Journal of Applied Arts
Year:2023 | Volume:3 | Issue:1|Papers Count:6

Despite being less known, Markazi province is one of the regions with ancient wooden works. A large number of wooden works from different Islamic centuries have been identified in this province, which mainly include wooden chests from the Safavid period. Today, these chests are sometimes kept inside some imamzadehs of the province, due to various reasons, direct access to some of them is not possible or they have been destroyed to a large extent. Therefore, it was necessary to investigate and study them in independent research before further destruction of these works or their disappearance. In this connection, it should be mentioned that no independent research has been done on these funds so far. The main goal of the current research is to investigate and study the wooden chests of the Safavid period in Markazi province. The nature of the current research is fundamental and it is done in a descriptive-analytical way based on field and library studies. By conducting this research, 20 wooden chests belonging to the Safavid period were identified, which mainly belong to the reign of Shah Tahmasab. In these boxes, various decorative methods were identified, which sometimes have a local style. These works were made in some settlement centers of the province such as Kasowa and mainly Jafari Shia religious rites were written on them. By conducting this research, 20 wooden chests belonging to the Safavid period were identified, which mainly belong to the reign of Shah Tahmasab. In these boxes, various decorative methods were identified, which sometimes have a local style. These works were made in some settlement centers of the province such as Kasowa and mainly Jafari Shia religious rites were written on them. By conducting this research, 20 wooden chests belonging to the Safavid period were identified, which mainly belong to the reign of Shah Tahmasab. In these boxes, various decorative methods were identified, which sometimes have a local style.

After the burial of Imam Reza (PBUH) in Sanabad at Noghan during the third century AH, the development of the holy shrine of Razavi began. The tomb became a center for the formation of the city of Mashhad near ancient Tus. During the later centuries, rulers and governors supported the development of the holy shrine and its architectural ornaments. The questions in the article are: What was the relationship between the architecture of the holy shrine and the political and religious legitimacy of the sultans? In other words, how are the discourses of the legitimacy of the Islamic rulers, including political and religious legitimacy, manifested in the architecture and ornaments of Astan-e Quds-e Razavi? Two purposes have been pursued in this paper. The first is to explain the position and importance of Imam Reza (PBUH) and his guardianship among the Shiite and Sunni kings of Iran. The second one is to show the influence of Astan-e Quds-e Razavi on the legitimacy of the governments. Therefore, the process of building formation was studied. Then the role of Sunni and Shiite rulers was analyzed in the development of the shrine, and it was explained that they appealed to Astan-e Quds to gain legitimacy. The results show that in the discourse of the political and religious legitimacy of Islamic rulers, the personality of Imam Reza (PBUH) and his tomb in Khorasan had a central position. Therefore, the development of architecture and its ornaments was considered as a tool and method for gaining legitimacy. In this way, in addition to the Shiite sultans, some of the most fanatical Sunni sultans were also aware of the legitimacy of the Imam's rule in the eyes of the people, and they built or renovated the buildings of the holy shrine and decorated it with architectural ornaments in order to gain political and religious legitimacy and to guarantee their rule.

Pottery of the Qajar era, unlike the architecture and tile work of this era, has been less studied by archaeologists and researchers of the art history of the Qajar era, and our information about pottery of the Qajar era is very limited compared to other periods of Islamic art history. Although some travelogues of this era refer to some pottery production centers in Iran, there is still no comprehensive information on pottery techniques and innovations in this era, as well as the main production and distribution centers of pottery in Iran during the Qajar era. During the renovation and restoration of the historical Ettehadieh complex in Tehran’s Lalehzar neighborhood, which was carried out in 2006 , a large volume of pottery from the middle of the Qajar era, especially the Naseri era (1264-1313 AH), was found and examined and classified in this research. Based on the data obtained, this research aims to answer what were the decorative features and pottery forms of pottery produced in Tehran in the second half of the Qajar era, and which group of pottery species and decorative patterns were repeated more in this pottery collection. As a result of this study, a wide range of glazes, decorative techniques, and pottery forms were identified, which are mentioned in the text of the article.Pottery of the Qajar era, unlike the architecture and tile work of this era, has been less studied by archaeologists and researchers of the art history of the Qajar era, and our information about pottery of the Qajar era is very limited compared to other periods of Islamic art history. Although some travelogues of this era refer to some pottery production centers in Iran, there is still no comprehensive information on pottery techniques and innovations in this era, as well as the main production and distribution centers of pottery in Iran during the Qajar era. During the renovation and restoration of the historical Ettehadieh complex in Tehran’s Lalehzar neighborhood, which was carried out in 2006 , a large volume of pottery from the middle of the Qajar era, especially the Naseri era (1264-1313 AH), was found and examined and classified in this research. Based on the data obtained, this research aims to answer what were the decorative features and pottery forms of pottery produced in Tehran in the second half of the Qajar era, and which group of pottery species and decorative patterns were repeated more in this pottery collection. As a result of this study, a wide range of glazes, decorative techniques, and pottery forms were identified, which are mentioned in the text of the article.

Human beings have been encountered with different kind of disabilities, inabilities, and restrictions. According to increase of population and urbanism, urban disability is one of the most challenging issues. Disabled city is a kind of city which is not proper for all the people in society and people could not be able to avail themselves of pathways, transportation, facilities and other things. In fact, the most crucial part of this problem is due to city and urban management. According to the World Health Organization and the World Bank, 15% of the world’s population live with some type of impairment or disability and according to predictions, almost one billion of urban will have had disabled dwellers by 2050 that 80 percent of them would live in developing countries and if we do not think about providing the desired urban life for these people from now on, we will increase the disability and inefficiency of cities and we will move away from urban justice. The purpose of this study is to identify and verify the indicators of measuring disability in the city and assess the disability of all neighborhoods of Semnan, which is considered with the assumption of more disability in the surrounding areas and less disability in the middle neighborhoods. The method of this research is descriptive-analytical. The required information was collected through documentary-library sources and questionnaire tools so that first by studying the available documents, the quality of urban life indicators of people with disabilities were extracted from various sources, then, the required information of different neighborhoods of the case study was collected through questionnaires distributed among people with disabilities. Then, this information was entered into SPSS software, which led to 6 factors to measure the degree of disability in the city. Moreover, the factors which led to the weakness of the neighborhood were identified. There are the factors which improve urban management in order to bring weakness into light and try to reduce and weaken them. Moreover, the neighborhoods need to be paid more attention, were shown as a map and the suggestions were made to reduce the disabilities of the cities.

Bastam great mosque, a short distance from the Bayazid Bastami complex, is one of the oldest mosques in Iran. The history of the mosque goes back to the beginning of Islam. There are many inscriptions and various motifs and decorations around the Mihrab and the wall of Qible in the mosque, which are essential artistically, historically, politically, culturally, ritually, and socially. most of the current decorations and inscriptions belong to the Ilkhanid period. The purpose of this research is to determine the age of the inscriptions of this building and also to clarify the type of lines used as well as the themes in them and also to determine the artists, patrons, and those who were involved in the construction of this building. The results of this research, which is descriptive and analytical, and its data were collected in the form of library studies and field surveys, indicate that most of these inscriptions belong to the Ilkhanid era. Also, the substantial role of different cultural, religious, and mystical people, as well as political and artistic people in the construction of the artworks in this mosque, as well as the variety of decorations and lines, are other results of this research.field surveys, indicate that most of these inscriptions belong to the Ilkhanid era. Also, the substantial role of different cultural, religious, and mystical people, as well as political and artistic people in the construction of the artworks in this mosque, as well as the variety of decorations and lines, are other results of this research.field surveys, indicate that most of these inscriptions belong to the Ilkhanid era. Also, the substantial role of different cultural, religious, and mystical people, as well as political and artistic people in the construction of the artworks in this mosque, as well as the variety of decorations and lines, are other results of this research.

تذهیب از هنرهای تزئینی ایرانی- اسلامی است که در نسخه های ادوار مختلف قابل مشاهده است و هنرمندان آثار نفیس قابل توجهی در این زمینه خلق کرده اند. دوره صفوی و قاجار هر کدام به فراخور شرایط زمانه و تاریخی خاص خود، بستری را برای پیشرفت هنرتذهیب فراهم نمودند و بدین ترتیب بررسی و ارزش گذاری ویژگی های سبکی آثار هر دوره و حجم تولید آنها قابل توجه می نماید. در این راستا، ابتدا تصاویری از کُتب خطی مذهب موجود در موزه ها(موزه ملی ملک، مجلس شورای اسلامی و موزه رضا عباسی و هنرهای تزیینی اصفهان)و نمونه های چاپیِ در دسترس انتخاب گردید و از نظر نقشمایه های تزئینی، ترکیب بندی و چگونگی کاربست آنها در تزیینات متن، سرلوح و حواشی مورد بررسی قرار گرفت. همچنین ویژگی های کلی سبک تذهیب کتب در دوره صفوی و قاجاریه مورد تحلیل و مقایسه قرار گرفتند. در دوره صفوی به دلیل حمایت مالی و نیز معنوی، شاه، بزرگان و اشراف، تولید آثار تذهیب در شمارگان بالا و در نهایت ظرافت و زیبایی انجام پذیرفته است. در اواخر دوره صفویه به دلیل کاهش حمایت دربار خلق آثار تک برگی رواج پیدا می کند. در اوایل دوره قاجار تذهیب نسخه ها از اصول تذهیب نظایرشان در دوره صفوی پیروی نمود و به مرور زمان با تأثیر از شرایط زمانه خود، ویژگی هایی بصری و فنی ویژه ای نظیر رواج روحیه اشرافی گری در جامعه، استفاده بسیار از رنگ طلا و تکنیک مُرصع را در تذهیب به دنبال داشت. شیوه پژوهش تحلیلی-توصیفی و روش گردآوری اطلاعات متنی و تصویری اسنادی است. برای هنینزد منسیتزمس مسم سیتب سنیت م سمیت میزت م یت س یت سییمسنز سکیکمت سمی سمنیرت سمنیتر مسنیتر سرت سمین تسمنیت رسمیار مسنیتر سناریس یرسیمتر سنت یرمست یرمنس یمست یتس نیتسیمستی منسیت منزسی نمزت سینرسیمر نسی رنمس یرنمستبدمیسنتزمسنزتمسنتیرمنستیر منستی زمنسیت زنتسیمنزتسمنیزتمسنیتزمنسیت زمنسیت زمنستیزمنت یسمنزت سینز سیتمنستز نمسیتزمسنیتز