌تراشی, آموزش, مهارت, راهکارها, بازاریابی}, doi = {10.52547/jic.5.2.5}, url = {http://jih-tabriziau.ir/article-1-160-en.html}, eprint = {http://jih-tabriziau.ir/article-1-160-en.pdf}, journal = {Journal of Islamic Crafts}, issn = {2588-316x}, eissn = {2588-3178}, year = {2021} } @article{ author = {Afshar, Leila and Sadri, Mi}, title = {Typology of strange creatures in the version of the Aja\'ib al-Makhluqat of Tusi}, abstract ={The famous version of the Wonders of Creatures written by Shams al-Din Muhammad ibn Mahmud ibn Ahmad Tusi (sixth century AH) is world famous. The paintings in this version are depicted in terms of the characteristics of exotic creatures, suitable for studying the typology of these creatures. The purpose of this research was first to introduce the version of the wonders of Tusi creatures (sixth century AH) and then to classify different species of creatures in the drawings of this version. According to the imagination used in the visual elements in the desired version, the drawings have special details and subtleties that need careful attention and analysis. Therefore, in this research, after introducing the version and its maps, types of images, types of maps have been categorized and introduced in a table. Accordingly, this article seeks to examine whether this version is capable of writing typology. And it seeks to answer this question: How many species of strange creatures are there in the version of the wonders of the Tusi creatures (sixth century AH)? The research method is descriptive-analytical and the method of data collection is library-documentary. The method of analyzing the works is based on qualitative studies and is fundamental in terms of purpose. An overview of the research acknowledges that the images in this version are divided into six types of strange creatures. The findings of those strange creatures fall into two categories: hybrid and hybrid. There are four types of hybrid creatures. Includes: 1- Human bodybuilding 2- Animal bodybuilding 3- Plant body 4- Paradise faces which of course are divided into categories. Composite creatures include two types: 1- Quranic stories and divine narrations 2- Strange and western creatures (combination) Dragon, Simorgh, Demon and Angel are divided.  }, Keywords = {Aja'ib al-Makhluqat, Shams al-Din Muhammad ibn Mahmud ibn Ahmad Tusi, Strange creatures, Typology}, volume = {5}, Number = {2}, pages = {81-95}, publisher = {Tabriz Islamic Art University}, title_fa = {گونه شناسی موجودات عجیب در نسخه عجایب المخلوقات طوسی (قرن 6ه.ق)}, abstract_fa ={نسخه­ی معروف عجایب المخلوقات و غرایب الموجودات (شگفتی‌های آفرینش) که توسط شمس­الدین محمد بن محمود بن احمد طوسی (قرن 6 ه .ق) تألیف شده، شهرتی جهانی یافته است. نگار­ه­های موجود در این نسخه به لحاظ اینکه با محوریت موجودات عجیب‌ تصویر شده است، مورد مناسبی برای مطالعه گونه­شناسی این موجودات است. هدف از این تحقیق، ابتدا معرفی نسخه عجایب المخلوقات طوسی (قرن 6ه.ق) و سپس دسته­بندی گونه­های مختلف موجودات در نگاره­های این نسخه بوده است. به علت تخیل به کار گرفته شده در عناصر تصویری موجود در نسخۀ مورد نظر، نگاره­ها دارای دقایق و ظرایف ویژه­ای هستند، که آن­ها را، نیازمند توجه و تحلیل دقیق کرده است. از این‌رو در این پژوهش، پس از معرفی نسخه و نگاره­های آن، تلاش شده، براساس نوع عناصر تصویری، گونه­های مختلف نگاره­ها دسته بندی شده و در جدولی معرفی شوند. بر همین مبنا، این مقاله به دنبال بررسی این موضوع بوده است که آیا نگاره­های این نسخه، قابلیت گونه­شناسی دارند؟ و در پی پاسخ به این سؤال‌ است: در نسخه عجایب المخلوقات طوسی (قرن6 ه.ق)، چندگونه از موجودات عجیب وجود دارد؟ روش تحقیق، توصیفی - تحلیلی و شیوه گردآوری اطلاعات کتابخانه­ای- اسنادی است. روش تجزیه ‌و تحلیل آثار بر مبنای مطالعات کیفی و از حیث هدف، بنیادین است. نتایج کلی تحقیق بر این امر اذعان دارندکه تصاویر موجود در این نسخه در 6 گونه­ی موجودات عجیب تقسیم­بندی شده است. یافته های آن موجودات عجیب در دو شاخۀ ترکیبی و تلفیقی قرار می گیرند. موجودات ترکیبی دارای چهار گونه است. شامل : 1- پیکرگردانی انسانی 2- پیکرگردانی حیوانی 3- گیاهی 4- صور افلاک است که البته این دسته­بندی­ها خود به دسته­بندی جزئی­تری تقسیم شده است. همچنین موجودات تلفیقی شامل دوگونه 1- قصص قرآنی و روایات الهی 2-موجودات عجیب و غرب (تلفیقی) اژدها، سیمرغ، دیو و فرشته تقسیم ­بندی شده است.    }, keywords_fa = {عجایب المخلوقات, شمس الدین محمد بن محمود بن احمد طوسی, موجودات عجیب‌ و غریب, گونه شناسی}, doi = {10.52547/jic.5.2.6}, url = {http://jih-tabriziau.ir/article-1-185-en.html}, eprint = {http://jih-tabriziau.ir/article-1-185-en.pdf}, journal = {Journal of Islamic Crafts}, issn = {2588-316x}, eissn = {2588-3178}, year = {2021} } @article{ author = {Nosratilialamania, Sepideh and Youzbashi, Atieh}, title = {Typology of Architectural Arrays of Imamzadeh Seyed Jalaluddin Ashraf (AS) Astana Ashrafieh with Emphasis on Grid Analysis}, abstract ={Throughout history, they have used architecture to express their inner thoughts and human needs, and through this, they have been able to visualize intellectual and cultural themes, which, of course, have undergone various changes throughout history. In architecture, religion can be expressed in various forms. In this way, he can be a guide and friend of humanity in answering these issues. Decorations are one of the most prominent unifying elements in Islamic architecture; Which create value, harmony and efficiency in the architectural space. Based on the type of decorations, the goals of Islamic architecture can be understood. Undoubtedly, in Iranian-Islamic architecture, decorations are like the spirit that is blown into the body of the building, and artists have used religious concepts in decorating religious buildings. Due to their devotion to the family of the Prophet and the Imamate and their children, Muslim artists throughout history have created pure phenomena in architectural works, including sacred relics, and it is clear that they have used the sacred and divine arts on executive methods and brought them to the future. They have left. It is interesting to note that inscriptions play the most important role among other Islamic architectural decorations, which is quite evident in the tomb buildings. Gilan is one of the oldest lands that has been the epicenter of the history of Shiism in Iran and a refuge for those fleeing the oppression of the caliphs. There are many Imams in Gilan; One of the most famous of these Imams is Hazrat Sultan Seyyed Jalaluddin Ashraf (AS), who has been considered by Muslim artists throughout history. The city of Astana Ashrafieh is the fifth religious city in the country due to the existence of this tomb. The purpose of this study is to introduce the tomb, describe and study the written inscriptions of the Imamzadeh of Hazrat Sultan Seyyed Jalaluddin Ashraf (AS) in order to identify the thoughts of the Shiite religion. In order to achieve this goal, the main questions of this research are: What are the thematic, executive and practical features of the inscriptions on the tomb of Imamzadeh Hazrat Sultan Seyyed Jalaluddin Ashraf (AS)? What are the written inscriptions attributed to the Shiite religion in the tomb of Imamzadeh Hazrat Sultan Seyyed Jalaluddin Ashraf (AS)? The research method was descriptive-analytical based on collecting library and field information (combined). The statistical population of the study is the symbolic Shiite written arrays of the tomb of Agha Seyyed Jalaluddin Ashraf (AS), the sampling method is selective and the number of samples of all written arrays of this Imamzadeh and the data analysis method is qualitative. From the results of the present study, it can be seen that after the third line, the Nasta'liq script was the most used among the Shiite inscriptions, but the Shiite themes that are induced from the mentioned inscriptions are related to the province, the martyrs of Karbala, the event of Karbala, divine names and imams. Etc. What is important is the many narrations and hadiths that have been narrated and written in relation to the guardianship of Imam Ali (AS). The inscriptions of the mentioned building have a mystical theme with the concept of prayer, hadiths, etc. In the meantime, the abundance of inscriptions praising Amir al-Mu'minin as well as the event of Karbala shows that special attention has been paid to Shiite themes in the decorations of the arrays of this tomb. Therefore, the tomb of Imamzadeh Hazrat Sultan Seyyed Jalaluddin Ashraf (AS) is a complete manifestation of an Islamic building with Shiite religion due to Shiite written arrays.}, Keywords = {Ashrafieh threshold, Imamzadeh Seyyed Jalaluddin Ashraf (AS), writing arrays, inscriptions, Shia}, volume = {5}, Number = {2}, pages = {97-114}, publisher = {Tabriz Islamic Art University}, title_fa = {آرایه‌های نوشتاریِ نمادینِ شیعی در بقعه اما‌م‌زاده سلطان سید جلال‌الدین اشرف(ع) آستانه اشرفیه}, abstract_fa ={گیلان از کهن‌ترین سرزمین‌هایی است که فرازگاه تاریخ تشیع ایران و مأمنی برای گریزندگان از ستم خلفا بوده است. در گیلان امام‌زادگان زیادی وجود دارد؛ از مشهورترین این امام‌زادگان، حضرت سلطان سید جلال‌الدین اشرف(ع) می‌باشد. شهر آستانه اشرفیه به دلیل وجود این بقعه، پنجمین شهر مذهبی در سراسر کشور محسوب می‌شود. هدف این پژوهش معرفی بنای بقعه، توصیف و مطالعه‌ی کتیبه‌های نوشتاری امام‌زاده حضرت سلطان سید جلال‌الدین اشرف(ع) به منظور شناسایی تفکرات مذهب شیعه است. در راستای دستیابی به این هدف، پرسش‌های اصلی این پژوهش عبارتند از: ویژگی‌هی مضمونی، اجرایی و کاربردی کتیبه‌های بقعه امام‌زاده حضرت سلطان سید جلال‌الدین اشرف(ع) کدام است؟ کتیبه‌های نوشتاری منتسب به مذهب شیعه در بقعه امام‌زاده حضرت سلطان سید جلال‌الدین اشرف(ع) کدام‌اند؟ روش تحقیق بر مبنای توصیفی- تحلیلی، گردآوری اطلاعات کتابخانه‌ای و میدانی (ترکیبی) بوده است. جامعه آماری پژوهش آرایه‌های نوشتاری نمادین شیعی بقعه آقا سیدجلال‌الدین اشرف(ع)، روش نمونه‌گیری به شکل انتخابی و تعداد نمونه کلیه آرایه‌های نوشتاری این امام‌زاده و روش تجزیه و تحلیل داده‌ها کیفی می‌باشد. از نتایج حاصل از پژوهش حاضر می‌توان دریافت که بعد از خط ثلث، خط نستعلیق بیشترین کاربرد را در بین کتیبه‌های شیعی داشته‌اند و اما مضامین شیعی که از کتیبه‌های مذکور القا می‌شود، در رابطه با ولایت، شهدای کربلا، واقعه کربلا، اسامی الهی و ائمه و غیره می‌باشند که آن‌چه حائز اهمیت است روایات و احادیث کثیری است که در رابطه با ولایت امام علی(ع) مطرح و نگاشته شده‌اند. کتیبه‌های بنای مذکور با مفهوم دعا، احادیث و غیره مضمونی عرفانی دارند. در این بین فراوانی کتیبه‌هایی با مدح امیرالمونین و هم‌چنین واقعه‌ی کربلا نشان می‌دهد به مضامین شیعی در تزیینات آرایه‌های این بقعه توجه ویژه‌ای شده است. از این‌رو بقعه امام‌زاده حضرت سلطان سید جلال‌الدین اشرف(ع) به واسطه‌ی آرایه‌های نوشتاری شیعی کاملاً جلوه‌ای از یک بنای اسلامی با مذهب شیعه است.}, keywords_fa = {آستانه اشرفیه, امام‌زاده سید جلال‌الدین اشرف(ع), آرایه‌های نوشتاری, کتیبه‌نگاری, شیعه}, doi = {10.52547/jic.5.2.7}, url = {http://jih-tabriziau.ir/article-1-158-en.html}, eprint = {http://jih-tabriziau.ir/article-1-158-en.pdf}, journal = {Journal of Islamic Crafts}, issn = {2588-316x}, eissn = {2588-3178}, year = {2021} } @article{ author = {Savari, Momammad and Sheikhi, Alirez}, title = {Typology of the Visual Composition of Flowers and Birds in Safavid Palace Murals and Qajar Extensions}, abstract ={Flowers and birds have an ancient history and in Iranian beliefs reach the tree of life or the tree of all seeds on which Simorghi is the guardian. During the Timurid period, attention was paid to tashir, including the companionship of Khatai flocks with birds that had a natural aspect. In this field, before the Safavid period, there are no significant murals. The aim is to visually study the symbolic themes of flower and bird paintings on a case-by-case basis in the murals of the Safavid palaces of Qazvin and Isfahan (chehelsotoun), Hasht Behesht and Rakibkhaneh tower in Isfahan and the Qajar extensions in them. The paintings on the walls of these palaces are decorated with paintings from the battle of the kings to the feasts and battles of lovers and flowers and birds.The findings show that the flower and birds paintings of the mentioned palaces have been visually and thoughtfully engraved on the walls and their visual composition has been studied in five categories: Golshan or Yaleh, flowers and vases, Golboteh, Khatai and birds, Afshan and Flowers and angels. The flower and the bird can be considered as an abstract form of the tree of life before Islam and the Touba tree after Islam, which, although it has undergone changes in form and appearance, still retains its original pattern. Painters interpreted mystical stories in Iranian literature for kings who considered themselves the heirs of the religion and the guardians of Islam, using their imagination to create a second paradise. One of the main reasons for the presence of Qajar rulers in Safavid palaces and subsequent Qajar additions in the architectural decorations of these palaces was that the early Qajar kings showed themselves as heirs to the Safavid right. In the study of flowers and birds in the murals of palaces, although in terms of execution technique, the composition and symmetry are different, but both emphasize a religious theme. The choice of the role of the cypress tree to the flowering plant is a sign of the importance of the solitary bird, and the depiction of the rose plant for the bird's nest shows the importance of the bird and the rose and their literary conceptual relationship. In the paintings of flowers and birds studied in the Safavid period, the location of the flowers is outside the axis of symmetry, the bird is identifiable and its location is on a tree or branch of a flower; But in the Qajar extensions, most of the flower plants are centered on the symmetry of the effect, the bird is not recognizable, the bird's location is above the rose or centipede. The flowers of Isfahan's Chehelston Palace match the flowers of Hasht Behesht Palace, and the flowers and birds of Rakib Khaneh match the flowers and birds of Hasht Behesht Palace.}, Keywords = {Murals, Flowers &,,, Bird, Chehelsotoun, Hasht Behesht, Rakibkhaneh}, volume = {5}, Number = {2}, pages = {115-128}, publisher = {Tabriz Islamic Art University}, title_fa = {گونه‌شناسی ترکیب بصری و مضمونی گل و مرغ بر دیوارنگاره های کاخ‌های صفوی و الحاقات قاجاری}, abstract_fa ={گل و مرغ از پیشینه‌ای کهن برخوردار بوده و در باورهای ایرانیان به درخت زندگی یا درخت همه تخمه می‌رسد که سیمرغی بر آن نگاهبان است. در دوره تیموری به نقوش گرفت و گیر من‌جمله هم‌نشینی گل‌های ختایی با مرغانی که وجهی طبیعت‌گرانه داشتند، توجه شد. در این زمینه پیش از صفوی، نقاشی دیواری‌های قابل توجهی در دست نیست. در دوره صفوی کاخ های شاهی علاوه بر نقاشی‌هایی از نبرد شاهان تا بزم و رزم عشاق، با نقاشی های گل و مرغ تزیین شد، این کاخ ها بعدها مورد توجه شاهان قاجار گرفت و تزیینات دیگری به آن اضافه شد. هدف پژوهش، گونه‌شناسی ترکیب بصری و مضامین نمادین نقاشی گل و مرغ به صورت موردی در دیوارنگاری کاخ های صفوی  چهلستون قزوین و اصفهان، هشت بهشت و برج رکیب خانه در اصفهان و الحاقات قاجاری در آنهاست. پرسش مقاله اینست: ترکیب بصری نقاشی گل و مرغ در کاخ‌های صفوی مذکور با الحاقات قاجاری آن چیست؟  و  این نقاشی‌ها حاوی چه مضامین نمادینی است؟ رویکرد تحقیق کیفی، از نظر هدف، کاربردی و ماهیتی «توصیفی تحلیلی» دارد. جمع‌آوری داده‌ها بر مبنای اطلاعات کتابخانه‌ای، اسنادی و بویژه میدانی استوار است. یافته‌ها نشان دارد نقاشی‌های گل و مرغ کاخ‌های مذکور از منظر تجسمی، دانسته و با اندیشه بر جداره‎ها نقش بسته‌اند و ترکیب بصری آنها در پنج گونه مطالعه شده است: گلشن یا یله، گل و گلدان، گلبوته، ختایی و مرغان، افشان و گل و فرشته.}, keywords_fa = {نقاشی دیواری, گل و مرغ, چهلستون, هشت بهشت, رکیب خانه}, doi = {10.52547/jic.5.2.8}, url = {http://jih-tabriziau.ir/article-1-132-en.html}, eprint = {http://jih-tabriziau.ir/article-1-132-en.pdf}, journal = {Journal of Islamic Crafts}, issn = {2588-316x}, eissn = {2588-3178}, year = {2021} } @article{ author = {Ebrahiminaghani, Hossein and RafieiTaqanki, Kobr}, title = {An analysis of the beauty and semantic functions of Iranian sculptural locks (Case example: Challeshtor lock)}, abstract ={The need for security in Iran, as in other parts of the world, has played a major role in the expansion and establishment of locksmith shops. However, the need for security has not been the only reason for the lockout in Iran. Locking has also been one of the elements to meet the spiritual needs of Iranians. The lock therefore contains symbolic meanings, and like a book that is opened, it has hidden secrets inside. But the beauty factor in locks and the like in this art-industry has not always been voluntary and subject to choice. Rather, it was due to the intimidation and trickery of Iranian artists in escaping from mainly religious and ideological restrictions and sanctions that restricted the freedom of art. If it were forbidden to make sculpture and iconography, he would turn tools such as locks [which he had to use] into a field for art. If he could not make huge sculptures in architecture or other places and display them in various places, from capitals and inside inscriptions to locks, etc., he would combine them with aesthetic tricks with practical aspects. From another perspective, the lock is full of Iranian aesthetic motives due to the fusion of industry and beauty in Iran. The combination of these delicacies and arts reaches such a level that the Iranian lock looks like a statue. Most of our attention to the more challenging locks in this research is due to better access as well as its elegance and beauty. Challenger locks are world famous from this perspective. In addition to beauty and elegance, these locks also lack symbolic functions. The sculptural locks studied in this article have also been prepared from the book of Iranian locks by Parviz Tanavoli. By analyzing the artistic beauties and symbolic functions in the locks of Iranian sculpture, this research aims to provide a better way of recognizing the artistic and aesthetic functions of Iranian art-industries, especially those created in relation to ideological concepts for the artist-craftsman. And open the way to the knowledge of the preparation and industrial-artistic craftsmanship-art of the Iranian artist. Traditional Iranian locks, especially the examples discussed in this article, have many cultural implications that reflect the attitude of society, aesthetic awareness, preparation and tricks to overcome the limiting and inhibiting factors of creativity and art. These locks are important carriers of culture and customs and, most importantly, the attitude and attitude of their users to important aspects of life, including longevity and guarding, and protection from disasters and unhappy matters, and the category of wealth, etc. . These people blend and reflect cultural meanings through materials, shapes, and decorations with aesthetic value, indicating intelligence, creativity, and a moral commitment to the concepts of life. Lock is one of the oldest tools that has maintained its role and position so far, both as an objective tool for protection and security and symbolically in the management and direction of cosmic and magical energies. "Love lock" is a symbol of an unbreakable bond that lovers engrave their name (in full or in short or symbolically) on the lock and throw the key in the river or far away. The lock of love is not almost specific to one country and culture, but in terms of its vast range from France to the United States, from South Korea to Russia and from China to Italy, shows the antiquity and symbolic and magical properties of the "lock" and its alignment with It has important categories such as love and security in human life. The permanence and continuity of the magical and symbolic nature of the lock until the contemporary era, indicates the importance and antiquity of this tool with its psychological aspects and magical belief of the human mind.}, Keywords = {locks, sculptural locks, aesthetics, ritual-symbolic function, preparation and industrial-artistic tricks}, volume = {5}, Number = {2}, pages = {129-142}, publisher = {Tabriz Islamic Art University}, title_fa = {تحلیلی بر زیبایی و کارکردهای معنایی قفل های مجسمه گونه ایرانی (نمونه ی موردی: قفل چالشتر)}, abstract_fa ={نیاز به امنیت در ایران مانند سایر نقاط جهان نقش عمده ای در گسترش و ایجاد دکانهای قفل سازی داشته­است. با این وجود نیاز به امنیت تنها دلیل قفل سازی در ایران نبوده و قفل یکی از عوامل برآوردن نیازهای معنوی ایرانیان نیز بوده است. قفل از این منظر حاوی مفاهیم رمزی است و چون دفتری که گشوده شود، رازهای نهانی در سینه دارد. اما عامل زیبایی در قفل و نظایر این هنر-صنعت همیشه ارادی و تابع انتخاب نبوده است. بلکه ناشی از تهمید و شگرد هنرمندان ایرانی در گریز از محدودیتها و تحریمهای عمدتا مذهبی و ایدئولوژیک بوده که آزادی هنر را محدود میکرد. اگر منع شده بود برای ساخت مجسمه و شمایل نگاری، ابزارهایی همچون قفل را [که استفاده از آن ناگزیر می نمود] تبدیل به زمینه ای میکرد برای هنرنمایی. اگر در معماری یا جاهای دیگر نمی توانست مجسمه های عظیم بسازد و در جای جای بنا به نمایش بگذارد، از سرستونها و درون کتیبه ها گرفته تا قفل و ... آنها را با شگردهای زیبایی شناسانه با وجوه کاربردی در هم می آمیخت. از دیگر منظر، قفل به تبع درآمیختگی صناعت و زیبایی در ایران زمین، مشحون از بارقه های زیبایی شناسانه ایرانی است. ادغام این ظرائف و هنرورزی ها تا به حدی میرسد که قفل ایرانی همچون مجسمه مینماید. التفات بیشتر ما به قفلهای چالشتر در این تحقیق به علت دسترسی بهتر و همچنین ظرافت و زیبایی آن است. قفلهای چالشتر از این منظر شهرت جهانی دارند.  این قفلها علاوه بر زیبایی و ظرافت، از کارکردهای نمادین نیز بی بهره می باشند. قفلهای مجسمه گونه مورد مطالعه نیز از کتاب قفلهای ایرانی پرویز تناولی تهیه شده است. این پژوهش قصد دارد با تحلیلی بر زیبایی های هنری و کارکردهای رمزی مندرج در قفل های مجسمه گونه ایرانی، مسیر بازشناخت بهتر کارکردهای هنری و زیبایی شناسانه هنر-صنعتهای ایرانی خصوصا آنهایی که به لحاظ محدودیتهای ایدئولوژیک برای هنرمند-صنعتگر ایجاد شده بود، را هموار سازد و بر تمهید و شگرد های صناعتی –هنری صنعتگر-هنرمند ایرانی نقبی بزند.  }, keywords_fa = {قفل, قفلهای مجسمه گون, زیبایی شناسی, کارکرد آیینی- رمزی, تمهید و شگردهای صناعتی-هنری}, doi = {10.52547/jic.5.2.9}, url = {http://jih-tabriziau.ir/article-1-182-en.html}, eprint = {http://jih-tabriziau.ir/article-1-182-en.pdf}, journal = {Journal of Islamic Crafts}, issn = {2588-316x}, eissn = {2588-3178}, year = {2021} } @article{ author = {Mortazavikaryak, Soraya and ZakariaeiKermani, Iman and Momnian, Seyed Baqer}, title = {Study of the art of basket weaving in Kohgiluyeh and Boyer-Ahmad provinces with pathology}, abstract ={Iranian traditional arts are closely related to life and have a practical and aesthetic aspect, which shows the importance of both practical and artistic aspects in Iranian traditional arts; Because these works, in addition to meeting everyday needs and being practical, nurtured artistic talent and a sense of beauty in artists. Basket weaving is one of the traditional arts that is popular in different parts of Iran, including Kohgiluyeh and Boyer-Ahmad provinces located in the southwest of the country. In the past, baskets were woven with many uses in this province, but today, the prosperity of the art of basket weaving has diminished and is being forgotten. The aim of this study is to study basket weaving in Kohgiluyeh and Boyer-Ahmad provinces with a pathological approach and to find solutions to revive and preserve the art of basket weaving in this province. The aim of this study is to study basket weaving in Kohgiluyeh and Boyer-Ahmad provinces with a pathological approach and to find solutions to revive and preserve the art of basket weaving in this province. And became involved in today's life? This research has been carried out with pathological approach, and descriptive analytical method and data collection in a library and field method. The samples were purposefully selected based on the snowball method and included 11 people. By examining the information obtained based on the analysis of the interviews, the key points were identified and the data were coded, and the codes with common axes became a set of concepts. Then, through dividing the concepts, the categories are extracted, and ultimately interpret the categories and provide solutions. Based on data, art basket in Kohgiluyeh and Boyerahmad province in the past was commonly proportional to the conditions of nomadic and rural life, and woven baskets were used in abundance. Over time and the prevalence of urbanization culture and the introduction of technology and replacing applied appliances of plastic and metal, decrease use of handmade tools and made from natural materials in the lives of villagers. Many of those devices are no longer used today. And these baskets have fallen into disrepair, so much so that some of them are obsolete. According to the findings of this study, the cause of forgetfulness and obsolescence of basket weaving art in Kohgiluyeh and Boyer-Ahmad provinces is the lack of work in teaching this art and the lack of a market to sell products and weavers do not pay attention to innovation in the use of woven baskets. Finally, with the review of three categories of education, economics and application, useful strategies for re-boom this art are expressed. Some of these solutions are: Holding face-to-face and virtual classes in basket weaving training in relevant and supported organizations, allocating textbooks in each region to introduce and teach traditional indigenous arts of the region, as well as the private sector to use the capabilities and talents related to this art in the province, use advertising programs and Active participation of the province's radio and television in informing and widely promoting the traditional and indigenous arts of the province, especially the art of basket weaving, and Finally, pay attention to the application in a way that is useful for the use of all sections in today's society.}, Keywords = {Traditional Arts, Basket Weaving, Kohgiluyeh and Boyerahmad, Pathology}, volume = {5}, Number = {2}, pages = {143-157}, publisher = {Tabriz Islamic Art University}, title_fa = {مطالعه هنر سبدبافی استان کهگیلویه و بویراحمد با رویکرد آسیب شناسی}, abstract_fa ={هنرهای سنتی ایرانی با زندگی پیوند نزدیکی دارد و دارای جنبه کاربردی و زیبایی بوده که نشان از اهمیت جنبه کاربردی و هنری توأم در هنرهای سنتی ایران است؛ زیرا این آثار در کنار مرتفع ساختن نیازهای روزمره و کاربردی بودن، استعداد هنری و درک زیبایی را در هنرمندان پرورش می‌دادند. سبدبافی یکی از هنرهای سنتی بوده که در مناطق مختلف ایران از جمله در استان کهگیلویه و بویراحمد واقع در جنوب غربی کشور، رواج دارد. در گذشته سبدهایی با کاربردهای فراوان در این استان بافته می‌شد، ولی امروزه از رونق هنر سبدبافی کم شده و رو به فراموشی است. این پژوهش با هدف مطالعه سبدبافی استان کهگیلویه و بویراحمد با رویکرد آسیب شناسی و یافتن راهکارهایی برای احیاء و حفظ هنر سبدبافی این استان، بر آن است به این سوال پاسخ دهد که چگونه می‌توان دست‌ساخته‌های سبدبافی را به عنوان یک میراث به‌جای مانده از گذشتگان احیا نمود و با زندگی امروزی مردم عجین کرد؟ پژوهش حاضر با رویکرد آسیب‌شناسی و روش توصیفی ـ تحلیلی و جمع‌آوری داده‌ها به شیوه کتابخانه‌ای و میدانی صورت گرفته است. نمونه‌ها به صورت هدفمند بر مبنای شیوه گلوله برفی انتخاب و شامل ۱۱ نفر بوده است. با بررسی اطلاعات به‌دست آمده برپایه تحلیل مضمون مصاحبه‌ها و رسیدن به داده‌ها، هنر سبدبافی در استان کهگیلویه و بویراحمد در گذشته متناسب با شرایط زندگی عشایری و روستایی رواج داشته و سبدهای بافته شده به فراوانی استفاده می‌شدند. با گذر زمان و ورود تکنولوژی این سبدها از رونق افتاد؛ امروزه برخی از آن‌ها منسوخ شدند. در این پژوهش با مطالعه وضعیت مطلوب و وضعیت موجود سبدبافی استان کهگیلویه و بویراحمد و بررسی آسیب‌شناسی آن در گذشته و حال، راهکارهایی برای حفظ و احیای این هنر مطرح گردید. بنابر یافته‌ها مهمترین عامل منسوخ شدن، کم‌کاری در زمینه معرفی، شناخت و آموزش این هنر و نبود بازار مشخص برای فروش محصولات، همچنین حمایت نشدن هنرمندان از طرف نهادهای حمایتی مربوطه و توجه نکردن بافندگان به نوآوری در کاربرد و تزیین سبد‌های بافته شده است. در انتها با بررسی سه مقوله آموزش، اقتصاد و کاربرد راهکارهایی برای رونق مجدد این هنر بیان شده است.  }, keywords_fa = {هنرهای سنتی, سبدبافی‌, کهگیلویه و بویراحمد, آسیب‌شناسی}, doi = {10.52547/jic.5.2.10}, url = {http://jih-tabriziau.ir/article-1-156-en.html}, eprint = {http://jih-tabriziau.ir/article-1-156-en.pdf}, journal = {Journal of Islamic Crafts}, issn = {2588-316x}, eissn = {2588-3178}, year = {2021} } @article{ author = {Sehatgholfard, Monir and Abeddoost, Hossein and Kazempoor, Zib}, title = {Comparison of Guilan’s holy shrine painitngs and Under-glass painting (Zand and Qajar dynasty), based on Genette’s theory with an an emphasize on Equality}, abstract ={Guilan's holy shrine paintings is a display of folk art which most of them has been damaged or vanished over time because of different reasons. Shrine paintings is a representative of cultural identity of a community and it has been based on beliefs and narrations which have been common in the culture of that community. Shiism beliefs and narrations especially the Battle of Karbala are the subjects of these paintings. Similarity aspect of subjects and illustration methods of these paintings and coffee house painting have not been far off from the eyes of researchers, but Under-glass painting is one of the traditional arts in Iran which nowadays it’s getting less attention than before. It is worth to noted that under-glass religious painting has a lot of subjects and illustrations which is comparable with Guilan’s holy shrines paintings and Coffee house painting. Common text between these paintings are not only common subjects but also they consist of figurative and pictorial resemblances. On this basis, this question can be asked that how much these two kinds of arts affect each other and how much they accept changes from each other. These two paintings were almost popular and widely useful in the same period of time, based on the fact that these two paintings are subsets of religious arts. Wall paintings of Guilan's holy shrines are important because of the matter of recognition of the art of painting in Gulian and its origins. In previous years, journals، thesis and books have been written about these paintings and shrines, but the empty space of research and analysis in this field can be felt because of abundant numbers of painted shrines and paintings. Also Under-glass paintings have a historical record similar to Shrines paintings and it is a valuable part of Iran art which has not been getting enough attention in the past years, therefore study and research of this matter is necessary. One of the theoretical aspects of analysis and applied study which has been based on comparison and adaptation is, intertextuality. Hypertextuality analyses the relation between two artistic and literary texts, similar to intertextuality, this relation in hypertextuality in contrast to Intertextuality is not based on co-existence, but it's based on getting inspired and acquiring and taking. In other word in Hypertextuality, the impact of one text on another one is being analysed and not the existence of it. Of course we can say that there is always an impact in any existence and also there is always an existence in any impact.  In this research, a comparative study has been conducted between six picture of Guilan's holy shrines and religious Under-glass paintings based on Gerard Genette's transtextuality with a hypertextual approach. The purpose of research, study and comparative analysis is the connection between represented forms in Guilan's holy shrines, Under-glass paintings and Hypertextual relations between these two. Guilan's wall paintings is important because of recognition of Guilan's art of painting and its origins.  Gerard Genette’s transtextual theory has been used in order to answer the question of “what are the differences and similarities between holy shrines paintings and under-glass paintings” and the emphasize is on the Equality among works. Method of research is descriptive and analytic. Methods of library collecting contents are taking fiche notes and reading texts of pictures.  Results of analysis is qualitative. The results show that there is Intertextual, transtextual and hypertextual relations between Eastern Guilan’s holy shrine paintings and Under-glass paintings, also there is a Equality relation between Guilan’s holy shrine paintings and Under-glass paintings.}, Keywords = {Equality, Holy shrine painting, Under-glass painting, Genette’s Transtextuality.}, volume = {5}, Number = {2}, pages = {159-170}, publisher = {Tabriz Islamic Art University}, title_fa = {مقایسه نقاشی بقاع متبرکه گیلان و نقاشی پشت شیشه(زند و قاجار)بر مبنای نظریه ژنت با تاکید بر همانگونگی}, abstract_fa ={ بقاع متبرکه گیلان دارای نقاشی­های مذهبی بسیاری است که خاستگاه و مبدأ آن به روشنی معلوم نیست. باورهای تشیع به ویژه واقعه کربلا از جمله مضامین این نقاشی­ها است. وجه تشابه موضوعات و شیوه تصویرسازی این نقاشی­ها با نقاشی­های قهوه خانه­ای از چشم پژوهشگران دور نمانده است، اما نقاشی پشت شیشه یکی از هنرهای سنتی ایران است که امروزه کمتر به آن توجه می­شود. شایان ذکر است که نقاشی پشت شیشه مذهبی نیز دارای موضوعات و تصاویری است که با نقاشی قهوه­خانه­ای و نقاشی بقاع متبرکه گیلان قابل قیاس است. متن مشترک میان این نقاشی­ها نه تنها موضوعات مشترک بلکه شباهت­های فرمی و تصویری است. برای پاسخ به این سوال که چه تفاوت­ها و شباهت­هایی میان نقوش بقاع متبرکه و نقاشی پشت شیشه وجود دارد، در پژوهش پیش رو از  نظریه ترامتنیت ژرار ژنت  استفاده شده است و تاکیدبرچگونگی رابطه همانگونگی میان آثاراست. روش تحقیق توصیفی تحلیلی است. روش گردآوری مطالب کتابخانه­ای از طریق فیش برداری و تصویر خوانی است. تجزیه تحلیل داده ها کیفی است. نتایج تحقیق نشان می دهد، روابط بینامتنی، پیش­متنی و ترامتنی میان نقاشی بقاع متبرکه شرق گیلان و نقاشی­پشت شیشه برقرار است و میان نقاشی­های بقاع متبرکه گیلان و نقاشی پشت شیشه رابطه همانگونگی حاکم است.}, keywords_fa = {همانگونگی, نقاشی بقاع متبرکه, گیلان,نقاشی پشت شیشه , ترامتنیت ژنت}, doi = {10.52547/jic.5.2.11}, url = {http://jih-tabriziau.ir/article-1-157-en.html}, eprint = {http://jih-tabriziau.ir/article-1-157-en.pdf}, journal = {Journal of Islamic Crafts}, issn = {2588-316x}, eissn = {2588-3178}, year = {2021} } @article{ author = {Shamili, Farnoush and Pourmohammad, Tahereh}, title = {Analytical study of the visual structure of Qajar royal jewelry in the national jewelry treasury of Iran}, abstract ={The use of jewelry and ornaments has always been one of the most important manifestations of the glory and grandeur of kings and courtiers in the imperial governments of Iran. One of the imperial dynasties in which the use of jewelry had a special place was the Qajar dynasty. In this era, due to socio-political interactions, very magnificent and expensive jewelry was made and exchanged between governments. Thus, throughout the imperial history, vast treasures of jewelry have been collected, each of which is kept locally. Meanwhile, the national jewelry treasure is one of the most comprehensive collections of expensive jewelry in history. Geometric patterns used include circles, ellipses, rectangles, triangles and polygons. Common plant motifs also include three-feathered, four-feathered, five-feathered, eight-feathered flowers, leaves, roses, sunflowers, and so on. Animal motifs such as birds, lions and dragonflies can also be seen in a number of specimens. Shamseh is another pattern that has been used in the center of most samples. Other motifs include inscription motifs that were observed in a number of embossments. In the study of the visual features of the Qajar royal palaces, the mentioned treasure can be seen as a visual element of balance, symmetry, strength and stagnation. The structure of the jackets and the decorative motifs are coordinated so that the motifs are organized and decorated according to the general form of the specimens. The most important aspect in beautifying these pavilions is the use of expensive jewelry such as diamonds, emeralds, diamonds, rubies, as well as the use of gold and silver metals.  }, Keywords = {Royal jackets, ornamental arrays, Qajar era, national jewelry treasures of Iran}, volume = {5}, Number = {2}, pages = {171-186}, publisher = {Tabriz Islamic Art University}, title_fa = {تأملی در ساختارشناسی جقه های سلطنتی قاجاری موجود در گنجینه جواهرات ملی ایران}, abstract_fa ={در عصر قاجار با توجه به تعاملات اجتماعی-سیاسی  جواهرات و زیورآلات بسیار باشکوه و گران­قیمتی در بین حکومت­ها ساخته و تبادل می ­شد. بنابراین در طول تاریخ شاهنشاهی گنجینه ­های پر عظمتی از جواهرات جمع­ آوری شده که هر کدام در محلی نگهداری می­ شود. در این میان گنجینه­ ی جواهرات ملی یکی از جامع­ترین مجموعه ­های نگهداری زیورآلات گران­قیمت در طول تاریخ است. هدف از این پژوهش معرفی، شناسایی و بررسی ساختار آرایه ­های تزئینی و مطالعه ­ی وجوه مختلف هنری جقه های سلطنتی قاجار در این مجموعه است. در واقع این پژوهش جهت پاسخگویی به این سوال اساسی انجام یافته است که ساختار و ویژگی­های بصری جقه­ های سلطنتی قاجاری گنجینه جواهرات ملی ایران چیست؟ این پژوهش از نوع کاربردی می ­باشد و با روش توصیفی–تحلیلی انجام شده است، شیوه گردآوری داده ­ها از طریق مطالعات کتابخانه ­ای و از منابع و اسناد معتبر صورت گرفته است. برآیند پژوهش نشان داد: جقه ها بر اساس ساختار بصری بر سه وجه، قابل تقسیم­ بندی هستند: بخش فوقانی(شقه)، بخش میانی و بخش تحتانی(ساقه). فرم نمونه ­های مطالعاتی برگرفته از طبیعت بوده و از نقوش گیاهی، حیوانی، انتزاعی و در مواردی از نقوش هندسی و عناصر نوشتاری در تزئین جقه ها استفاده شده است؛ اگر چه بیشترین تزئینات مربوط به نقوش گیاهی می باشد. فرم بیشتر جقه­ ها به فرم بته شباهت دارند و دارای شقه(بخش فوقانی)هستند. اصلی ترین مؤلفه بصری در این آثار تعادل می باشد که گاهی از نوع تقارن بوده و گاهی از نوع توازن. همچنین فلزاتی چون طلا و نقره در اسکلت بندی آثار جهت قرار گیری اجزای تزنینی بکار رفته اند. شاخص ­ترین شیوه ساخت در جقه های مطالعاتی تکنیک مرصع­کاری بوده که تأثیر چشم­گیری در ساختار زیبایی شناسانه این آثار دارد.}, keywords_fa = {جقه های سلطنتی, آرایه های زینتی, عصر قاجار, گنجینه جواهرات ملی ایران}, doi = {10.52547/jic.5.2.12}, url = {http://jih-tabriziau.ir/article-1-174-en.html}, eprint = {http://jih-tabriziau.ir/article-1-174-en.pdf}, journal = {Journal of Islamic Crafts}, issn = {2588-316x}, eissn = {2588-3178}, year = {2021} }