دانشگاه کاشان هنرهای صناعی ایران 2645-7504 8 1 2025 08 23 A Critical Discourse Analysis of the National Biennial Exhibitions of Contemporary Pottery and Ceramics from 1981 to 2021 تحلیل گفتمان انتقادی نمایشگاه‌های دوسالانۀ ملی سفال و سرامیک معاصر از سال‌های ۱۳۶۰ تا ۱۴۰۰ 5 36 115349 10.22052/hsi.2025.256647.1251 FA امیر نظری استادیار،گروه صنایع دستی، دانشگاه بیرجند، بیرجند، ایران، نویسنده مسئول مهرنوش شفیعی سرارودی دانشیار، گروه صنایع‌دستی، دانشگاه هنر اصفهان، اصفهان، ایران محمدرضا مریدی دانشیار، گروه پژوهش هنر، دانشگاه هنرایران، تهران، ایران Journal Article 2025 05 02 Introduction The pottery and ceramic biennials held from 1981 up to 2021 were a context of the intertwining of artistic trends with social changes. Iran experienced four decades of ups and downs in social changes, and artists achieved various experiences in this turmoil. Artists have not only reflected these changes in their works but also developed identities that simultaneously show the stability of identity against the instability of conditions and the historicity of identity against the contemporary situation in their works. In this way, they express cultural interpretations and narratives in works of art. The aim of this study was to explore how biennials are arenas for artists' competing narratives of traditional-contemporary identity, and traditional-modern art in the four decades from 1981 to 2021. It was also to recognize the influence of pottery biennials on socio-cultural changes and their semantic implications. Research Method This study deployed a qualitative approach and used discursive analysis for its method; discourse analysis shows how signs, texts, works, and events are formed around a central signifier that expresses an idea-centeredness and stabilizes a cultural discourse. This study deploys Laclau and Mouffe’s critical discourse analysis method. From the perspective of the objective, it was classified as fundamental research, and the data was collected through library methods, observation of works in museums and exhibitions. This article also addressed five dominant discourses that advanced Iran's cultural developments and influenced events, trends, biennials, and works of art. These discourses included the discourse of cultural revolution, cultural invasion, cultural interaction, cultural engineering, and cultural moderation. Research Findings The biennial pottery exhibitions were influenced by cultural and political discourses after the revolution. These discourses can be identified in terms of five important political periods in Iran. These periods include: the first period from the beginning of the revolution to the beginning 1989; the second period from 1989 to 1997; the third period from 1997 to 2005, the so-called Reformist government; the fourth period from 2005 to 2013, the so-called fundamentalist government, and the fifth period from 2013 to 2021, the so-called Moderate government. These periods offered a context for the conflicting dominant/marginal discourses in which the pottery exhibitions took shape. In the discursive space of pottery and ceramic exhibitions and biennials, these two types of dominant/marginal cultural discourses were also in conflict and, thus, influenced the trend of contemporary pottery. The conflict between dominant/marginal discourses in the gaps, ruptures, and fissures of contemporary Iranian society and culture took on many forms, such as city/rural, Iranian/Islamic, traditional/modern, male/female, reformist/ fundamentalist. The lived experience of potters in these situations, gaps, confrontations, and conflicts shaped and reflected in their works. Conclusion The research findings showed that the pottery biennial was an arena of confrontation and conflict between identity narratives: the conflict between traditional/modern art, religious/national art, naturalistic/abstract art, global/native art, applied/pure art. it was a conflict that ultimately led to the formation of new meanings in the flow of committed art, religious art, critical, feminist, environmental art, and other contemporary artistic experiences. Accordingly, the eleventh pottery biennial was also recognized as an arena of resistance, influenced by cultural discourses, and put forth the pottery movement as an exception in traditional arts, in the ups and downs between practical and semantic aspects, between tradition and modernity دوسالانه‌های سفال و سرامیک در سال‌های ۱۳۶۰ تا ۱۴۰۰ بستری از درهم‌تنیدگی میان جریان‌های هنری با تحولات اجتماعی بودند. ایران چهار دهه تحولات اجتماعی پرفرازوفرود را تجربه کرد و هنرمندان در این تلاطم به تجربه‌های متفاوت و متنوع رسیدند. هنرمندان فقط بازتاب‌دهندۀ تحولات در آثارشان نیستند بلکه شکل‌دهندۀ هویت‌هایی هستند که هم‌زمان پایداری هویت را در برابر ناپایداری شرایط، و تاریخی بودن هویت را در برابر وضعیت معاصر در آثارشان نشان می‌دهند و از این راه تفسیرها و روایت‌های فرهنگی را در آثار هنری بیان می‌کنند. در این مقاله این پرسش‌ها دنبال می‌شود که چگونه دوسالانه‌ها به عرصۀ رقابت روایت هنرمندان از هویت سنتی- معاصر، و هنر تاریخی- نوگرا در چهار دهۀ ۱۳۶۰ تا ۱۴۰۰ بدل شدند؟ هنرمندان سفال چگونه از تحولات اجتماعی و فرهنگی متأثر شدند و آثار سفال در دوسالانه‌ها چه دلالت‌های معنایی داشت؟ پاسخ به این پرسش‌ها درهم‌تنیدگی تاریخ تحولات سفال و تحولات اجتماعی در ایران را روشن‌تر می‌سازد. روش‌شناسی مقاله مبتنی‌بر تحلیل گفتمان است؛ تحلیل گفتمان نشان می‌دهد که چگونه نشانه‌ها، متون، آثار و رویدادها حول یک دال مرکزی که بیانگر ایده‌محوری است، صورت‌بندی می‌شوند و یک گفتمان فرهنگی را تثبیت می‌کنند. در این مقاله نیز به پنج گفتمان غالب پرداخته می‌شود که تحولات فرهنگی ایران را به پیش بردند و بر رویدادها، جریان‌ها، دوسالانه‌ها و آثار هنری تأثیر گذاشتند. این گفتمان‌ها عبارت بودند از: گفتمان انقلاب فرهنگی، تهاجم فرهنگی، تعامل فرهنگی، مهندسی فرهنگی و اعتدال فرهنگی. یافته‌های پژوهش نشان دادند دوسالانۀ سفال عرصۀ تقابل و کشمکش میان روایت‌های هویت است: نزاع میان هنر سنتی/مدرن، هنر مذهبی/ هنر ملی، هنر طبیعت‌گرا/هنر انتزاعی، هنر جهانی/هنر بومی، هنر کاربردی/هنر ناب؛ منازعه‌ای که درنهایت منجر به شکل‌گیری معانی تازه در جریان هنر متعهد، هنر مذهبی، هنر انتقادی، فمینیستی و دیگر تجربه‌های هنری معاصر گردید.

https://hsi.kashanu.ac.ir/article_115349_5760c5662391a546f0abbe7e3a7d92a6.pdf

دانشگاه کاشان هنرهای صناعی ایران 2645-7504 8 1 2025 08 23 The Concept of Representation in Traditional Arts مفهوم بازنمایی در هنرهای سنتی 37 52 115181 10.22052/hsi.2025.256862.1263 FA سمانه(ثمین) رستم بیگی استادیار گروه پژوهش هنر، دانشکدۀ علوم نظری و مطالعات عالی هنر، دانشگاه هنر ایران.تهران. ایران Journal Article 2025 05 25 Introduction This study examines the conceptual evolution of ‘imitation’ (taqlid) and mimesis (muhākāt) from classical Greek philosophy to the Iranian-Islamic intellectual tradition, focusing on the ways these frameworks inform artistic creation, imagination, and symbolic representation. In Greek thought, Plato presents mimesis as epistemologically problematic: art imitates the world of senses as it is a copy of the intelligible Forms; thus, art misleads the soul. Aristotle reinterprets mimesis as a natural human capacity for learning, emotional refinement, and cognitive understanding, positioning art as ethically and which is psychologically valuable. Islamic philosophers, including Al-Farabi, Ibn Sina, and Nasir al-Din Tusi, inherited the Aristotelian thought, but they expanded it significantly while emphasizing imagination (takhayyul) as a mediating faculty between the sensory and intelligible realities. This study aims to clarify the conceptual differences between Plato’s and Aristotle’s mimesis and to distinguish between ‘taqlid’ and ‘muhākāt,’ thereby providing a nuanced understanding of the role of imagination, imitation, and representation in shaping traditional aesthetics through the lens of Islamic philosophical thought. Research Method This study employed a conceptual-comparative analysis to trace the evolution and reinterpretation of imitation and mimesis across Greek and Iranian-Islamic philosophy. The approach focused on philosophical texts by Plato, Aristotle, Al-Farabi, Ibn Sina, and Nasir al-Din Tusi to examine definitions, theoretical frameworks, and applications of imitation, imagination, and representation. The analysis emphasizedfour dimensions: 1) ontological/epistemological status, imitation/ imaginative creation, and sensory/intelligible realities; 2) the role of imagination, and the waystakhayyul mediates between perception and metaphysical truths in Islamic thought compared to Aristotle’s cognitive-emotional interpretation;3)the artistic purpose and the ethical dimension as evaluating the ways artistic creation integrates ethical and spiritual considerations; 4) terminological clarification as distinguishing between ‘taqlid’ (technical imitation) and ‘muhākāt’ (symbolic, imaginative representation). By systematically comparing these frameworks, the study identifies both the continuity of Aristotelian reception and the transformative impact of Islamic metaphysical and ethical perspectives on the theory of art. Research Findings The research findings demonstrated a significant conceptual evolution in the understanding of imitation and mimesis as it emphasizes the interconnected dimensions as belows: Transformation of Greek concepts: in Greek philosophy, Plato and Aristotle present contrasting approaches to mimesis. Plato’s hierarchical ontology casts art as epistemologically inferior since it reproduces appearances, creating a “copy of a copy” that cannot convey true knowledge. Aristotle rehabilitates mimesis, framing it as a natural human capacity linked to cognitive understanding, emotional regulation, and ethical development. Artistic imitation is, thus, structured and purposeful, contributing to moral and intellectual cultivation. This Aristotelian reinterpretation lays the foundation for Islamic philosophers to reconceive the scope and purpose of mimesis. Islamic reinterpretation--From imitation to imaginative Mmdiation: Islamic thinkers transform mimesis into a process of imaginative mediation. Al-Farabi integrates Aristotelian mimesis with a metaphysical perspective, emphasizing imagination (takhayyul) as a faculty that shapes sensory input to reflect intelligible truths. Ibn Sina expands this framework, presenting imagination (quwwat al-mutakhayyila) as a synthesizing faculty connecting sensory perception with metaphysical meaning, and even functioning as a conduit for prophetic knowledge. Nasir al-Din Tusi further situates artistic creation within the ethical cultivation of the soul, conceptualizing it as an intentional and spiritually informed act. Across these thinkers, mimesis evolves from a simple replication into ‘muhākāt,’a symbolic representation that conveys metaphysical, ethical, and spiritual realities. Redefining the role of the artist: In this framework, the artist becomes an active mediator rather than a passive imitator. Artistic creation aligns human perception with cosmic and divine order, embodying ethical and metaphysical insight. While Aristotle emphasizes catharsis as emotional purification, Islamic philosophers extend this to include metaphysical purification, situating art as a vehicle for spiritual and intellectual cultivation. The artist functions as a mirror of higher truths, guiding understanding and ethical awareness through imaginative mediation.Collectively, these findings clarify the distinction between ‘taqlid’ and ‘muhākāt,’ showing how Islamic philosophical reinterpretations expand, deepen, and ethically enrich the original Greek concepts of ‘imitation’ and mimesis, ultimately shaping a sophisticated traditional aesthetic framework. Reframing the role of the artist:in the Islamic philosophical framework, the artist functions as an active mediator rather than a passive imitator. Artistic creation aligns the soul with divine order, embodies ethical and spiritual insight, and communicates transcendent realities. While Aristotle focuses on catharsis as emotional purification, Islamic philosophers extend the concept to include metaphysical purification. The artist, thus, becomes a mirror of higher truths, shaping forms that cultivate understanding and spiritual awareness. Conclusion This study demonstrates that the concepts of mimesis, ‘taqlid,’ and ‘muhākāt’ have undergone substantial conceptual transformation from Greek to Iranian-Islamic thought. Plato positions mimesis as a limited and potentially misleading process, while Aristotle reframes it as a morally and cognitively beneficial activity. Islamic philosophers follow Aristotelian principles, but they expand the scope emphasizing imagination (takhayyul) as a metaphysical and ethical faculty mediating between sensory perception and intelligible realities. Through this lens, artistic creation is not mere replication but a symbolic, contemplative, and ethically oriented act, reflecting a deeper engagement with metaphysical and spiritual truths. The study has also clarified the conceptual distinction between ‘taqlid’ and ‘muhākāt.’ ‘Taqlid’ refers to external, technical imitation, whereas muhākāt involves imaginative and symbolic mediation, integrating metaphysical, ethical, and intellectual dimensions. By redefining the role of the artist as an active mediator of truth rather than a passive imitator, Islamic philosophical thought elevates the purpose of artistic creation, aligning it with ethical cultivation and spiritual insight. Ultimately, the findings have illustrated how Greek philosophical foundations, when reinterpreted in the Islamic intellectual tradition, produce a sophisticated framework for understanding art, imagination, and representation. This framework emphasizes the interrelation of metaphysical knowledge, ethical reflection, and symbolic mediation, offering a nuanced understanding of traditional aesthetics. The study highlights the enduring relevance of philosophical inquiry into imitation, imagination, and artistic creation, revealing how classical and Islamic perspectives jointly shape a comprehensive theory of art that transcends mere visual replication, serving as a medium for intellectual, ethical, and spiritual development. تقلید و محاکات به‌مثابۀ یکی از ساختارهای مفهومی توضیح‌دهندۀ دست‌ساخته‌های بشری که در طبقه‌بندی آثار هنری جای می‌گرفتند، همواره مورد توجه و مناقشه میان نظریه‌پردازان در این باب بوده است. سیر تحول معنایی و کارکردی این مفهوم از افلاطون که در نظام فکری او منتهی به موضع بی‌ارزش دانستن اثر هنری است و بعد در توضیحات شاگردش ارسطو که آن را ارزشمند می‌داند و همچنین نزد فلاسفۀ ایرانی- اسلامی که شکل دیگری می‌یابد، مسئلۀ مورد توجه این پژوهش قرار گرفت. از نکات دیگر مورد توجه این پژوهش، تفاوت معنایی میان تقلید و محاکات است که به تفاوت دیدگاه افلاطون و ارسطو در این مسئله توجه دارد. در راستای این موضوع به بررسی نظریات برخی از فلاسفۀ اسلامی همچون فارابی، ابن‌سینا، خواجه نصیرالدین طوسی درخصوص تعریف محاکات و پیوند آن با مباحثی چون طبیعت و تخییل و کاربرد این مفاهیم در هنرهای سنتی پرداخته شد. نتایج این پژوهش نشان می‌دهد که بازنمایی در هنرهای سنتی بیشتر در مفهوم محاکات ارسطویی جای می‌گیرد و قائل به تقلید عین‌به‌عین نیست و درعین‌حال ازآنجاکه فلاسفۀ اسلامی واژۀ محاکات و تخییل را در ارتباط باهم می‌بینند، این امر یعنی تخییل آفرینندۀ اثر، وجه بسیار مهمی در تولید آثار هنرهای سنتی دارد؛ چراکه در ایجاد اثر در هنرهای سنتی فرایند خلق بیش از پیش مهم می‌نماید. در این فرایند به‌زعم ارسطویی کاتارسیس و به‌رغم نظریات فلاسفۀ اسلامی حرکت به‌سوی الوهیت و آیینگی رخ می‌دهد تا درنهایت روح ایشان بازتاب‌دهندۀ انوار الهی باشد. این تحقیق به روش توصیفی‌تحلیلی با بهره‌گیری از منابع کتابخانه‌ای انجام گرفته است.

https://hsi.kashanu.ac.ir/article_115181_ee2a7437a4066867e83b89003dc59121.pdf

دانشگاه کاشان هنرهای صناعی ایران 2645-7504 8 1 2025 08 23 An Analysis of Formal and Decorative Features of Henna-Ceremony Footstool in the Qajar and Pahlavi Eras in Iran تحلیل ویژگی‌های فرم و تزیین در زیرپاهای حنابندان دوره‌های قاجار و پهلوی در ایران 53 72 115198 10.22052/hsi.2025.256859.1265 FA مهدی ارجمند اینالو استادیار گروه هنر، دانشکده هنر و معماری، دانشگاه شیراز، شیراز،ایران Journal Article 2025 05 17 Introduction The use of henna has been widespread among Iranians. This ritual has had diverse functions, including cosmetic, medicinal, and religious ones. The use of henna is manifested through its own specific rituals and objects. It appears that across the vast geography and ethnic diversity of Iran, these objects and rituals exhibit differences. Varied ritual characteristics have undergone changes and evolution in the way henna ceremonies were performed. Corresponding to these changes, the tools and equipment used have also transformed. In most regions of Iran, these objects are fabrics with unique decorations, especially prepared for each celebration. Another item used in these ceremonies is the henna-ceremony footstool.The henna ceremony footstool is an ornate bench used in henna ceremonies, placed under the feet. As one sits on a chair or stool,he/she places the soles of both feet on the concave arches designed as a footstool. Materials and Methods Henna ceremony footstools show little variation in the overall form and function. Their primary differences lie in the materials used and decorative patterns. In all texts reviewed by the author, only stone footstools were mentioned, implying a lack of awareness of the other types made from different materials. Given that stone, wood, and metal footstools existed in the Qajar period and the sources and knowledge about these objectswere limited, research in this area is essential. Both the Qajar and, to some extent, the contemporary specimens of these objects are available for study in terms of the number and the quality of decorative patterns. Furthermore, these objects are deeply connected to the realm of popular culture.The present research, aiming to identify, classify, and analyze the formal and decorative features of these objects in the Qajar and Pahlavi periods, deployed a descriptive-analytic method with a developmental approach. Numerous specimens of henna ceremony footstools were found in anthropological museums and private collections. Since the customs related to henna ceremonies in Iran were fading, the use of these objects has also become limited. Collecting the images of these footstools required extensive field research across the vast geography of Iran. Accordingly, the statistical population of this research included all henna ceremony footstools produced in Iran. The statistical sample, selected purposively based on accessibility, included all artifacts (or their documented images and sources) belonging to the Qajar and the early Pahlavi eras, which were extracted from anthropological museums and private collectors in ten locations across Iran (provinces of Fars, Yazd, Kerman, Isfahan, Lorestan, Arak, Tehran, and Mazandaran). Within the framework of its documented findings regarding the triple interaction of raw material type, socio-economic variables, and popular culture in the formation of henna ceremony footstools, this research investigated the following central question: how could the key factors affecting the artistic quality and decorative features of henna ceremony footstools (stone, metal, wood) be explained within the framework of the interaction of these three materials? Results and Findings Based on the research findings, from a quantitative perspective, the highest frequency in the studied dataset belonged to stone samples. This finding, consistent with the evidence documented in historical texts and contemporary research, indicated the prominent position of stone as the primary material in the production of these artifacts. Metal samples, primarily made of copper, ranked second in frequency. Although the use of these samples in humid environments like bathhouses presented limitations, the significant number of surviving metal artifacts from the Qajar era indicated their continued use during specific time frames. In contrast, wooden samples had the smallest share in the studied collection. The patterns used on henna ceremony footstools were executed at three different levels, depending on the material: Stone Henna Footstool:Limited, geometric decorations. Copper Henna Footstool:Numerous decorations, medium production Wooden Henna Board:Numerous decorations, high-quality production. These artifacts were primarily made from local marble at low cost. The simple, unsigned construction method, along with inattention to non-visible surfaces, suggested mass production and pure functionality. Evidence, including oral histories, raised the possibility of their production by non-specialists (such as housewives). The consistent design of these stones over time indicated the priority of popular ritual function over artistic aspects, presenting them as the evidence of ritual practices and perhaps a reflection of social hierarchy. In contrast, copper footstools from regions with copper mines exhibited greater decorative diversity, adorned with busy and local engravings (likely influenced by popular taste in regions like Kerman or Yazd). These artifacts were more expensive and probably targeted a middle-class clientele. The most distinctive samples were the wooden henna boards with delicate marquetry, influenced by the Abadeh marquetry traditions and Gol-o-Morgh (flower and bird) paintings. Their delicacy and use of high-quality wood indicated production for an affluent consumer market in the late Qajar period. Although historical samples were rare, the limited production of these boards in the north of Fars province continued as part of dowries, demonstrating their functional flexibility and symbolic traditional identity in contemporary ceremonies. Overall, these objects carry the socio-cultural weight of their period and had largely lost their primary function in contemporary era. Conclusion The results of this research have shown that henna ceremony footstools are not mere ritual tools, but they are the cultural documents of the interaction between popular arts, social classes, and the geographical environment in Iran. These objects were identified based on raw materials into three groups: stone, wood, and metal, each of which reflected the economic conditions, aesthetic taste, and the technical skills of their makers. While stone samples signified simplicity and functionality among the general public, wooden and metal samples reflected artistic skills as well as a tendency toward more refined decorations. From a semiotic perspective, the floral, animal, and human motifs used in these works conveyed meanings such as fertility, purity, auspiciousness, and the protection of the bride against the evil eye—concepts rooted in feminine beliefs and rites of passage to marriage. The continued production of wooden samples in Abadeh also indicated the dynamism of material culture and the continuity of indigenous traditions within contemporary society. Accordingly, henna ceremony footstools can be considered a ‘cultural medium’ in which popular arts, social rituals, and ritual symbolism are interwoven. Continued ethnographic and laboratory studies regarding the origin of raw materials and the symbolic meanings of their motifs can lead to a deeper understanding of the place of women's ritual arts in Iranian culture. آیین حنابندان از رسوم کهن فرهنگ عامۀ ایران است که با مفاهیم زیبایی‌شناسی، آیینی و اجتماعی درهم‌تنیده است. یکی از ابزارهای کمتر شناخته‌شدۀ این آیین، «زیرپای حنابندان» است که کارکردی هم‌زمان کاربردی و نمادین دارد. پژوهش حاضر با هدف شناسایی، طبقه‌بندی و تحلیل ویژگی‌های فرمی و تزیینی این اشیا در دورۀ قاجار و پهلوی، به روش توصیفی‌تحلیلی و با رویکرد توسعه‌ای انجام شده است. داده‌ها ازطریق مطالعات میدانی در موزه‌های مردم‌شناسی و مجموعه‌‌های خصوصی ده استان کشور و نیز منابع مکتوب تاریخی گردآوری شده‌اند. یافته‌ها نشان می‌دهد زیرپای حنابندان ازنظر جنس به سه دستۀ سنگی، چوبی و فلزی تقسیم می‌شوند که هریک دارای کیفیت‌های بصری و سطح مهارت‌ فنی متفاوتی هستند. نمونه‌های سنگی ساده و کاربردی، نمونه‌های فلزی با تنوع نقوش اما مهارت متوسط و نمونه‌های چوبی ظریف و منبت‌کاری شده‌اند. تحلیل نتایج نشان می‌دهد تفاوت در فرم و نقش این آثار نه‌تنها به ویژگی‌های فنی مواد اولیه بلکه به متغیرهای فرهنگی، اقتصادی و اجتماعی جوامع تولیدکننده مرتبط است. این اشیا به‌مثابۀ بازتابی از ذوق عامه، باورهای آیینی و بازنمایی هویت زنانه در آیین ازدواج، بخشی از میراث مادی و معنوی ایران را تشکیل می‌دهند.

https://hsi.kashanu.ac.ir/article_115198_ebc20cbac58b2238fbd1a2288b456c1d.pdf

دانشگاه کاشان هنرهای صناعی ایران 2645-7504 8 1 2025 08 23 Technology and Pathology of Salting Woven Carpets, Iranian Carpet Museum فن‌شناسی و آسیب‌شناسی قالی زربافت سالتینگ موزۀ فرش ایران 73 88 115208 10.22052/hsi.2025.257596.1287 FA مینا کریمی دانش‌آموخته کارشناسی‌ارشد گروه مرمت اشیاء فرهنگی و تاریخی، گروه مرمت آثار و اشیاء فرهنگی، دانشگاه هنر اصفهان، اصفهان، ایران حمیدرضا بخشنده‌فرد دانشیار گروه مرمت آثار و اشیاء فرهنگی، دانشگاه هنر اصفهان، اصفهان، ایران، نویسندۀ مسئول مهدی ابراهیمی علویجه مدرس مدعو گروه فرش، دانشگاه هنر اصفهان، اصفهان، ایران Journal Article 2025 05 02 Introduction The Safavid period (1501–1722 CE) marks the golden age of Persian carpet weaving, enabled by political stability, economic prosperity, and royal patronage. Workshops in cities such as Isfahan, Kashan, Tabriz, and Kerman produced masterpieces now preserved in major museums (Pope & Ackerman, 2008). ‘Salting’ carpets— named after an English collector, George Salting,and crafted in 16th–17th century Safavid royal workshops— feature vibrant colors, dense knots, silk and wool foundations, silver-gilt threads, and designs, including medallions, mihrab, arabesques, and inscriptions. Iranian specimmesn are notable for their finesse and quality. Over time, environmental exposure, poor handling, and improper cleaning have caused fading, silk degradation, metal corrosion, and localized damage. Technical studies including fiber and dye analyses reveal their materials, weaving techniques, and historical context while they provide crucial insight for effective conservation and preservation strategies. Research Method The study focused on a late Safavid gilt-metal (Golabatun) medallion carpet, attributed to Tabriz, measuring 302×166 cm, with a corner-medallion (Lachak-Toranj) design, quarter field, and Nastaliq inscription. The carpet combines wool, silk, and silver-gilt threads, woven with symmetrical knots, and features main colors of red, navy, pistachio green, and orange. Despite previous restoration, the carpet exhibits damages including tears, stains, wear, and burn marks. Acomparative analysis with Safavid-period carpets was conducted to confirm dating, origin, and artistic features.Fiber sampling was minimaland including representative pile colors, warp, and weft, taken from deteriorated or loose areas to avoid damaging intact regions. Samples were coded and stored in sterile containers. Fiber identification combined microscopy, chemical tests, and burning analysis. Microscopic examination of longitudinal and cross-sections identified wool, silk, and cotton fibers, supported by chemical tests (NaOH for proteins; lead acetate for cellulosics) and combustion behavior. Sizing on the support was verified using Molisch and iodine-starch tests.Golabatun threads were analyzed using digital loop microscopy for surface wear, breakage, and corrosion, and SEM-EDS to determine chemical composition and structure. Nitric acid tests confirmed the presence of silver and trace copperalong with gold surface gilding verified by SEM and FTIR spectroscopy of the silk core.Weave structure was examined by counting knots, warp, and weft density; knot type and arrangement were also documented. Color identification involved preliminary chemical tests followed by FTIR spectroscopy to detect mordants and pigments.Conservation tests assessed fiber stability and sensitivity; aqueous swelling measured dimensional changes after wetting and drying; colorfastness tests evaluated resistance to light and humidity, and color transfer tests verified that washing would not leach dyes. These combined methods provided a comprehensive assessment of the carpet’s materials, structure, and conservation requirements while ensuring minimal damage during sampling. Research Findings The Salting gilt-metal carpet from the Carpet Museum of Iran exhibited an asymmetrical (Persian) knot structure, a “Lool” weaving technique, silk warp and weft, fine wool pile, and gilt-metal (Golabatun) decorations with a silk core. Colorants were entirely natural and plant-based. Weaving density was measured at approximately nine knots per centimeter (about 60 knots per 6.5 cm), reflecting the weavers’ skill and precision. Microscopic examination confirmed the use of asymmetrical knots, with S-twist wefts and Z-twist Golabatun threads. The back curvature and warp arrangement indicated the “Lool” technique typical of Azerbaijani weaving, particularly Tabriz, which produced prominent knots visible on the reverse side. The Golabatun sections showed metallic strips wrapped around silk threads, creating a fabric-like effect. Fiber identification showed that warp, wefts, and supplementary weft threads were silk, while the pile was wool. Longitudinal and cross-sectional microscopy confirmed tubular, smooth silk and cylindrical, scaly wool fibers. Chemical tests with 5% NaOH and lead acetate corroborated these findings. Support threads included cotton and wool, with characteristic thermal and morphological behaviors. Golabatun threads were found to consist of silver coated with gold, with minor copper content, which was confirmed via microscopic, SEM-EDS, and chemical analyses. The gold layer is more concentrated at the exterior, serving as both decorative and protective coating. FTIR analysis identified natural dyes: indigo for blue, a combination of madder (Rubia), and approximately 10% cochineal for red, mordanted with white alum. Sizing analysis, using the Molisch and iodine-starch tests, confirmed the presence of starch-based carbohydrate sizing. Damage assessment revealed extensive deterioration due to environmental, chemical, biological, and mechanical factors, including color fading, pile wear, warp/weft breakage, moth damage, and previous restoration issues. PH measurements indicated acidic conditions (mean pH ≈ 5), promoting fiber degradation. SEM-EDS results showed corrosion of Golabatun fibers, with silver sulfide and chloride layers forming due to environmental exposure. Conservation tests demonstrated that aqueous washing did not cause fiber swelling or color transfer, confirming the method’s safety. Preventive measures, including controlled humidity (40–55%), stable temperature (18–21 °C), UV-free LED lighting, and display in ventilated laminated glass cases, were recommended to stabilize and protect the carpet while allowing optimal viewing. Conclusion The Salting gilt-woven carpet featured a Persian knot, a lul weaving technique, silk warp and weft, and fine wool pile. It was decorated with golabatoon threads made of gilded silver with a silk core;all dyeswere natural and plant-based. Damage analyses of the carpet and its support indicated acidic conditions, weakness and deterioration of silk fibers, and corrosion of metal decorations caused by environmental factors such as light, humidity, and airborne pollutants. Mechanical damages,including fractures, compression, and tears that resulted from improper storage and past restorationsfurther contributed to structural degradation. Wet-cleaning and colorfastness tests confirmed that a controlled washing method was safe. Based on these findings, a conservation plan was designed following the principles of minimal intervention, reversibility, and material compatibility, including the removal of acidic supports, controlled surface cleaning, reinforcement with compatible backing, and limited repair of previous losses. دورۀ صفویه به‌واسطۀ قالی‌های برجای‌مانده، یکی از مهم‌ترین ادوار در تاریخ قالی‌بافی ایران به شمار می‌رود. در میان آثار شاخص این دوره، قالی‌های موسوم به «سالتینگ» جایگاهی ویژه دارند؛ آثاری که با وجود نام غیرایرانی، ازنظر ساختار و ویژگی‌های فنی، از برجسته‌ترین نمونه‌های هنر قالیبافی صفوی محسوب می‌شوند. پژوهش حاضر به مطالعۀ تطبیقی، تحلیل فنون ساخت و آسیب‌شناسی یکی از قالی‌های زربافت سالتینگ دورۀ صفویۀ موجود در موزۀ فرش ایران پرداخته است. مطالعات فن‌شناسی با هدف شناسایی ساختار، مواد و فنون به‌کاررفته در بافت اثر انجام شد. این قالی ترکیبی از الیاف پشم، ابریشم و نخ‌های فلزی گلابتون (نقره با روکش طلا) است. در بررسی‌های میکروسکوپی، شیمی‌تر، لوپ دیجیتال و روش‌های دستگاهی FTIR و SEM-EDS مشخص شد که تکنیک بافت از نوع لول و تکنیک گلابتون‌بافی از نوع سوف‌باف است. آزمون‌های رنگ‌سنجی نشان داد که در رنگرزی الیاف آبی از نیل و در الیاف قرمز لاکی از ترکیب رناس و قرمزدانه استفاده شده است. ازنظر ویژگی‌های هنری و فنی، قالی دارای طرح و نقوش منطبق بر سنت قالی‌بافی صفوی بوده و وجود کتیبه‌هایی با اشعار فارسی، از مهم‌ترین شاخصه‌های آن است. ساختار ترکیبی ابریشم و پشم در کنار استفاده از نخ‌های فلزی گلابتون، از ویژگی‌های برجستۀ این گروه از قالی‌ها به شمار می‌رود. بررسی‌های آسیب‌شناسی نشان داد که اثر دچار آلودگی‌های سطحی، رنگ‌پریدگی، دورنگی، پوسیدگی، پارگی، شکنندگی الیاف ابریشمی و فلزی و کمبود بخش‌هایی از بافت است. همچنین، الیاف فلزی گلابتون کدر و تیره شده و آنالیز SEM-EDS خوردگی‌های سولفیدی و کلریدی را نشان داد که احتمالاً ناشی از شست‌وشوی گذشته و شرایط نامناسب نگهداری بوده است. این یافته‌ها شناخت دقیقی از وضعیت فعلی اثر و ویژگی‌های فنی آن فراهم می‌سازد و جایگاه آن را در میان قالی‌های صفوی روشن‌تر می‌کند.

https://hsi.kashanu.ac.ir/article_115208_7c220e5bdcd1eaf5f106565997f33a53.pdf

دانشگاه کاشان هنرهای صناعی ایران 2645-7504 8 1 2025 08 23 An Analysis of the Spatial Status and Function of the Sangab (Stone Basin) Based on the Works of Selected Authors of History and Geography from the 14th and 15th Centuries AH تحلیل وضعیت مکانی و کارکرد سنگاب براساس آثار برخی از نویسندگان تاریخ و جغرافیای قرون ۱۴ و ۱۵ هجری قمری 89 104 115119 10.22052/hsi.2025.256978.1270 FA جواد آقاجانی کشتلی استادیار، گروه پژوهش هنر، دانشگاه علم و هنر، یزد، ایران (نویسنده مسئول) سمیه امیدواری دانشیار، گروه معماری، دانشگاه علم و هنر، یزد، ایران 0000-0001-9941-5158 محبوبه طایفی نصرآبادی دانش‌آموخته کارشناسی‌ارشد گروه پژوهش هنر، دانشگاه علم و هنر، یزد، ایران Journal Article 2025 06 10 Introduction As tangible cultural heritage, Sangabs (large stone basins) have a special position as well as various material functionsin the cultural sphere. The status and function of these artifacts have always been proportional to the place and space in which they are situated. Although many Sangabs have lost their primary use today and turned into museum objects, an in-depth analysis of historical and geographical texts can reveal their rich functional and conceptual dimensions. This research aims to define the status of Sangabs more precisely as it seeks to discover their functional links by answering these two main questions: where were Sangabs placed? and what were their primary functions? Method This research is descriptive-analytical and theoretical in objective. The data collection method was library based, with information collected aboutSangabsfrom the texts on history and geography written in the fourteenth and the fifteenth centuries AH. The research population consisted of books and treatises indexed in the Nur al-Sirah and Jughrafiya-yiJahan-i Islam collections, from which sixteen volumes were selected. The Sampling waspurposive. Data analysis was conducted using a qualitative method, involving the coding, extraction, and classification of relevant sentences and passages, followed by a content analysis of these materials. Research Findings The findings of this research indicated that Sangabs were present across a wide geographical area in Iranian cities and even beyond, including Isfahan, Shiraz, Mashhad, Qazvin, Esfarayen, Kashan, Herat, Istanbul, Constantinople, and Medina. Structurally, Sangabs are divided into two main categories: the man-made (crafted from stones such as marble, often featuring inscriptions and calligraphy in the Nastaliq script) and the "natural" (rock pools formed at the foot of mountains by natural factors).The spatial location of Sangabswas highly diverse, encompassing both religious and non-religious spaces. Prominent religious sites included mosques, Imamzadehs, holy shrines, churches, Takayas, and Saqqa-khanehs (public water dispensers). The non-religious sites include palaces and mansions, public baths (hammams), schools (madrasas), bazaars, caravanserais, shops (like those of barbers/delaki), and even museums. Within these structures, Sangabs were installed in high-traffic areas such as the entrance vestibule (hasht-ivorudi), courtyard, iwan, portico (revaq), next to pools and in the changing room of baths (sarbineh).The functions of Sangabs also covered a wide spectrum, tailored to their location. The main uses included: water storage for drinking (public water supply), performing ablutions (wudu), washing/cleaning (in baths and for general hygienic purposes), and ceremonial use (such as baptism in churches). Some natural Sangabs also served as small reservoirs along caravan routes or at the foot of mountains. Conclusion The results of this research clearly demonstrate that Sangabs were not merely static stone vessels; rather, they were dynamic elements fully integrated into the daily life, culture, and architecture of their era. The analysis of historical and geographical texts from the fourteenth and fifteenth centuries AH confirmed that these artifacts, with their broad geographical distribution and existence in both natural and man-made forms, met the biological, religious, and social needs of the communities. The diversity of Sangab installation sites, ranging from mosques and holy shrines to palaces and public baths, highlighted their multifaceted role: sometimes a symbol of sanctity next to a religious site and sometimes a purely functional element serving public welfare in an urban space.The discovery of the link between location and function is one of the most important achievements of this research. For instance, the function of ablution in mosques, washing in baths, and religious commemoration in Saqqa-khanehs perfectly illustrates this connection. Furthermore, the presence of beautiful inscriptions and designs on man-made Sangabs, in addition to their utilitarian purpose, emphasized their artistic and spiritual dimensions, transforming them into a cultural-historical legacy. This research, by systematizing the study of Sangabs through written sources, has not only succeeded in reviving the historical memory of these architectural elements but also provides a model for similar studies on other overlooked cultural artifacts. سنگاب‌ها علاوه‌بر کارکرد مادی، در بعد فرهنگی نیز موقعیتی ویژه‌ دارند؛ بسته به مکان و فضایی که در آن قرار می‌گرفته‌اند، جایگاه و کارکردی متناسب با آن فضا را به خود گرفته‌اند. درست است که امروزه سنگاب‌ها کاربرد خود را از دست داده و تبدیل به شیئی موزه‌ای شده‌اند، اما بررسی و تحلیل آن‌ها براساس متون تاریخی و جغرافیایی می‎‌تواند ابعاد کاربردی و مفهومی آن را روشن سازد. این مسئله ضرورت پژوهش را روشن می‌سازد. هدف از این پژوهش دستیابی به موقعیت و کارکرد سنگاب‌ها در مکان‌های مختلف و کشف پیوند و مناسبات کاربردی آن است. بنابراین در این مقاله سعی شده است به دو پرسش پاسخ داده شود: ۱. براساس متون تاریخی و جغرافیایی، سنگاب‌ها در کدام مکان و موقعیت قرار داشتند؟ ۲. کارکرد سنگاب‌ها براساس متون مذکور به چه صورت بوده است؟ روش انجام پژوهش ازنظر ماهیت توصیفی‌تحلیلی است. روش گردآوری اطلاعات، کتابخانه‌ای و ابزار آن شناسه‌برداری از متون نویسندگان حوزۀ تاریخ و جغرافیای قرون ۱۴ و ۱۵ هجری قمری بوده است. منابع مورد بررسی براساس جست‌وجو با مدخل سنگاب به‌عنوان جامعۀ پژوهش و با روش نمونه‌گیری وضعی مورد استفاده قرار گرفته‌اند. روش تجزیه‌وتحلیل اطلاعات کیفی بوده است. نتایج حاصل نشان داده است که در این متون از شهرهایی چون اصفهان، شیراز، مشهد، اسفراین، قزوین، استانبول، قسطنطنیه و مدینه نام برده شده است. سنگاب‌ها در مساجد، کلیساها، بقعه‌ها، قصرها و برای مصارفی چون محل ذخیرۀ آب، آب‌خوری، محل شست‌وشو و وضو مورد استفاده قرار گرفته بوده‌اند.

https://hsi.kashanu.ac.ir/article_115119_af79e8bace2eaa7c4b52b10742f145fe.pdf

دانشگاه کاشان هنرهای صناعی ایران 2645-7504 8 1 2025 08 23 Reading the Embroidery Motifs of BaluchWomen's Clothing from the Perspective of Malinowski's Functionalism خوانش نقوش سوزن‌دوزی پوشاک زنان بلوچ از منظر کارکردگرایی مالینوفسکی 105 126 115276 10.22052/hsi.2025.256844.1261 FA زهرا خزائی دانشجوی کارشناسی ارشد گروه طراحی پارچه و لباس، دانشکده هنر، دانشگاه الزهرا، تهران، ایران (نویسنده مسئول) مریم مونسی سرخه استادیار گروه طراحی پارچه و لباس، دانشکده هنر، دانشگاه الزهرا، تهران، ایران Journal Article 2025 05 23 Introduction Baluchistan is located in the southeast of Iran and divided into two main regions: Sarhad in the north and Makoran in the south; the cities of Iranshahr and Saravan are situated between these two expanses. Baluch embroidery reflects the traditions, beliefs, and worldview of this ethnic group, representing the artistic heritage of Baluch women and girls. From an anthropological perspective, embroidery in Baluch culture is not merely a decorative art; rather, it is a cultural mechanism for the continuation of a collective identity as well as a response to the psychological and social needs of the community. Malinowski’s functionalist theory is precisely based on this foundation. It discusses how every cultural element within a social system has a specific role in maintaining balance, cohesion, and the reproduction of shared values. Embroidery can be seen as the tangible embodiment of Malinowski’s cultural functions that extend from basic biological needs to the deepest layers of the Baluch community’s spiritual cohesion. Beyond its decorative aspect, every motif is the concrete manifestation of the relationship between “institutions,” “needs,” and “functions.” Accordingly, every component of society has an effective function relative to the whole society, and its purpose is to meet human needs. Furthermore, according to Malinowski, every cultural phenomenon has two functional dimensions: a positive function that arises when the cultural element helps maintain the cohesion, stability, and balance of the social system and a negative function that is carried out when the same element causes tension, fragmentation, or disorder in the cultural structure. Identifying these two aspects enables an understanding of the internal dynamics of the culture and the interaction of its components with human needs. Materials and Methods The present study adopted a descriptive-analytic approach, gathering documentary data using electronic sources and note-taking tools. The sampling method was purposive; therefore, out of all the motifs present in Baluch embroidery, 40 motifs were selected. These motifs in terms of semantics, of frequency of use, and structural diversity (geometric, floral, animal, human) represent the most important cultural and aesthetic codes of the Baluch people. This selection was made based on distribution, persistent presence in prominent regional works, capacity for symbolization within Malinowski’s theoretical framework, and their role as a representative sample of the entire region and of the diverseBaluch embroidery styles. The objective of this research was to analyze the motifs of Baluch embroidery based on Malinowski’s functionalist theoretical framework to answer this question: how could the meanings of Baluch embroidery motifs be analyzed from the perspective of Malinowski’s functionalism at the three levels of primary, derivative, and spiritual-cohesive? Results and Findings Malinowski’s functionalism is based on three elements: whole, part, and relationship, with its ultimate goal as the preservation of the stability and continuity of the social system. In his view, humans are need-oriented beings and they create cultural mechanisms in order to meet their needs; these mechanisms are the institutions, each of which have a function in meeting biological, social, and psychological needs. In this context, Baluch embroidery was considered a cultural institution that could be analyzed at Malinowski’s three levels of needs. Level of primary needs explored how artistic motifs were symbolic responses to biological needs, protection, sustenance, and survival. Motifs such as Mērchok (small pepper) with the function of “spice, food enhancement, and hospitality solidarity” demonstrated the direct link between culture and biological needs for nutrition. Another example, Bahār (Spring), symbolizes abundance, freshness, and the hope for food production; in Malinowski’s functionalism, these motifs were instances of the cultural response to the biological needs for nutrition and reproduction. Level of derivative deeds was concerned with social institutions and human relationships. For example, the Borok motif (unopened flower bud), which expressed distance, frustration, and unfulfilled desire, had a function of emotional warning; it mirroreda culture that spoke of failure or separation through the language of symbols so as to control emotions and replace social violence. The Katārok motif (dandelion flower) andPād-e_Nonnok (baby’s foot) were also symbolic responses to social needs; the former announced friendship and the latter signified hope for the future and birth. These motifs referred to the continuity of generations and the reconstruction of family relationships. Their function is also social, not merely aesthetic. Level of spiritual-cohesive needs revolves around meanings, beliefs, and identities. The third level in Malinowski’s theory related to human psychological and spiritual needs; they mirrored how a culture in response to existential anxieties, fears, and questions created a system of symbols and beliefs. In Baluch embroidery, this level was manifested by motifs such as Bahār, Burrok, Hashās, Butteh, Penchpalang(Five Leopards), BālKabūtar (Pigeon Wing), Dentalū, Tā’ūs (Peacock), Cham Āhūg (Fawn’s Eye), Kallasiyahmar (Black Snake Head), Ādinak, Palivār, Rōch-Bar, and Delkash Dast Maras. The Penchpalang motif, implying power, unity, and cooperation, carries a function in maintaining the feeling of security and collective fortitude. In turn, it gives rise to moral and philosophical values. In the functional analysis of Baluch embroidery motifs, every motif not only carries meaning but also possesses a dual function: a positive function and a negative function. The positive function was carried out when the motif reinforced cultural cohesion and psychological and social stability, whereas the negative function expressed tension, anxiety, or cultural disharmony. For instance, the Mērchok motif, meaning small pepper, ultimately results in a positive function due to three principles of needs. In contrast, the Burrok motif (unripe blossom) reflects a failure to meet a biological need and is a sign of social tension; it, thus, has a negative function. Conclusion At the level of primary needs, the link between these motifs and biological and livelihood needs was evident. At the level of derivative needs, the motifs lent weight to ethical rules and collective cooperation; ultimately, at the level of spiritual cohesion, they provided collective tranquility. By highlighting three principles of need in the motifs and their positive functions, this analysis helps interpret the reality of how these symbols actively operate in the process of “cultural self-regulation.” This research intelligently focuses on extracting and explaining the positive function of these motifs because its central goal is to identify the symbolic mechanisms that make Baluch’s social system resilient against environmental fluctuations and internal tensions. Therefore, although the potential for negative or dual function exists, our analytical axis is to prove the constructive and stabilizing function of embroidery in the social structure of Baluch women. All findings are gathered in alignment with Malinowski’s views, and it is acknowledged that motifs in any society have a specific function, and their goal is the exaltation of the society. سوزن‌دوزی، جلوه‌گاهی از قریحۀ هنری، ذوق سلیم و باورهای قومی بانوان بلوچ است. با استناد به دیدگاه کارکردگرایی مالینوفسکی، نهادهای اجتماعی نقشی بنیادین در تأمین نیازهای اساسی جامعه ایفا می‌کنند. هریک از اجزای نظام اجتماعی، کارکردی معین در راستای حفظ و بقای کلیت جامعه دارند. بقای هر نظام اجتماعی، مستلزم سازگاری با سایر نظام‌ها، تداوم حیات در تعامل با آن‌ها و کسب پشتیبانی متقابل است. پژوهش حاضر، با هدف تحلیل نقوش سوزن‌دوزی بلوچ براساس چارچوب نظری کارکردگرایی مالینوفسکی، درصدد پاسخ به این پرسش است که چگونه می‌توان نقوش موجود در سوزن‌دوزی بلوچ را از این منظر تبیین نمود و سازوکارهای عملکردی آن‌ها چگونه است. این پژوهش با رویکردی توصیفی‌تحلیلی، تاریخی و گردآوری داده‌های اسنادی انجام شده است. روش نمونه‌گیری هدفمند بوده و ۴۰ نقش برگزیده شدند که ازنظر معناشناختی، فراوانی کاربرد و تنوع ساختاری (هندسی، گیاهی، حیوانی، انسانی)، نمایانگر مهم‌ترین رمزگان فرهنگی و زیبایی‌شناختی قوم بلوچ هستند. این انتخاب براساس پراکندگی، حضور پایدار در آثار شاخص منطقه، و ظرفیت نمادپردازی و به‌منزلۀ نمونه‌ای نماینده از کل منطقه و تنوع سبک‌های سوزن‌دوزی بلوچ در چارچوب نظری مالینوفسکی انجام گرفت. نوآوری پژوهش در ارائۀ خوانشی کارکردگرایانه از این نقوش است که برای نخستین‌بار سازوکار پیوند میان نمادها، نیازهای فرهنگی و کارکردهای اجتماعی را در چارچوب نظری مالینوفسکی بازتبیین می‌کند. یافته‌ها نشان می‌دهند سوزن‌دوزی به‌عنوان یک عنصر هویتی، از منظر سه اصل نیاز مالینوفسکی شامل نیاز‌های اولیه، اشتقاقی و انسجام‌دهندۀ روحی، واجد کارکردگرایی مثبت است. نقوش دارای معانی خاصی و به‌مثابۀ کارکرد فرهنگیِ چندلایه در نظام اجتماعی زنان بلوچ تفسیر می‌شوند که به‌عنوان «خودتنظیمی فرهنگی» عمل می‌کنند، و هویت قومی را تداوم می‌بخشند.

https://hsi.kashanu.ac.ir/article_115276_7626c93b569022c1431948ccb4d6f2fd.pdf

دانشگاه کاشان هنرهای صناعی ایران 2645-7504 8 1 2025 08 23 An Investigation of the Implications of the Circle Motif in the Decorations of Ilkhanid Buildings واکاوی مفهوم نقش دایره در تزیینات بناهای ایلخانی 127 144 115219 10.22052/hsi.2025.256006.1227 FA قباد کیان مهر استاد، گروه صنایع‌دستی، دانشکده صنایع‌دستی، دانشگاه هنر اصفهان، اصفهان، ایران (نویسنده مسئول) شبنم گلزارمشگی مربی، گروه صنایع‌دستی، دانشکده صنایع‌دستی، دانشگاه هنر اصفهان، اصفهان، ایران Journal Article 2025 01 02 Introduction After the establishment of the Ilkhanid dynasty, the Ilkhan's interest in Iranian culture and art led to the emergence of a new approach in the arts of Iran. Add to this, the influence of the ruling tribe's beliefs and culture on artists. This era witnessed distinctive changes in architecture not only in terms of design and construction but also in decorative elements. Geometric motifs were among the most commonly used motifs in architectural decoration as they had the capacity to create a wide variety of compositions. The circle was among the fundamental geometric motifs that embodied multiple meanings and was closely associated with religions and religious beliefs. In this research, the motif of circle in the architectural decorations of several Ilkhanid monuments, including the tomb of Abd al-Samad Natanzi, the tomb of Seyed Rokn al-Din and Seyed Shams al-Din in Yazd, Oshtorjan Mosque were examined. Based on observations and investigations, this motif was found to appear exclusively in the buildings of this era. Research Method This research deployed a descriptive- analytic method, using library documents and field observations with a semiotic approach. Since Charles Sanders Peirce's classification is best known for elucidating the "different modes of relationship" between a sign and its object, this study used Peirce's tripartite model and separated the concepts of the circle motif and analyzed it. there are three types of signs in Peirce's framework: first includes analogies or icons, which create images of things only through their visual imitation; second refers to indicators or indices that indicate thing through physical connection to them, and third is concerned with symbols or common signs that are linked to meanings through use and a conventional relationship Due to the presence of the circle motif in diverse structures, especially in the doorway of the building, this research aimed to discuss the reasons behind the frequent use of the circle motif in combination with other decorative motifs, and inscriptions. It also aimed to seek its implications as used merely in Ilkhanid buildings, especially tombs and to identify its symbolic meaning and its relationship with the changing religious structure of the Mongol Sultans. This study tried to answer this question: what was the reason for using the circle motif, especially in decorating the doorways of some Ilkhanid building? The initial assumption was that the circle motif was one of the main bases for designing geometric motifs for decoration in the post-Islamic era, including a combination of various religious and cultural meanings. Findings and Results The circle motif, which in some Ilkhanid buildings acquired a delicacy of "Shamseh" had all three referential dimensions of the sign in Peirce's framework. In its visual manifestation, the circle represented celestial bodies, especially the sun and the moon, which were considered God in religious beliefs since the beginning of human civilization. Over time, the sun was recognized as the observing eye of the sky God, and the circle became a symbol of both the sky and the sun. Due to its circular form, which had no beginning or end, the circle became a symbol of the repeatable structure of time and the infinity of the universe. In mystical beliefs such as Buddhism and Islamic Sufism, the cycles of time and life, depicted as the combination of concentric circles, implied the stages of man's journey towards spirituality and ultimate tranquility in the presence of the Creator. These concepts were mixed with the early religious beliefs of the Mongols, namely Shamanism and Buddhism along with Islam and Sufi Ideas later. As a result, symbolic motifs were used in different ways in the decoration of buildings from this period. A motif such as the circle, despite the very old in the history of human culture and art, was used in this period in pair in the doorways of buildings (related to religion and Sufism) or as a dominant motif in the walls and crescents under the doorways. Its usage was in a way that in previous and subsequent periods this kind of combination of the circle motif was not observed in the decoration of buildings. Conclusion The following results, obtained from this research, clarify the special use of circle motif in the doorway and dome chamber of tombs built during the Mongol Ilkhanid era in Iran: The earliest groups of Mongols under the leadership of Genghis Khan practiced shamanistic beliefs and considered Genghis as the embodiment of the sky god. A number of Ilkhanid sultans were Buddhists and considered circles and mandalas as the most important symbolic motifs of Buddhism--reflecting the cycle of life and the hierarchy of achieving spirituality and spiritual ascension. It was figured out that the usage of sun-shaped circle in these buildings was related to the conversion of leading sultans including Ghazan Khan and Oljaitu to Islam, to the presence of the circle in Islamic decorations, to popular Sufism at the time since it was used to decorate the tombs of the elders Sufists and their Khanqahs. In the path of Islamic mysticism and Sufism, the circle was considered the compass point of existence and the unity of presence; hence the special use of this motif in the tombs of Sufi and Shiite Sheikhs was explained. Moreover, the relationship of the circle with the sky and the protective, watchful eye of the God/gods demonstrated a cultural interaction between the early, ancient beliefs of the Mongols and their religious practices after conversion to Islam and Sufism. Finally, the pair of circles used at the entrance of the building was considered a symbol of the spiritual power of the sky and a repellent of the filth and evil, a protector protecting the people of the Khanqah and the soul of the owner of the tomb from evil. در آن زمان که مغولان به سرزمین ایران تاختند، نظامی متفاوت از باورها و اعتقادات را با خود به همراه آوردند. این باورها در ایران و در هم‌نشینی با مکتب‌های گوناگون مذهبی تغییرات پیوسته‌ای یافتند که منجر به روی آوردن سلاطین مغول به ادیان و مذاهب متفاوت شد. پس از استقرار در ایران و ثبات حکومت، این تغییرات پی‌درپی مذهبی، نشانه‌های خود را در سبک‌های هنری به‌ویژه معماری و آرایه‌های آن آشکار کرد. سردرهای بلند، گچ‌بری‌های پرکار، کتیبه‌ها و تزییناتی با نقوش خاص همچون دایره‌های شمسه‌گون در بیشتر آثار معماری این دوره به چشم می‌خورد. وجود نقش‌مایۀ دایره با ساختاری متفاوت به‌ویژه در سردر بنا موجب شد که تمرکز این پژوهش بر دلیل استفادۀ مکرر از نقش‌مایۀ دایره با ترکیبی از سایر نقوش تزیینی و کتیبه و جست‌وجوی مفهوم پنهان در آن که فقط در بناهای ایلخانی و به‌ویژه بقعه‌ها به کار رفته است، قرار گیرد. با توجه به نمادین بودن نقش‌مایۀ دایره در فرهنگ‌ها و باورهای مختلف، همچنین خاستگاه اصلی قوم مغول در آسیای میانه با باورهای شمنی و بودایی و مذاهب گوناگونی که فرمانروایان این سلسله پس از ورود به ایران پیرو آن بودند، بررسی این آرایه به‌منظور شناسایی مفهوم نمادین آن و ارتباطش با ساختار مذهبی متغیر سلاطین مغول هدف این پژوهش قرار گرفته و با به‌کارگیری اسناد کتابخانه‌ای و مشاهدات میدانی با رویکردی نشانه‌شناسانه، به روش توصیفی‌تحلیلی به نگارش درآمده است. درنهایت ترکیبی چندگانه از معانی که رهاورد رشته‌ای از باورهای گوناگون فرهنگی و مذهبی است، حضور پُررنگ نقش‌مایۀ دایره در تزیینات بناهای ایلخانی را روشن می‌سازد. براساس الگوی نشانه‌شناسانۀ پیرس، معنای نقش دایره بر سردر بناهای ایلخانی، ترکیبی از باورهای شمنی، بودایی و صوفیانه است که جلوه‌ای از مفهومی الوهی با تداعی آسمان و خورشید و ایجاد مکانی امن به دور از نیروهای شر را آشکار می‌کند.

https://hsi.kashanu.ac.ir/article_115219_e5df7c553fec1040a1a50dabd9a2f26d.pdf

دانشگاه کاشان هنرهای صناعی ایران 2645-7504 8 1 2025 08 23 The Arabesque Motif and its Evolution in Iranian Art from Antiquity to the Seljuk Period بن‌مایۀ اسلیمی و سیر تکامل آن در هنر ایران از دورۀ باستان تا سلجوقی 145 168 115128 10.22052/hsi.2025.255366.1200 FA محمد متولی استادیار گروه ارتباط تصویری دانشکده هنر، دانشگاه شاهد، تهران، ایران (نویسنده مسئول) خشایار قاضی زاده دانشیار گروه هنر اسلامی دانشکده هنر، دانشگاه شاهد، تهران، ایران 0000-0002-0881-1671 مرتضی افشاری دانشیار گروه هنر اسلامی دانشکده هنر، دانشگاه شاهد، تهران، ایران Journal Article 2024 11 04 Introduction Arabesque (Eslimi), as one of the most significant decorative elements in Iranian and Islamic art, is an abstract, interlaced motif characterized by spiraling, rotating patterns that are grounded in a precise geometric order. Known as Eslimi (derived from “Islam”) and Arabesque (Arab-like), this motif is typically depicted without a clearly defined beginning or end and often organized around a circular axis, conveying symbolic religious concepts such as eternity and the representation of paradise. The origins of Eslimi can be traced back to ancient Iranian art, with its earliest manifestations appearing on ceramic artifacts as early as the 6th millennium B.C. Initially inspired by animal-based forms such as the curved horns of a wild goat and serpentine shapes, it gradually evolved to incorporate vegetal elements, including stems and leaves. During the first millennium B.C., and under the influence of other civilizations, Eslimi acquired a more defined structure, ultimately reaching its peak of development during the Sasanid era. In the Islamic era, it was revitalized through formal and conceptual transformations, integrated with the Kufic script and religious concepts and subsequently secured a distinguished status in manuscript illumination (Tazhib) and ornamental painting (Tash'ir). Research Method This study employs a historical approach and utilizes a descriptive-analytic methodology, primarily relying on documentary and library-based data. The samples were purposefully selected from ceramic and metal artifacts, prioritizing continuity of motifs and formal affinity, as these categories offer the most substantial information due to their abundance, adequate documentation, and suitability for precise formal analysis. The focus on the period from ancient Iran to the end of the Seljuk era was justified by the importance of this temporal span in the formation and consolidation of the Eslimi (Arabesque) motif in Iranian art. The study is structured around two fundamental questions: How can the origins and developmental trajectory of the Eslimi motif, in terms of both form and content, be explained within Iranian art from antiquity to the end of the Seljuk era? What common and distinctive factors characterize the depiction of this motif in both ancient Iranian and Islamic periods? Given the diversity of decorative motifs in the early Islamic era, the analysis was confined to ceramic and metal works. The data were analyzed qualitatively, with a focus on sample examination of visual elements, compositional structures, and symbolic meanings. The findings remained open to revision in light of future archaeological discoveries or newly documented artifacts. Research Findings In Iranian art, the Eslimi motif originated from representational forms but gradually evolved through the processes of abstraction and stylization, ultimately transforming into a fully non-figurative, abstract form. This abstract quality enabled Eslimi to encompass a wide functional range, from a simple ornamentation to complex symbolic expressions, to the underlying geometric framework of entire compositions. In certain instances, it functioned as the foundational geometric structure of pictorial and artistic works. The precise source of the motif’s formative structure could not be determined with certainty. The twisting of the branches and foliage of trees, such as the vine and pine, and plants, including the lotus and the acanthus leaf, constituted a group of vegetal motifs employed in both ancient Iranian and Islamic art, among which the vine appeared to be the most probable source. From another perspective, certain Eslimi patterns could also be interpreted as purely geometric constructs—that is, the products of the artist’s imagination without any direct reference to nature. Furthermore, an animal-based origin for the motif, particularly in relation to the curvature of animal horns, was also a plausible possibility. The spiral form, which revealed the geometric basis of these motifs and was regarded as a sacred configuration in Christian and Islamic art, had a far more ancient lineage in Iranian artistic traditions, predating both religions. This motif, in its altered and developed form, was incorporated into Islamic art, and it was found out that, owing to its association with the word “Islam”, it eventually came to be designated as Eslimi. Moreover, the use of the term “Arabesque” or “Arab-like”, common in foreign sources, is incorrect, as the motif hasd no inherent connection to Arab art. Table 1 summarizes the formative factors and design principles of this motif across two historical periods under study. Table 1: Factors Influencing the Depiction of the Eslimi Motif in Iranian Art from Ancient Iran to the Seljuk Period Factors Pre-Islamic Islamic Mythology Presence in illustrations related to mythological narratives, particularly in representations of the Tree of Life The Tree of Life: employed in the illustration of mythological narratives in the the Shāhnāma Religions Incorporation into funerary and ritual artifacts, reflecting the motif’s religious significance; its deployment in sacred narratives, such as those associated with Mithraic (Mehr-worship) traditions, and the continuity of these sacred concepts into early Islamic visual representations of the Ṭūbā Tree The Ṭūbā Tree: reflecting influences from neighboring religious traditions and the participation of non-Muslim artists in its artistic representation Popular beliefs and religious notions Beliefs in divine blessing (barakah) and fertility, symbolized through animal elements such as the ram and the wild goat as well as vegetal motifs like the wheat stalk, as the symbols of abundance, fertility, and productivity Continuity of ancient Iranian artistic tradition through the incorporation of pre-Islamic animal and vegetal motifs such as the wild goat (ibex) and wheat stalks, and, in some cases, the direct inclusion of the Kufic inscription “barakah” (blessing); vegetal motifs frequently appeared in conjunction with hybrid or fantastical animals, often associated with divination, astrology, and prognostication Other ethnic groups and civilizations Egypt, Assyria, and Greece China From a historical perspective, the origins of the Eslimi motif in Iranian art could be traced back to the 6th millennium B.C. as used on ceramic and metal artifacts. Initially inspired by animal-based forms such as the horns of the wild goat, the motif gradually evolved during the 5th millennium B.C. to incorporate vegetal elements, including stems and leaves. During the Islamic period, the Eslimi motif underwent significant transformation, particularly through its integration with Kufic epigraphic inscriptions, and symbolized concepts such as divine unity (tawḥīd), eternity, and spiritual aspects of religion. Throughout its long history, the motif evolved under the influence of various factors, including mythology, religious traditions, popular beliefs, and intercultural interactions with neighboring civilizations. Consequently, it emerged as a unifying visual element in the Islamic art. The evolutionary trajectory of the Eslimi motif in Iranian art, from antiquity to the early Islamic era, demonstrated that certain decorative forms originating in pre-Islamic Iran persisted, despite the extensive temporal span and religious transformation. This continuity underscored the resilience and the enduring symbolic potency of the motif’s form and content. In the art of Islamic era, the Eslimi motif assumed new configurations through processes such as recomposition, integration, and formal repetition, thereby serving as the generative basis for various ornamental systems, particularly in the arts of manuscript illumination (Tazhib) and ornamental painting (Tash'ir). Conclusion The findings indicated that the primary origin of the Eslimi motif lied in natural and animal-based forms dating back to the 6th millennium B.C. By the 5th millennium B.C., it evolved into a more complex configuration through the integration of vegetal motifs. In the first millennium B.C., under the influence of Egypt, Assyria, and Greek civilizations, the motif acquired a more stabilized structure, ultimately reaching its developmental peak during the Sasanid period. The continuation of this motif into the artistic traditions of the early Islamic period, particularly during the Seljuk era, contributed to the development of manuscript illumination (Tazhib) and ornamental painting (Tash'ir). The integration of Eslimi designs with geometric patterns and circular structures not only generated innovative formal arrangements but also conveyed sacred and metaphysical concepts such as the divine unity of God and the order of creation within Islamic artistic expression. Influential factors such as mythology, religious traditions, popular beliefs, and intercultural interactions with neighboring civilizations, the presence of symbolic elements (e.g., the sacred tree), and theological notions (e.g., eternity and the visualization of paradise), all played a significant role in the emergence and continuity of the motif. Ultimately, the Eslimi motif emerged as a profound symbol of cosmic unity and divine order within Islamic art. نقش اسلیمی، یکی از مهم‌ترین عناصر تزیینی در هنر ایرانی و اسلامی، نقشی تجریدی و درهم‌تنیده است که با الگوهای مارپیچی، چرخان، و مبتنی‌بر هندسه‌ای منظم طراحی می‌شود و به اسلیمی ـ برگرفته از اسلام و اربسک ـ عرب‌وار معروف است. این نقش، که اغلب بدون آغاز و پایان مشخص و بر محور دایره ترسیم می‌شود، حامل مفاهیم نمادین مذهبی همچون جاودانگی و نمایش بهشت است. ریشه‌های اسلیمی به هنر ایران باستان بازمی‌گردد و از هزارۀ ششم پیش از میلاد بر آثار سفالی قابل ‌ردیابی است. این نقش ابتدا با الهام از فرم‌های حیوانی مانند شاخ بز کوهی و مار، و سپس از فرم‌های گیاهی نظیر ساقه و برگ شکل گرفتند. در هزارۀ اول پیش از میلاد، این نقوش تحت‌تأثیر تمدن‌هایی چون مصر، آشور، روم، یونان و ایران، ساختاری مشخص‌تر یافتند و در دورۀ ساسانی به اوج تکامل رسیدند. در دوران اسلامی، اسلیمی با تغییراتی در فرم و محتوا و ترکیب با خطوط کوفی و مفاهیم دینی، دوباره احیا شد و در تذهیب و تشعیر جایگاه ویژه‌ای یافت. این پژوهش با رویکرد تاریخی و به روش توصیفی‌تحلیلی، به بررسی سیر تحول نقش اسلیمی از منظر فرم و محتوا از ایران باستان تا اوایل دورۀ اسلامی می‌پردازد. نتایج نشان می‌دهد که عوامل مؤثری مانند اساطیر، مذاهب، باورهای مردمی، و تأثیر تمدن‌های هم‌جوار، حضور عناصر نمادینی همچون گیاه مقدس و مفاهیم مذهبی مانند جاودانگی و به‌تبع آن نمایش بهشت در پیدایش و استمرار این نقش دخیل بوده‌اند. اسلیمی درنهایت به نمادی از وحدت و نظم جهان در هنر اسلامی بدل شد.

https://hsi.kashanu.ac.ir/article_115128_6b84438d7bc2d019e398bee2bd23ca4b.pdf

دانشگاه کاشان هنرهای صناعی ایران 2645-7504 8 1 2025 08 23 An Intertextual Reading of the Mirza Iskandar’ Reverse-Glass Painting: A Case Study of the Ascension of the Prophet Muhammad (PBUH) خوانش بینامتنی نقاشی پشت شیشۀ «معراج پیامبر اکرم(ص)» منسوب به میرزا اسکندر 169 186 115197 10.22052/hsi.2025.254789.1183 FA مریم فروغی نیا استادیار گروه فرش، دانشکده هنرهای صناعی دانشگاه هنر شیراز، شیراز، ایران، نویسنده مسئول الهه ایمانی استادیار گروه فرش، دانشکده هنرهای صناعی دانشگاه هنر شیراز، شیراز، ایران Journal Article 2024 12 20 Introduction Mi’raj-nāmas are among the most significant categories of illustrated manuscripts in the Islamic world, and over centuries, they have inspired Iranian, Ottoman, and Indian painters. The narrative of the Prophet’s Ascension holds a prominent place in Persian literature in both prose and verse sources—including Nizami’s Khamsa— and conveys themes related to the celestial journey of the Prophet Muhammad (PBUH). This deeply rooted pictorial tradition, which reached its peak during the Safavid era, not only shaped the compositional strategies and narrative methods of Iranian painters but also through cultural exchanges, influenced Mughal art in India and Ottoman illustration. The continuation of these interactions transformed the visual representation of the Mi’raj across Islamic lands into a base of pictorial adaptations and stylistic transformations. Within this context, reverse-glass painting emerged as a new, popular art form that developed through interaction with Iranian folk culture and became a medium for expressing religious beliefs over the past two centuries. Simple but meaningful motifs were inscribed onto glass, and self-taught, non‑academic artists such as Mirza Iskandar established religious iconography in the format of reverse‑glass paintings. Although Mirza Iskandar’s Mi’raj painting shares fundamental features with classic miniatures, they are distinguished with certain innovations in the representation of specific figures and symbolic elements. Materials and Methods The present research is qualitative in method, employing a descriptive–analytic approach and relying on library sources. The research corpus included religious iconography, relevant religious and literary texts, and a selection of Mi’raj paintings from the Safavid to the post‑Qajar eras; the research sample was purposefully selected. This study aimed to provide an intertextual reading of visual elements in Mirza Iskandar’s Mi’raj painting and to answer two main questions: what intertextual relations can be identified between the visual elements of Mirza Iskandar’s Mi’rāj painting and the Mi’rāj iconography found in the earlier and later illustrated traditions? and which nonvisual pre‑texts contributed to the formation of this work? The subsidiary questions focused on identifying the religious themes and beliefs reflected in Mirza Iskandar’s reverse‑glass painting, and the visual strategies employed by the artist to convey these beliefs. Results and Findings The findings indicated that the extra-textual reading of the artwork rested upon four axes: the social context, the author (artist), the subject matter, and the hypertexts. An examination of the social context revealed that the tradition of Mi’raj illustration emerged in the early Islamic period in accordance with religious beliefs, flourished under the Timurid, and reached a symbolic and ritualistic phase during the Safavid era. In the Qajar period, with the spread of the religious beliefs, constitutional transformations, the popularity of lithographic printing, and the spread of Parde‑negārī, a popular style known as khiyālī‑negārī gained prominence, of which reverse‑glass painting was a significant manifestation. From the perspective of authorship, this work of art is attributed to Mirza Iskandar—also known as “Iskandar‑e Sabz”— the student of Shazdeh Afsar and a skilled artist in oil painting and shading techniques. After becoming acquainted with Mirza Abbas Shisheh‑Negar, he turned to the field of reverse‑glass. The establishment of his booth in the Majma’ al‑Sana’i in Tehran played an important role in the flourishing of reverse‑glass painting in the capital. The subject matter was drawn from two Qur’anic chapters, namely Isra’ and Najm and grounded in Islamic and Shi’i narratives. Central elements of the narrative include the Prophet’s Ascension, the witnessing of divine signs, and the symbolic presence of Imam Ali. Within the hypertextual dimension, it became evident that several later images of Mi’raj—especially the work of Mohammad Farahani—were influenced by this painting in terms of composition, color, and scene selection although there were differences in details of illumination, facial features, and arrangement. Regarding intratextual elements, the reverse‑glass oil technique and its inverted execution demonstrated Mirza Iskandar’s technical skill. The spiral composition and upward movement of the narrative directly referenced Timurid and Safavid Mi’raj illustrations. The luminous halo of the Prophet and its symbolic linkage to the lion motif created a symbolic and Shi’i concept. The color scheme featured indigo blue, gold, green, and Qajar brown, and the iconography included the Prophet with a veiled face, Gabriel bearing a vexillum, ten winged angels, and a hybrid depiction of Buraq marked by Iranian, Islamic, and Mughal influences. The twelve figures alluded symbolically to the Twelve Imams. The significance of this investigation lied in its ability to reveal the reciprocal interplay of art and text, thereby offering a deeper understanding of Qajar religious art. Conclusion Mirza Iskandar’s reverse‑glass painting is grounded in a network of Iranian pictorial pre‑texts, the most significant of which was the spiral compositions of Sultan‑Muhammad and the illustrations of the Shiraz Khamsa 915 AH/1509AD. The addition of elements such as peacock wings and tail to the Buraq pattern reflects Mughal influence, while the simplified facial rendering corresponds to Qajar iconography as practiced by Isma’il Jalāyer. The simplification of the scene, the elimination of details, and the emphasis on key visual signs reflect the influence of lithographic printing and large religious curtains. Altogether, the technical constraints of reverse‑glass painting, combined with its deep connections to religious texts and Shi’i narratives, have endowed this work with a distinctive, spiritual character. داستان «لیلة الاسرا» که در قرآن و منابع مختلف دینی به ‌آن اشاره شده، موضوع مورد توجه بسیاری از هنرمندان در دوره‌های مختلف اسلامی بوده است. تابلوی معراج «میرزا اسکندر»، نقاش پشت شیشۀ قرن چهاردهم هجری، یکی از منحصربه‌فردترین نگاره‌های نقاشی پشت ‌شیشه در این زمینه است. به‌رغم شباهت‌های بسیار تصویرگری این تابلو با مینیاتورهای پیشین، نوآوری‌هایی در نمایش برخی شخصیت‌های این تابلو مشاهده می‌گردد که حائز اهمیت است. هدف از این پژوهش، خوانش بینامتنی عناصر تصویری این اثر بوده و پرسش اصلی عبارت است از: رابطۀ بینامتنی عناصر تصویری تابلوی معراج میرزا اسکندر نقاش، با معراج‌نگاره‌های قبل و بعد از آن چگونه است؟ و پیش‌متن‌های غیرتصویری مؤثر در شکل‌گیری این اثر کدام است؟ این قبیل مطالعات در شناسایی تأثیرات متون مذهبی و ادبی بر هنر و بازشناسی هویت فرهنگی حائز اهمیت است و می‌تواند به درک بهتر هنر اواخر دورۀ قاجار کمک نماید. در این پژوهشِ مبتنی‌بر روش توصیفی‌تحلیلی که بر منابع کتابخانه‌ای استوار است، از رویکرد بینامتنی در خوانش ارجاعی عناصر برون‌متن و درون‌متن نگارۀ مذکور استفاده شده است. براساس نتایج به‌‌دست‌آمده، تصویر تابلوی مورد نظر، با متون دینی و تاریخی و بافت اجتماعی اواخر دورۀ قاجار مرتبط بوده و از معراج‌نگاره‌های دورۀ صفویه تا دورۀ قاجار در نسخه‌های خطی و چاپی، پرده‌ها، گچ‌نگاری و کاشی‌کاری‌ها و از بافت و پیش‌متن‌های بینافرهنگی ایران و هند تأثیر بسیار پذیرفته است و خود نیز یکی از پیش‌متن‌های تأثیرگذار بر برخی نقاشی‌های پشت شیشۀ متأخر در این زمینه است. در این اثر، هنرمند با بهره‌گیری از نمادها و مضامین ایرانی، سعی در بازنمایی روایتی از معراج، براساس اعتقادات شیعی داشته است.

https://hsi.kashanu.ac.ir/article_115197_1a3e6e8ee96eac5b28fc224b8dea2120.pdf

دانشگاه کاشان هنرهای صناعی ایران 2645-7504 8 1 2025 08 23 The Study of the Form and Motifs of Mirror-work in the Historical Houses of Tehran in Qajar Era بررسی شکل و نقش در آینه‌کاری خانه‌های تاریخی تهران دورۀ قاجار 187 210 115182 10.22052/hsi.2025.254544.1171 FA نیلوفر ایزدی دانش‌آموخته کارشناسی ارشد، گروه صنایع دستی، دانشکدۀ هنرهای کاربردی، دانشگاه هنر ایران، تهران، ایران علیرضا شیخی دانشیار گروه صنایع دستی، دانشکدۀ هنرهای کاربردی، دانشگاه هنر ایران، تهران، ایران (نویسنده مسئول) Journal Article 2025 04 20 Introduction The peak of mirror-work (Āyeneh-kāri) in Iranian architecture is associated with the Qajar period. Its examples can be observed in palaces, Imamzadehs, and some luxurious houses. In Tehran, a vast area of the Shah-neshin and the hallways of historical houses are adorned with these decorations, reflecting the taste and artistry of the architects and craftsmen of that time. Despite numerous studies on mirror-work (Āyeneh-kāri) in palaces and religious buildings, a systematic analysis of the form and motifs in the mirror work of residential houses in Tehran has been rarely explored. The overall aim of this study is to identify and analyze the formal characteristics and motifs of mirror-work (Āyeneh-kāri) in the historical houses of Tehran during the Qajar era. To this end, samples from ten historical houses in Tehran that incorporate mirror-work (Āyeneh-kāri) in their interior and exterior designs have been selected, aiming to analyze the visual features and motifs used in various spaces of the houses and to provide a comprehensive perspective on the status and diversity of this art in residential architecture. Research Method The method of this study is descriptive-analytic, conducted with the aim of examining the shapes and motifs used in the mirror-work (Āyeneh-kāri) of historical houses in Tehran during the Qajar era. In this context, various types of motifs and geometric structures, decorative arrays, and common patterns in the mirror work of this period were analyzed and classified. Data were collected through library studies, the examination of photographs, archival documents, as well as direct field studies. Sampling was conducted purposefully, and ten historical houses were selected including Vossough, Soltan Begum, Imam Jom'e, Moghadam, Fakhr-al-Moluk, Mirza Shafi, Zorofchi, Timurtash, Masoudiyeh Mansion, and Qavam House (Abgineh). The field method involved photographing historical residential sites from the Qajar period in Tehran and interviewing mirror work craftsmen, both of which played a significant role in the better understanding of the process as well as preserving this art. Research Findings The findings indicate that mirror-work (Āyeneh-kāri) in the historical houses of Tehran during the Qajar period was primarily utilized in the Shah-nishin sections, reception halls, winter rooms (on the northern and western sides), and in some cases, in summer rooms. In the Vossough house, a rare example is observed where the mirror hall is located in the summer section, contributing to temperature regulation along with wind catchers. In the houses of Vossough, Imam Jom'e, Soltan Begum, and Mirza Shafi, the overall mirror decorations were applied to ceilings, walls, and wainscoting, combined with wall paintings and stucco work. A noteworthy point in the Imam Jom'e house was the existence of eastern and western alcoves that, by opening partitions, could transform into a large hall for hosting guests. In contrast, the Masoudiyeh Mansion (Divankhaneh) and the Timurtash house mainly featured mirror decorations on the ceilings of the halls, with less seen on the walls. However, Zorofchi house had the least amount of these decorations. In terms of form, the vase motif was the most diverse and frequently repeated pattern among the samples, executed in forms such as bulbous vases, two-tiered, pedestal vases, jeweled designs, and combinations with side motifs. Following that, toranj, shames motifs as well as arabesque and Khatayi motifs appeared in simple and combined forms. Among the geometric motifs, six-pointed stars, eight-pointed stars, dodecagons, whirls, wicker patterns, and ten-tendril knots had the highest frequency. The motifs of ‘Khorshid Khanom’ were executed in three houses (Moghadam, Fakhr-al-Moluk, and Imam Jom'e) using the reverse glass painting technique, reflecting the connection of mirror-work (Āyeneh-kāri) with the mystical concepts of unity and light. In the realm of specific motifs, the motifs of cups and candlesticks were prominently present in the houses of Mirza Shafi, Vossough, Soltan Begum, and Imam Jom'e, executed in five and seven branches, some of which held special significance due to their association with Jewish symbols. Animal motifs were only seen in a few samples (the house of Soltan Begum and parts of Moghadam and Imam Jom'e) and had the least frequency among decorative patterns. Frame designs were usually executed uniformly around the room, and in Zorofchi house, a one-piece star-shaped frame creates a unique example. Overall, the findings indicated that the mirror-work (Āyeneh-kāri) of Qajar houses possessed a diversity of motifs, structural complexity, and multi-functionality, playing a fundamental role in shaping the visual identity of the space. Conclusion The results have indicated that mirror-work (Āyeneh-kāri) in the historical houses of Tehran during the Qajar period was one of the most prominent decorative elements of residential architecture and served a function beyond mere beautification. These decorations have extended from ceilings and walls down to the floors, with a nearly equal use of plaster and mirror. The combination of wood and mirror has also been beautifully employed. In some of these houses, examples of colored stucco work combined with mirror-work (Āyeneh-kāri) have been observed. In addition to these decorations, paintings beneath and above the mirrors, including floral and bird motifs, animals, and "Khorshid Khanom", have also been evident in the decoration of the houses. The mirror-work (Āyeneh-kāri) of muqarnas has also been added to the decorative ensemble. In terms of motif representation, vase motifs, Arabesque motifs, Khatayi motifs, Shamse motifs, rosettes, and geometric knots have been identified as the dominant decorative system. These motifs, in the form of organized and sometimes complex arrays have reflected the capabilities of Qajar craftsmen in composition, symmetry, rhythm, and visual harmony, skillfully placing geometric and botanical structures together. The diversity of vase motifs and geometric knots has had the most usage, while animal motifs have had the least presence. Additionally, the motifs of "Khorshid Khanom" and candlesticks reflect the connection of mirror work with symbolic concepts of light, purity, guardianship, and sanctity. These motifs and decorative frames not only play a structural and functional role in the interior architecture but also have a significant aesthetic impact on the visual space of the building. The precise combination of geometric shapes, Islamic motifs, flowers, and animal motifs, along with techniques of repetition and mirroring, help create a harmonious and pleasant rhythm in the space. In addition to their visual richness, these decorative elements evoke a sense of elegance, luxury, and harmony in architecture. Furthermore, the play of light and its reflection in the mirror work makes the motifs appear more vibrant and dynamic, adding depth and dimension to the space. هنر آینه‌کاری را می‌توان از آخرین نوآوری‌های هنرمندان ایرانی در حوزۀ معماری داخلی و تزیین بناها دانست. هدف این پژوهش که بر پایۀ روش‌های تحقیق کتابخانه‌ای و مطالعات میدانی انجام شده، بررسی ویژگی‌های شکلی و نقوش به‌کاررفته در تزیینات آینه‌کاری خانه‌های تاریخی تهران در دورۀ قاجار است. در این راستا، پرسش اصلی پژوهش عبارت ‌است از: ویژگی‌های شکلی و نقوش در آینه‌کاری بناهای مسکونی تهران در دورۀ قاجار چیست؟ یافته‌های پژوهش نشان می‌دهد که فضاهای آینه‌کاری‌شده در خانه‌های تاریخی تهران، که عمدتاً در بخش شاه‌نشین قرار داشته‌اند، افزون بر جنبۀ تزیینی، به‌دلیل موقعیت مکانی در بخش زمستان‌نشین خانه (شمال و غرب)، دارای کارکرد کاربردی نیز بوده‌اند. در بخش تابستان‌نشین نیز شاه‌نشین‌ها با کارکرد بادگیر و تبدیل فضا به ایوان، مورد توجه معماران قرار گرفته‌اند. نتیجه بیانگر آن است که در میان نقش‌مایه‌های آینه‌کاری، نقوش هندسی بیشترین و نقوش حیوانی کمترین بسامد را دارند. همچنین در میان اجزای تزیینی، قاب‌بندی‌ها بیشترین فراوانی و عناصر جام و شمعدان کمترین میزان استفاده را به خود اختصاص داده‌اند.

https://hsi.kashanu.ac.ir/article_115182_e6d8f5f1fc6c823315e9637aca46e0ad.pdf

دانشگاه کاشان هنرهای صناعی ایران 2645-7504 8 1 2025 08 23 Recognition of Scientific and Artistic Process of Product Design in Innovations of Al-Jazari with an Emphasis on the Combined Lock بازشناسی فرایند علمی و هنری طراحی محصول در ابداعات جزری با تأکید بر دستگاه «قفل ترکیبی» 211 228 114996 10.22052/hsi.2025.256622.1250 FA محمد خراسانی زاده استادیار گروه هنر اسلامی، دانشکده هنر، دانشگاه شاهد، تهران، ایران (نویسنده مسئول) مهشید مهرگان فر کارشناس‌ارشد طراحی صنعتی، گروه طراحی صنعتی دانشکده هنرهای کاربردی دانشگاه هنر، تهران، ایران Journal Article 2025 04 17 Introduction Badi' al-Zaman al-Jazari was a scientistof sixth century AH (12th century AD). He lived in the Diyarbakir region and illustrated 50 innovative and complementary designs for automated devices in his book. He is known as the father of robotics and a pioneer of mechanical engineering in the golden age of Islam; however a large part of his creativity and innovationsin his designs has been ignored. Examining al-Jazari'sdesign process from the perspective of both mechanical engineering and industrial design reveal new dimensions of this Muslim innovator’s creativity. A look at his designs provides a new understanding of the turning point and development of his evolved style of product design. About 850 years ago, Jazari accomplished the most appropriate product designingin at least fifty devicesthrough a careful combination oftwomajor facets of product designing— i.e. mechanism and creativity. Materials and Methods The method of this research is descriptive-analytic and uses a qualitative approach to examine the process of product designing as carried out by al-Jazari in a combined lock. The method of data collection is the library based and conducted through direct observation and the evaluation of the product. The population under study is the devices designed by Jazari; the combined lock was examined as a specimen. This product was a coded lock that uses the consonance of twelve letters to secure the lid of a special chest and lock it. This lock, which was installed on special chests, could complete the safest storage facilities for protecting documents and treasures. This study focused on the combined lockto analyze it comprehensively. The main question of the research was to explore how the scientific and artistic process of product designing can be evaluated in the invention of the Jazari’s combined lock. Results and Findings What is obtained from the analogy of product design processes in mechanical engineering and industrial design is generally summarized in the field of expertise. Both sciences focus on responding to a need by creating a response. However, the response in mechanical engineer is to design and create a mechanism and system so that a mechanism can be tested. In industrial designer is to design an identity for industrial products. This is done with the aim of creating and enhancing the most effective connection between humans and industrial products. The index of measuring is form, aesthetics, ergonomics, meaning and human values, the degree of effective connection with the user, and the share of success in the commercial market. In this research, al- Jazari’s combined lock was evaluated. Al-Jazari’s had system included a central hub connected to four locks, each of which consisted of three disks. This system had millions of possible states that were practically impossible for someone who did not know the code to decipher it; this feature made a masterpiece of this lock in terms of security equipment. Afterwards,al-Jazari proceeded to build a complete and functional prototype of his device. He, then, provided detailed descriptions of the product and used numerous images to facilitate the understanding of its appearance, structure, components, parts, and intricate mechanisms. These images not only increased the visual appeal of the product but also made it easier for the audience to understand the function and construction of the device. This method of documentation demonstratedal-Jazari’s scientific and engineering approach as well as his special attention to details and knowledge transfer. Conclusion Responding to the need of protecting valuable documents and assets, al-Jazari succeeded in designing a combined lock, offering an extremely safe and secure product. Although this innovation was formed based on the completion of the ideas and achievements of his predecessors, it became a unique work with creative development and personal ingenuity. Henot only ensured the physical security and psychological peace of the owner of the valuable boxes but also paid attention to the aesthetic appeals of the product. The use of forms inspired by nature and plant and animal motifs in the design of the components, the combination of square and circle forms in the mandala pattern that symbolizes the connection between earth and sky as well as the cycle of evolution, and the use of the symbolic number 12 in cryptographic situations are proofs of this precision and elegance. Like any outstanding designer, he has created a systematic and structured product by combining engineering methods, semiotics, and aesthetics, which reflects his deep understanding of the principles of design and engineering. Although he lived about 850 years ago, the process of designing and writing the descriptions and details he covered in his book is similar to the scientific and artistic process of product designing today and has inspired many designers after him. بدیع‌الزمان جزری در اکثر پژوهش‌ها در قامت یک مهندس مکانیک معرفی شده، اما این امر باعث شده توانمندی این طراح و اندیشمند مسلمان در وجه طراحی هنری محصول نادیده انگاشته شود؛ حال‌آنکه بسیاری از ابداعات او، منطبق با فرایند علمی و هنری طراحی محصول، طراحی و ساخته شده‌اند. لذا در این پژوهش، به‌صورت کیفی و با روش توصیفی‌تحلیلی، به تطبیق فرایند طراحی محصول در دستگاه «قفل ترکیبی» از آثار جزری پرداخته شده است. قفل ترکیبی جزری، دستگاه سوم از نوع ششم در کتاب اوست. این محصول، یک قفل رمزدار است که با استفاده از هم‌خوانی دوازده حرف، امنیت درب یک صندوق را تأمین و آن را قفل می‌کند. این قفل که بر روی صندوقچه‌های مخصوصی نصب می‌شد، می‌توانست امن‌ترین مخازن برای حفاظت از اسناد و گنجینه‌ها را تکمیل نماید. سؤال این پژوهش بدین‌ترتیب است که فرایند علمی و هنری طراحی محصول، چگونه در ابداع دستگاه قفل ترکیبی جزری قابل ارزیابی است؟ طبق نتایج این مقاله، با بررسی فرایند طراحی محصول در دستگاه ابداعی جزری و تدقیق و تحلیل دستگاه قفل ترکیبی، حضور یک تفکر طراحانۀ غنی در ذهن مبدع دستگاه بسیار واضح می‌نماید. فرایند طراحی محصول در تکامل‌یافته‌ترین شکل خود که منوط به حضور هر دو وجه متمم مکانیزمی و هویتی (مهندسی مکانیک و طراحی صنعتی) در طراحی است، حضور دارد. جزری نه‌تنها در اصول مهندسی و طراحیِ کارآمدترین مکانیزم برای پاسخ‌گویی به یک نیاز، توانمند بوده، بلکه توأمان به ویژگی‌های خلاقانه و هنری، ارگونومیک، فرهنگی و معناشناسانه در هویت دستگاه‌های ابداعی خود پرداخته و محصولات خود را به مناسب‌ترین شکل ممکن به نمایش گذاشته است.

https://hsi.kashanu.ac.ir/article_114996_45570c1a5e6272673d2a36d04b99dcee.pdf

دانشگاه کاشان هنرهای صناعی ایران 2645-7504 8 1 2025 08 23 An Explanation of Future-Building Factors Influencing the Preservation and Development of Lustre Pottery in Kashan (Based on James Allen Dator's Components) تبیین عوامل آینده‌ساز مؤثر بر حفظ و توسعۀ ظروف سفالین زرین‌فام کاشان (براساس مؤلفه‌های جیمز آلن دیتور) 229 250 115131 10.22052/hsi.2025.256344.1239 FA زهرا امانی دانشجوی دکتری، گروه هنر اسلامی، دانشگاه تربیت مدرس، تهران، ایران مهناز شایسته فر دانشیار، گروه هنر اسلامی، دانشگاه تربیت مدرس، تهران، ایران. نویسنده مسئول ایروان سیا محمدیوسف استادیار،گروه طراحی صنعتی، دانشگاه پوترا، سردانگ، سلانگور، مالزی سحر کوثری استادیار، گروه مطالعات آینده علم و فناوری، مرکز تحقیقات سیاست علمی کشور، تهران، ایران Journal Article 2025 03 29 Introduction Iran is regarded as one of the most important cradles of pottery in the Islamic world. With the advent of Islam and a cultural shift from ostentation toward simplicity, certain functions of costly metal vessels were transferred to ceramics, including lustreware. Among the pottery-producing centers, the city of Kashan attained a distinguished position in the development of lustreware. Accordingly, the present study seeks to explain the factors influencing the preservation and development of Kashan lustreware through a futures-studies approach. Today, this art faces challenges such as the decline in master artisans, limitations in knowledge transmission, shifts in audience preferences, and competition with industrial products. Under such circumstances, futures studies can serve as an effective tool for analyzing the current situation. Dator’s approach, with its focus on the trends, events, images of the future, and actions, provides a framework for understanding possible futures. As an example, the works of Abbas Akbari, selected as an active artist in this technique in the city of Kashan, were examined to analyze the connection between tradition and innovation in the contemporary context. Materials and Methods This qualitative research is applied in terms of its purpose and was conducted using a descriptive–analytic method, with its data collected through documents and observations. The data analysis carried out through a futures‑studies approach. This approach was based on James Allen Dator’s components, which identified trends, events, images, and actions for the purpose of outlining future scenarios. Dator emphasizes the importance of studying the future and believes that people should be prepared to confront various possible futures. Given that the focus of this research was on the city of Kashan, among contemporary artists, the works of an artist active in the production and promotion of lustreware in Kashan were selected for study. This paper seeks to enhance preparedness for shaping desirable futures and aims through examining trends, events, and related images and actions so as to provide appropriate solutions by presenting compatible scenarios. This requires creative thinking and interdisciplinary collaboration so that effective strategies for preserving culture and identity can be offered. Results and Findings The components of Dator in this research include various factors, the most important of which in the trends and events section are as follows: Cultural Factors Religious and ideological influences Symbolism and motifs Intercultural influences Social Factors The emergence of the middle class The reflection of social life Economic Factors Economic constraints Trade and commerce Recession and revival Technological Factors Lustreware technique Use of nanoparticles Innovation in materials In the actions and images section, which follows the previous two components, the scenarios derived from the analysis of factors influencing the preservation and development of Kashan lustreware were presented based on Dator’s components and the identified drivers. a) Continued growth scenario: the growth scenario refers to a future in which existing trends continue without fundamental structural changes, and the system that reliesg on increased production, consumption, and expansion of activities, follows a path of quantitative development. b) Collapse scenario: this scenario depicts a future in which Kashan lustreware will gradually disappear due to the lack of support, declining interest among younger generations, and the competition with industrial products, becoming limited to a museum‑based or obsolete art. c) Transformation or discipline scenario: this scenario encompasses sustainability and standardization, technological innovation, specialized and global markets, institutional support, and international cooperation. In this future, Kashan lustreware is recognized as an authentic, rare, and simultaneously modern and global cultural–artistic product. This art, while preserving its historical roots, attains a stable and valuable position among both specialized and general audiences through innovation and intelligent presence in global markets. This scenario is more desirable than the previous two. Based on Allen Dator’s components, the works of Abbas Akbari illustrated the imitation of past works, innovation in design, and new applications. As mentioned in the text, Alan Caiger‑Smith and Greg Daly both had emphasized the balance between tradition and innovation in Akbari’s works. This balance transgotmed Akbari into a pioneer in the production and promotion of lustreware. In particular, the use of ta’liq script in a visual manner without emphasis on conceptual content demonstrated a modern approach to traditional art that can attract global audiences. Therefore, It can be noted that Kashan lustreware is highly dependent on maintaining a balance between preserving traditional authenticity and embracing modern innovations. The transformation scenario, with its focus on technology, global marketing, and international collaboration, can turn this art into a global brand, while the discipline scenario, with its emphasis on sustainability and specialized markets, prevents its extinction. Conclusion Lustreware is not only an artistic achievement but also a reflection of cultural, social, economic, and technological conditions in Iran. Based on the analyses conducted in this research, it was determined that four major cultural, economic, social, and technological factors are evident in Kashan pottery. The explanation of these four factors based on Dator’s components is presented according to the items shown in Table (1). Table 1: Explanation of the factors of Dator on Kashan's Lustre Pottery Cultural Economic Technological Social Dimension Disinterest in silver and gold objects; increased interest in pottery with diverse and authentic Iranian forms and patterns The expensiveness of gold and silver utensils and tendency to cheaper utensils, the growth of online markets; increasing demand for luxury products Improved glazing methods; Using digital design The entry of Chinese products and responding to European tastes; Excessive import of cheap, high-quality products; Reduced craftsmen; Enhanced participation of women and youth Trend Global registration of the Iranian Lustre Pottery technique with UNESCO; holding international exhibitions Reducing export restrictions; holding local festivals; Providing bank’s loans Creating a dedicated online platform; Using advanced kilns Holding academic training courses; Reverse migration of youth Event Collaborating with museums; holding the Lustre Pottery festival Forming cooperatives; branding using exquisite packaging; increasing national income Establishing a glaze laboratory; Using 3D printing of molds Educating the new generation; holding media campaigns; attracting tourists Action Re-promoting theLustre Pottery art as a symbol of Iranian identity Private sector investment and branding of small workshops Producing new utensils using nanotechnology, smart kilns with precise temperature control, and digital design of traditional motifs, using 3D scanning to reconstruct historical Lustre Pottery works Creating Kashan’s pottery production technology park, continuing pottery production in small workshops Vision Based on this, some strategies for the development of Kashan lusterware pottery are presented in Table (2). Table 2: Proposed actions for the development and preservation of Kashan lusterware Descriptions Example Factors Actions Redesigning traditional motifs such as: Arabesque and Khatai (floral) with modern use Producing creative utensils in Kashan’s workshops (such as Abbas Akbari's works) Cultural: Maintaining identity Social: Increasing society's tendency to identity-based products Economic: Luxury goods market Technological: Design software Reviving original motifs and forms with a contemporary approach Improving the quality of glazing and firing with modern kilns Specialized research on Lustre Pottery glaze Cultural: Maintaining authenticity Social: Promoting public awareness of traditional arts Economic: Reducing costs Technological: Using advanced kilns Developing technology for glaze production and firing kilns Holding workshops and training courses for the new generation Holding Lustre Pottery technique workshops in Kashan Cultural: Cultural transmission Social: Enhancing community participation in learning and revitalizing indigenous arts Economic: Job creation Technology: Digital education Teaching and promoting pottery skills Offering products on online platforms and in international exhibitions Selling Lustre Pottery dishes as elegant corporate gifts Cultural: Introducing the Iranian art Social: Increasing public demand for authentic artistic products Economic: Increasing exports Technology: Online sales Marketing and Branding Designing applied utensils and dishes inspired by historical forms Using hunting ground-decorated table services in traditional restaurants Cultural: Adapting to modern needs Social: Promoting the daily use of traditional art in lifestyle Economic: Increasing sales Technology: Molding Manufacturing applied utensils with traditional forms Reproducing historical utensils and dishes with the support of cultural institutions Reconstructing and replicating Kashan’s Lustre Pottery utensils and dishes Cultural: Enhancing public awareness Social: Strengthening the sense of social belonging to cultural heritage Economic: Attracting capital Technology: 3D scanning Collaborating with museums and cultural centers The case study of this research, the lusterware works of Abbas Akbari, as one of the most prominent contemporary productions, demonstrates that this historical technique still possesses a high capacity for continuity, growth, and innovation. The creative re-creation of past motifs and forms, alongside the efforts of this artist and other practitioners active in this field to teach and introduce lusterware at the national and international levels, attests to the possibility of a dynamic and meaningful promotion of this art. The identified factors—strengthening educational infrastructures, utilizing modern technologies, developing digital marketing, and institutional support—can outline a sustainable path for the future of Kashan lusterware. Although the future is always accompanied by uncertainty, by reliance on historical experiences, the analysis of current trends enables the provision of effective strategies for safeguarding and developing the rich Iranian cultural heritage. با ورود اسلام، فرهنگ ایرانی از تجمل‌گرایی به ساده‌گرایی تغییر کرد؛ این تحول موجب توجه بیشتر به هنر سفالگری شد. این هنر با گذشت زمان از سادگی به اوج زیبایی به‌ویژه در تولید ظروف زرین‌فام رسید. در میان مراکز تولید زرین‌فام، شهر کاشان اهمیت ویژه‌ای داشته است. هدف پژوهش حاضر بررسی سفال زرین‌فام و ارائۀ راهکارهای مناسب برای حفظ و توسعۀ آن است. این پژوهش در پی این سؤال است که چه عواملی بر حفظ و توسعۀ ظروف سفالی زرین‌فام کاشان دخیل هستند؟ برای پاسخ به آن، از مؤلفه‌های جیمز آلن دیتور که مطالعاتش از آینده را درهم‌کنش چهار مؤلفۀ رویداد، روند، تصاویر و اقدام‌ها می‌داند، استفاده می‌شود. روش پژوهش توصیفی‌تحلیلی و شیوۀ جمع‌آوری اطلاعات به‌صورت کتابخانه‌ای است. یافته‌ها نشان می‌دهد تکنیک زرین‌فام که نخستین نمونه‌های کاربرد آن به سدۀ سوم هجری بازمی‌گردد، در پرتو خلاقیت و نوآوری سفالگران ایرانی در سده‌های میانه به اوج شکوفایی رسیده و با فرازوفرودهایی تا دوره‌های متأخر استمرار یافته است. بررسی آثار معاصر، به‌ویژه نمونه‌های از آثار عباس اکبری در کاشان، بیانگر تداوم آگاهانۀ سنت همراه با بازنگری در فرم و نقش و تلاش برای سازگاری با نیازهای مخاطب امروز است. براساس تحلیل مؤلفه‌های آینده، سه سناریوی «ادامۀ رشد»، «فروپاشی» و «رشته‌ای/تحولی» برای آیندۀ سفال زرین‌فام کاشان ترسیم شد که در میان آن‌ها، سناریوی رشته‌ای به‌سبب تأکید بر تلفیق حفظ تکنیک، نوآوری، برندسازی و حمایت نهادی، مطلوب‌تر ارزیابی شد. نتیجۀ پژوهش نشان می‌دهد که حفظ و ارتقای زرین‌فام مستلزم توانمندسازی هنرمندان، تقویت زیرساخت‌های آموزشی و حمایتی، و نوآوری در طراحی فرم و نقش است؛ به‌گونه‌ای که این هنر–صنعت بتواند در عرصه‌های فرهنگی، اقتصادی، اجتماعی و فناورانه به حیات پویا و پایدار خود ادامه دهد.

https://hsi.kashanu.ac.ir/article_115131_3dfd67cfd63164e5a599a8a677da7868.pdf