Semnan UniversityJournal of Applied Arts2252-02606120260321Analyzing the Form and Content of the Metropolitan Museum’s Safavid Metal CandlesticksAnalyzing the Form and Content of the Metropolitan Museum’s Safavid Metal Candlesticks5231018010.22075/aaj.2025.35771.1309FAAkramMohammadizadehAssistant Professor, Metal Group, Islamic Art Faculty, Tabriz Islamic Art University, Tabriz, Iran.0000-0001-9847-3794NeginRasouliniaMaster’s Degree Graduate, Metal Group, Islamic Art Faculty, Tabriz Islamic Art University, Tabriz, Iran.Journal Article20241030Metalworking was one of the most important artistic achievements of the Safavid period, and the change of the country's official religion to Shiite Islam, the attempt to establish a national government, and the approach of the Safavid kings to expand relations with Europe and the migration of Armenians to Iran had a great impact on the works created during this period, so that these events can be seen on the metal works created. One of the most important metal works of this period are candlesticks, which enjoy considerable fame in the field of Islamic arts in terms of form and decoration. The candlesticks of this period were often cylindrical in shape with a wide base and an upper edge curved outwards, which have no resemblance to the candlesticks of previous periods. These cylindrical candlesticks were made of brass alloy and had different designs from the designs common on previous candlesticks. The main question of this research is: What are the formal, decorative, and content characteristics of these candlesticks? The aim of this research is to introduce, examine, and analyze the form and content of 5 Safavid candlesticks preserved in the Metropolitan Museum from an aesthetic perspective. The present research is applied in terms of purpose and descriptive-analytical in terms of research method. The method of data collection is also library and search in the Metropolitan Museum, where 5 samples were selected and examined in a purposeful manner. Data analysis was conducted using a qualitative method. The results show that the decorative themes are in the form of Persian poetry inscriptions along with plant motifs, which in one case used animal motifs of lion, leopard, fox, antelope and rabbit.Metalworking was one of the most important artistic achievements of the Safavid period, and the change of the country's official religion to Shiite Islam, the attempt to establish a national government, and the approach of the Safavid kings to expand relations with Europe and the migration of Armenians to Iran had a great impact on the works created during this period, so that these events can be seen on the metal works created. One of the most important metal works of this period are candlesticks, which enjoy considerable fame in the field of Islamic arts in terms of form and decoration. The candlesticks of this period were often cylindrical in shape with a wide base and an upper edge curved outwards, which have no resemblance to the candlesticks of previous periods. These cylindrical candlesticks were made of brass alloy and had different designs from the designs common on previous candlesticks. The main question of this research is: What are the formal, decorative, and content characteristics of these candlesticks? The aim of this research is to introduce, examine, and analyze the form and content of 5 Safavid candlesticks preserved in the Metropolitan Museum from an aesthetic perspective. The present research is applied in terms of purpose and descriptive-analytical in terms of research method. The method of data collection is also library and search in the Metropolitan Museum, where 5 samples were selected and examined in a purposeful manner. Data analysis was conducted using a qualitative method. The results show that the decorative themes are in the form of Persian poetry inscriptions along with plant motifs, which in one case used animal motifs of lion, leopard, fox, antelope and rabbit.https://aaj.semnan.ac.ir/article_10180_351fc0556fa862996b00de021be48938.pdfSemnan UniversityJournal of Applied Arts2252-02606120260321Child-Friendly City and Sustainable Urban DevelopmentChild-Friendly City and Sustainable Urban Development25411066510.22075/aaj.2022.24959.1118FASaeidMoghimiAssistant Professor, Department of Architectural Engineering, Faculty of Art, Architecture and Urban Planning, Semnan University, Semnan, Iran.0000-0003-3757-8095AlirezaMolaeiPh.D. Students, Department of Urban Planning Engineering, Faculty of Art and Architecture, Bu-Ali Sina University, Hamadan, Iran.FatemehAzizpourLecturer, Department of Educational Sciences, Alzahra Campus Semnan, Farhangian University, Tehran, Iran.Journal Article20211020Sustainable development and child-friendly cities are topics that have come to the attention of researchers in recent decades. A sustainable city is a city that has such an economy that not only has the least adverse effect on the environment, but also pays attention to the physical aspects of the city, ie the optimal future development of the city, and in terms of uses with coordination and Act coherently and put citizen participation on the agenda. A child-friendly city supports children; It provides them with special places, celebrations and ceremonies, it is joyful for them and it welcomes them in public spaces and urban environments. Children in a child-friendly city should have the right to be treated like other citizens; Participate, be seen and heard like them in decisions; Like them, to enjoy the facilities appropriate to their needs, to have sufficient security, and in general, the quality of life of children in a child-friendly city is much higher than other citiesژو. The research method of this research is descriptive-analytical and the required data has been collected through documentary-library sources. The research questions of the present study are as follows: What are the indicators of sustainable urban development? What are the indicators of a child-friendly city? What is the relationship between a child-friendly city and sustainable urban development, and what are the aligned (common) indicators between these two concepts? First, the indicators of sustainable urban development and child-friendly city were extracted from different sources, then the common indicators between these two topics were determined. Indicators that can be considered in the priority of urban management to facilitate and accelerate the achievement of a child-friendly city and sustainable urban development. Participation, social interactions, safety and security, attention to children with disabilities, good management and governance, justice, transportation (appropriate public transportation and especially proper pedestrian and bicycle paths), cultural indicators, environmental issues ( Living in a healthy and pollution-free environment), green and natural spaces and parks, leisure (existence of public open spaces with various activities, creating and designing recreational and entertainment environments for children), accessing and receiving services Basic (housing and infrastructure indicators, health, educational facilities, etc.).Sustainable development and child-friendly cities are topics that have come to the attention of researchers in recent decades. A sustainable city is a city that has such an economy that not only has the least adverse effect on the environment, but also pays attention to the physical aspects of the city, ie the optimal future development of the city, and in terms of uses with coordination and Act coherently and put citizen participation on the agenda. A child-friendly city supports children; It provides them with special places, celebrations and ceremonies, it is joyful for them and it welcomes them in public spaces and urban environments. Children in a child-friendly city should have the right to be treated like other citizens; Participate, be seen and heard like them in decisions; Like them, to enjoy the facilities appropriate to their needs, to have sufficient security, and in general, the quality of life of children in a child-friendly city is much higher than other citiesژو. The research method of this research is descriptive-analytical and the required data has been collected through documentary-library sources. The research questions of the present study are as follows: What are the indicators of sustainable urban development? What are the indicators of a child-friendly city? What is the relationship between a child-friendly city and sustainable urban development, and what are the aligned (common) indicators between these two concepts? First, the indicators of sustainable urban development and child-friendly city were extracted from different sources, then the common indicators between these two topics were determined. Indicators that can be considered in the priority of urban management to facilitate and accelerate the achievement of a child-friendly city and sustainable urban development. Participation, social interactions, safety and security, attention to children with disabilities, good management and governance, justice, transportation (appropriate public transportation and especially proper pedestrian and bicycle paths), cultural indicators, environmental issues ( Living in a healthy and pollution-free environment), green and natural spaces and parks, leisure (existence of public open spaces with various activities, creating and designing recreational and entertainment environments for children), accessing and receiving services Basic (housing and infrastructure indicators, health, educational facilities, etc.).https://aaj.semnan.ac.ir/article_10665_0ca1f77ae3d4c1edb682917b5d731118.pdfSemnan UniversityJournal of Applied Arts2252-02606120260321Genealogy, History, and Decorations of the RahlGenealogy, History, and Decorations of the Rahl43561001610.22075/aaj.2025.34972.1284FAAlirezaSheikhiAssociate Professor, Department of Handicrafts, Faculty of Applied Arts, Iran University of Art, Tehran, Iran.AzarFarahbodMaster’s Degree Graduate, Department of Handicrafts, Faculty of Applied Arts, Iran University of Art, Tehran, Iran.Journal Article20240809Rahl is a wooden object that has been used to keep the Quran and respect the word of God since the past until now. This object has been decorated by artists to make it valuable and proud, due to the sanctity of the Qur'an book in historical periods, with various arts that are a subset of wood arts, such as engraving, embossing, sealing, and painting. And various forms, especially in the foundations, have added to the beauty of the Rahls.In the decorations of Rahl, all kinds of plant, animal, and geometric motifs are also decorated with inscriptions in some of them. All the motifs used in the decorations of Rahal by the artists were taken from Iranian beliefs, beliefs and culture. The genealogy of Rahl and its evolution is the goal of this article and It seeks to answer the question, what is the background of Rahl and what is its name? The research method is fundamental and descriptive-analytical, and information collection is by library method. The findings show that due to Quran recitation and its teaching in schools and libraries, the need for a light and portable object was felt. Muslim Iranians solved this need by building Rahal which due to the change in the way of sitting for taking and reciting the Qur'an, the fatigue of the neck and back was reduced to a certain extent. With the passage of time, Rahls found various forms and motifs. The shape of Rahl is X-shaped from the front and square or rectangular from the sides. The base of Rahl comes in shapes such as toranji, mihrabi, crescent, semi-circle and according to the taste of the manufacturer or the customer, it has come to the desired shape. In this article, the raised issue will be discussed and in the future, more aspects of Rahl can be examined. No significant changes can be seen in Rahl's general form from the past until now. Decorations used in Rahl according to the period in which it was made, the decoration of the same period is used in Rahl.Rahl is a wooden object that has been used to keep the Quran and respect the word of God since the past until now. This object has been decorated by artists to make it valuable and proud, due to the sanctity of the Qur'an book in historical periods, with various arts that are a subset of wood arts, such as engraving, embossing, sealing, and painting. And various forms, especially in the foundations, have added to the beauty of the Rahls.In the decorations of Rahl, all kinds of plant, animal, and geometric motifs are also decorated with inscriptions in some of them. All the motifs used in the decorations of Rahal by the artists were taken from Iranian beliefs, beliefs and culture. The genealogy of Rahl and its evolution is the goal of this article and It seeks to answer the question, what is the background of Rahl and what is its name? The research method is fundamental and descriptive-analytical, and information collection is by library method. The findings show that due to Quran recitation and its teaching in schools and libraries, the need for a light and portable object was felt. Muslim Iranians solved this need by building Rahal which due to the change in the way of sitting for taking and reciting the Qur'an, the fatigue of the neck and back was reduced to a certain extent. With the passage of time, Rahls found various forms and motifs. The shape of Rahl is X-shaped from the front and square or rectangular from the sides. The base of Rahl comes in shapes such as toranji, mihrabi, crescent, semi-circle and according to the taste of the manufacturer or the customer, it has come to the desired shape. In this article, the raised issue will be discussed and in the future, more aspects of Rahl can be examined. No significant changes can be seen in Rahl's general form from the past until now. Decorations used in Rahl according to the period in which it was made, the decoration of the same period is used in Rahl.https://aaj.semnan.ac.ir/article_10016_3984d23b07bdcfeed2a4d398f0e84663.pdfSemnan UniversityJournal of Applied Arts2252-02606120260321A Comparative Study of the Form of Traditional Clothing of Women of the Bakhtiari and Qashqai TribesA Comparative Study of the Form of Traditional Clothing of Women of the Bakhtiari and Qashqai Tribes57721036010.22075/aaj.2025.35781.1310FAShokofaheSatyarvandMaster’s Student, Department of Art Research, Faculty of Art, Shahed University, Tehran, Iran.MohsenMarasyAssistant Professor, Art Research Department, Faculty of Art, Shahed University, Tehran, Iran.Journal Article20241101The history of the significance of clothing dates back to the formation of human societies. When individuals began to wear clothes for protection, the form of clothing changed and evolved over time due to social, cultural, and geographical factors. As a result, each ethnic group developed its own unique form of clothing, which became a representation of their cultural beliefs, customs, and identity. Two of the most prominent Iranian ethnic groups are the Bakhtiari and Qashqai. Therefore, the purpose of this research is to identify the formal components of traditional clothing for Bakhtiari women and then compare them with the characteristics of the traditional clothing of Qashqai women, in order to find their similarities and differences and ultimately, to develop a theoretical understanding of the traditional clothing of Iranian ethnic groups. The research questions are: What are the similarities and differences in the formal clothing of Bakhtiari and Qashqai women? What are the reasons and aspects of the similarities and differences in the traditional clothing forms of Bakhtiari and Qashqai women? What are the advantages of the traditional clothing form of Bakhtiari women compared to that of Qashqai women? The comparative research method is a qualitative method with a text-to-text structural order. Data was collected through library and field research, and the research population includes all textual and visual documents that cover the research topic. Sampling from these documents was purposive until information saturation was reached. Based on the findings and results of the research, an examination of the clothing forms of Bakhtiari and Qashqai women reveals that while the head coverings differ in terms of form and components, the body and foot coverings follow a similar form and pattern. These characteristics indicate deep cultural interactions and exchanges in a shared geographical area between these two tribes.The history of the significance of clothing dates back to the formation of human societies. When individuals began to wear clothes for protection, the form of clothing changed and evolved over time due to social, cultural, and geographical factors. As a result, each ethnic group developed its own unique form of clothing, which became a representation of their cultural beliefs, customs, and identity. Two of the most prominent Iranian ethnic groups are the Bakhtiari and Qashqai. Therefore, the purpose of this research is to identify the formal components of traditional clothing for Bakhtiari women and then compare them with the characteristics of the traditional clothing of Qashqai women, in order to find their similarities and differences and ultimately, to develop a theoretical understanding of the traditional clothing of Iranian ethnic groups. The research questions are: What are the similarities and differences in the formal clothing of Bakhtiari and Qashqai women? What are the reasons and aspects of the similarities and differences in the traditional clothing forms of Bakhtiari and Qashqai women? What are the advantages of the traditional clothing form of Bakhtiari women compared to that of Qashqai women? The comparative research method is a qualitative method with a text-to-text structural order. Data was collected through library and field research, and the research population includes all textual and visual documents that cover the research topic. Sampling from these documents was purposive until information saturation was reached. Based on the findings and results of the research, an examination of the clothing forms of Bakhtiari and Qashqai women reveals that while the head coverings differ in terms of form and components, the body and foot coverings follow a similar form and pattern. These characteristics indicate deep cultural interactions and exchanges in a shared geographical area between these two tribes.https://aaj.semnan.ac.ir/article_10360_f738360bad25447dcb375f04d88fa1fc.pdfSemnan UniversityJournal of Applied Arts2252-02606120260321Structural Analysis of the Wooden Door Collection of Hazrat Masoumeh MuseumStructural Analysis of the Wooden Door Collection of Hazrat Masoumeh Museum73931036110.22075/aaj.2025.36071.1322FAZeynabMoradian GojehbagloPh.D. Student, Department of Industrial Arts, Faculty of Industrial Arts, Tabriz Islamic Art University, Tabriz, Iran.MohammadMirshafieeAssistant Professor, Department of Industrial Arts, Faculty of Industrial Arts, Tabriz Islamic Art University, Tabriz, Iran.0009-0000-9676-4395Journal Article20241128The Hazrat Masoumeh Museum, located adjacent to significant religious shrines, occupies a critical position in the preservation and exhibition of Iran’s historical and cultural heritage. The museum’s collection encompasses a diverse array of artifacts, including manuscripts, ceramics, wooden objects, and various forms of decorative arts originating from multiple historical periods. Among these, the wooden artifacts—specifically eight doors and a wooden sarcophagus—are distinguished by their intricate ornamentation and sophisticated compositional structures. The decorative motifs on these objects include geometric patterns, calligraphic inscriptions, arabesque (eslimi), and floral (khatayi) designs. These motifs are realized through an array of specialized techniques such as carving, marquetry, inlay, Jovavk, latticework (gerehchini), and engraving, which collectively exemplify the high level of craftsmanship characteristic of Iranian-Islamic art traditions. This study undertakes a formal and technical analysis of the aforementioned wooden doors and sarcophagus from the Hazrat Masoumeh Museum collection, with the primary objective of classifying the motifs and execution techniques and elucidating the underlying principles governing their design. The impetus for this research stems from the necessity to introduce and critically examine the wooden artifacts preserved within the museum, with particular attention to their artistic, cultural, and religious significance. The research question guiding this inquiry concerns the foundational logic underpinning the selection and application of motifs and techniques in the design of these doors. Methodologically, the study adopts a fundamental descriptive-analytical approach, supplemented by documentary research and field investigation to collect comprehensive data. The wooden doors are conceptualized as living documents that embody the intersection of structural form, symbolic meaning, and religious ideology within Islamic art. This research contributes novel insights by applying a structuralist framework to the analysis of the museum’s wooden doors, emphasizing the interrelation of form, technique, and meaning in these artifacts. Through a structural and comparative analytical lens, the study identifies and explicates the aesthetic and semantic paradigms inherent in the wooden works. It further investigates shared workshop traditions and artisanal lineages in the production of religious doors during the Safavid and Qajar periods, thereby situating these artifacts within broader historical and cultural contexts. The analysis reveals that the design of form, the execution of technique, and the selection of inscribed themes are undertaken with systematic intentionality, reflecting a coherent integration of visual and semantic elements. This coherence manifests not only at an aesthetic level but also at a semantic and theological dimension, underscoring the sacred conceptualization of religious spaces and their ornamentation. The doors are characterized by a sophisticated interplay of artistic finesse and layered symbolic content. The inscriptions predominantly comprise Quranic verses and religious themes such as Ashura poetry, pilgrimage supplications, divine mercy, paradise, resurrection, the names and attributes of God, and the names of the Twelve Imams. Additional inscriptions include the names of craftsmen, patrons, calligraphers, and Safavid monarchs, situating the objects within a network of historical agency. Geographically, most doors were produced in prominent artistic centers such as Isfahan and Shiraz. Technically, doors numbered 1, 2, and 7 prominently feature carved wood techniques, which are also applied in the inscriptions on door 5 and the sarcophagus of Shah Safi. In contrast, other doors utilize marquetry techniques, incorporating white bone inlays against ebony backgrounds. The formal and technical affinities among these doors and comparable artifacts in other religious contexts suggest the emergence of distinct workshop traditions or artistic schools dedicated to the production of religious doors during the Safavid and Qajar eras. The study’s findings underscore the symbolic and functional significance of these doors within the spatial and ritual organization of sacred environments. By integrating structural, semantic, and cultural-religious analyses, this research transcends mere descriptive accounts, providing a nuanced understanding of the doors as complex semiotic systems integral to the architectural and spiritual fabric of Islamic sacred spaces.The Hazrat Masoumeh Museum, located adjacent to significant religious shrines, occupies a critical position in the preservation and exhibition of Iran’s historical and cultural heritage. The museum’s collection encompasses a diverse array of artifacts, including manuscripts, ceramics, wooden objects, and various forms of decorative arts originating from multiple historical periods. Among these, the wooden artifacts—specifically eight doors and a wooden sarcophagus—are distinguished by their intricate ornamentation and sophisticated compositional structures. The decorative motifs on these objects include geometric patterns, calligraphic inscriptions, arabesque (eslimi), and floral (khatayi) designs. These motifs are realized through an array of specialized techniques such as carving, marquetry, inlay, Jovavk, latticework (gerehchini), and engraving, which collectively exemplify the high level of craftsmanship characteristic of Iranian-Islamic art traditions. This study undertakes a formal and technical analysis of the aforementioned wooden doors and sarcophagus from the Hazrat Masoumeh Museum collection, with the primary objective of classifying the motifs and execution techniques and elucidating the underlying principles governing their design. The impetus for this research stems from the necessity to introduce and critically examine the wooden artifacts preserved within the museum, with particular attention to their artistic, cultural, and religious significance. The research question guiding this inquiry concerns the foundational logic underpinning the selection and application of motifs and techniques in the design of these doors. Methodologically, the study adopts a fundamental descriptive-analytical approach, supplemented by documentary research and field investigation to collect comprehensive data. The wooden doors are conceptualized as living documents that embody the intersection of structural form, symbolic meaning, and religious ideology within Islamic art. This research contributes novel insights by applying a structuralist framework to the analysis of the museum’s wooden doors, emphasizing the interrelation of form, technique, and meaning in these artifacts. Through a structural and comparative analytical lens, the study identifies and explicates the aesthetic and semantic paradigms inherent in the wooden works. It further investigates shared workshop traditions and artisanal lineages in the production of religious doors during the Safavid and Qajar periods, thereby situating these artifacts within broader historical and cultural contexts. The analysis reveals that the design of form, the execution of technique, and the selection of inscribed themes are undertaken with systematic intentionality, reflecting a coherent integration of visual and semantic elements. This coherence manifests not only at an aesthetic level but also at a semantic and theological dimension, underscoring the sacred conceptualization of religious spaces and their ornamentation. The doors are characterized by a sophisticated interplay of artistic finesse and layered symbolic content. The inscriptions predominantly comprise Quranic verses and religious themes such as Ashura poetry, pilgrimage supplications, divine mercy, paradise, resurrection, the names and attributes of God, and the names of the Twelve Imams. Additional inscriptions include the names of craftsmen, patrons, calligraphers, and Safavid monarchs, situating the objects within a network of historical agency. Geographically, most doors were produced in prominent artistic centers such as Isfahan and Shiraz. Technically, doors numbered 1, 2, and 7 prominently feature carved wood techniques, which are also applied in the inscriptions on door 5 and the sarcophagus of Shah Safi. In contrast, other doors utilize marquetry techniques, incorporating white bone inlays against ebony backgrounds. The formal and technical affinities among these doors and comparable artifacts in other religious contexts suggest the emergence of distinct workshop traditions or artistic schools dedicated to the production of religious doors during the Safavid and Qajar eras. The study’s findings underscore the symbolic and functional significance of these doors within the spatial and ritual organization of sacred environments. By integrating structural, semantic, and cultural-religious analyses, this research transcends mere descriptive accounts, providing a nuanced understanding of the doors as complex semiotic systems integral to the architectural and spiritual fabric of Islamic sacred spaces.https://aaj.semnan.ac.ir/article_10361_b4100bf27149f8a9de790aaf78ec6d2a.pdfSemnan UniversityJournal of Applied Arts2252-02606120260321An Examination of Children's Music Education Approaches with Emphasis on the Orff Approach and Its Challenges in IranAn Examination of Children's Music Education Approaches with Emphasis on the Orff Approach and Its Challenges in Iran951081066610.22075/aaj.2025.37802.1369FAMohammad RezaZeinaliWorld Music Instrumental Performance Educational Group, Faculty of Music, Iran University of Art, Karaj, Iran.HootanSharafbayaniMaster’s Graduate, Iranian Music Performance Group, College of Fine Arts, Faculty of Performing Arts and Music, University of Tehran, Tehran, Iran.Journal Article20250524This study critically examines the limitations of the Orff approach in the context of early childhood music education in Iran and proposes a localized adaptation designed to address the unique linguistic, cultural, and educational characteristics of Iranian learners. Originally developed by Carl Orff in the mid-20th century, the Orff method is widely respected for its integrative and experiential pedagogy, combining music, speech, movement, and improvisation to create a holistic and engaging learning experience for children. Through active participation, play-based learning, and creative expression, the method supports the development of both musical proficiency and broader cognitive and social-emotional skills. While the Orff approach has been widely adopted with success in Western educational systems, its implementation in Iran has largely remained limited to the superficial use of Western-oriented content, often without meaningful consideration for the sociocultural context of Iranian students. Educational materials, instruments, and instructional styles are frequently borrowed directly from Western models, leading to a disconnect between learners' lived experiences and the educational content they engage with. This study identifies the need for a culturally responsive curriculum that preserves the core philosophy of Orff while embedding it in local musical traditions, pedagogical practices, and child development frameworks. The central objective of the research is to evaluate whether a revised, culturally contextualized version of the Orff approach can lead to improved outcomes in both musical skills and social-emotional development among Iranian children. The main research question is: Can a culturally tailored Orff-based curriculum, when implemented in Iranian music education settings, enhance musical learning and foster emotional and social growth more effectively than unadapted foreign models? Two key hypotheses guide this inquiry:
<strong>H1:</strong> The localized Orff model significantly enhances children's musical competencies, including rhythmic coordination, melodic recognition, improvisational fluency, and ensemble performance.
<strong>H2:</strong> The adapted curriculum contributes positively to children’s emotional expression, peer interaction, verbal communication, self-confidence, and overall engagement in music learning environments.
The study employs a mixed-methods research design. In the qualitative phase, in-depth interviews were conducted with Iranian music educators to gather insights into existing challenges and inform the design of a revised curriculum. The resulting program was rooted in Orff principles but included Iranian folk rhythms, traditional instruments, Persian-language songs, and storytelling elements familiar to local children. In the quantitative phase, the curriculum was implemented in three music institutes with diverse student demographics. Pre- and post-intervention data were collected using structured questionnaires and behavioral observation protocols to assess changes in both musical and socio-personal domains. The findings revealed consistent improvements across key metrics. Children demonstrated greater rhythmic precision, melodic awareness, creative improvisation, and willingness to collaborate musically with peers. Socially, they exhibited enhanced communication, emotional expressiveness, classroom confidence, and reduced anxiety in group activities. These results affirm the pedagogical value of cultural adaptation and suggest that the localized Orff model provides a more meaningful and effective learning experience for Iranian children. This research contributes to the growing body of literature advocating for culturally responsive education and illustrates how global pedagogical frameworks can and should be adapted to align with local cultural values and educational contexts to maximize their impact.This study critically examines the limitations of the Orff approach in the context of early childhood music education in Iran and proposes a localized adaptation designed to address the unique linguistic, cultural, and educational characteristics of Iranian learners. Originally developed by Carl Orff in the mid-20th century, the Orff method is widely respected for its integrative and experiential pedagogy, combining music, speech, movement, and improvisation to create a holistic and engaging learning experience for children. Through active participation, play-based learning, and creative expression, the method supports the development of both musical proficiency and broader cognitive and social-emotional skills. While the Orff approach has been widely adopted with success in Western educational systems, its implementation in Iran has largely remained limited to the superficial use of Western-oriented content, often without meaningful consideration for the sociocultural context of Iranian students. Educational materials, instruments, and instructional styles are frequently borrowed directly from Western models, leading to a disconnect between learners' lived experiences and the educational content they engage with. This study identifies the need for a culturally responsive curriculum that preserves the core philosophy of Orff while embedding it in local musical traditions, pedagogical practices, and child development frameworks. The central objective of the research is to evaluate whether a revised, culturally contextualized version of the Orff approach can lead to improved outcomes in both musical skills and social-emotional development among Iranian children. The main research question is: Can a culturally tailored Orff-based curriculum, when implemented in Iranian music education settings, enhance musical learning and foster emotional and social growth more effectively than unadapted foreign models? Two key hypotheses guide this inquiry:
<strong>H1:</strong> The localized Orff model significantly enhances children's musical competencies, including rhythmic coordination, melodic recognition, improvisational fluency, and ensemble performance.
<strong>H2:</strong> The adapted curriculum contributes positively to children’s emotional expression, peer interaction, verbal communication, self-confidence, and overall engagement in music learning environments.
The study employs a mixed-methods research design. In the qualitative phase, in-depth interviews were conducted with Iranian music educators to gather insights into existing challenges and inform the design of a revised curriculum. The resulting program was rooted in Orff principles but included Iranian folk rhythms, traditional instruments, Persian-language songs, and storytelling elements familiar to local children. In the quantitative phase, the curriculum was implemented in three music institutes with diverse student demographics. Pre- and post-intervention data were collected using structured questionnaires and behavioral observation protocols to assess changes in both musical and socio-personal domains. The findings revealed consistent improvements across key metrics. Children demonstrated greater rhythmic precision, melodic awareness, creative improvisation, and willingness to collaborate musically with peers. Socially, they exhibited enhanced communication, emotional expressiveness, classroom confidence, and reduced anxiety in group activities. These results affirm the pedagogical value of cultural adaptation and suggest that the localized Orff model provides a more meaningful and effective learning experience for Iranian children. This research contributes to the growing body of literature advocating for culturally responsive education and illustrates how global pedagogical frameworks can and should be adapted to align with local cultural values and educational contexts to maximize their impact.https://aaj.semnan.ac.ir/article_10666_9cc23c2ecf5bc437bf4ee2ad19d4edea.pdfSemnan UniversityJournal of Applied Arts2252-02606120260321Analysis of Qajar Dezful Sacred and Apotropaic Jewelry Based on the Theory of Objects and Symbolic ConsumptionAnalysis of Qajar Dezful Sacred and Apotropaic Jewelry Based on the Theory of Objects and Symbolic Consumption1091271066810.22075/aaj.2025.34908.1282FAMansourKolahKajAssociate Professor, Department of Graphic Design, Faculty of Art, Shahid Chamran University of Ahvaz, Ahvaz, Iran.ElhamRafatpanahMaster’s Degree Student, Department of Art Research, Faculty of Art, Shahid Chamran University of Ahvaz, Ahvaz, Iran.Journal Article20240730In addition to being functional, some people believe that some people believe in “protective” or “disaster” jewelry against evil, which can become decorative over time. According to some beliefs, these objects sometimes have a special power and have functions such as talismans and magic. The Dezful region is also one of the regions where, in the past hundred years, symbolic and ritual motifs with an object-based or obscure function have been seen in several examples of its jewelry. The aim of this study is to analyze the Qajar Dezful sacred and obscure jewelry based on the theory of objects and symbolic consumption. The article aims to fill the knowledge gap in the field of popular culture and understanding the culture of different regions of Iran, especially Khuzestan and the city of Dezful in particular. And you can also use the factors that can reduce it and protect it, record and record them and create a platform for future research from this article. Accordingly, this research answers the following question. How does traditional Dezful jewelry function and what is the perceived power of these objects according to the theory of objects and material consumption? The results of this research are presented with data collected from field and documentary sources in a descriptive-analytical method. Research Research These studies of Dezful jewelry have different functions; but the samples made in Dezful have been evaluated because they have a sacred and magical object and generally, in addition to the decorative function, they have protective functional types along with psychological peace for use. An example of a sacred object; necklaces containing prayers and verses and a magical example with its own magic, armbands and milpa. Also, the designs of some of these ornaments are similar to those of the 7th century books of mysticism, and it seems that these designs continue the tradition of mysticism of previous Iranian centuries. According to the theory of objects and symbolic consumption, traditional ornaments in this study, beyond aesthetic elements, have characteristics of belief, function, and meaning, and play an important role in daily life, worldview, and social relations of individuals, and are established in layers of popular culture. The continuity of these functions is a reflection of the human need for meaning, protection, identity, and power against the unknown, which, despite the vastness of human knowledge, remains ambiguous, mysterious, and complex.In addition to being functional, some people believe that some people believe in “protective” or “disaster” jewelry against evil, which can become decorative over time. According to some beliefs, these objects sometimes have a special power and have functions such as talismans and magic. The Dezful region is also one of the regions where, in the past hundred years, symbolic and ritual motifs with an object-based or obscure function have been seen in several examples of its jewelry. The aim of this study is to analyze the Qajar Dezful sacred and obscure jewelry based on the theory of objects and symbolic consumption. The article aims to fill the knowledge gap in the field of popular culture and understanding the culture of different regions of Iran, especially Khuzestan and the city of Dezful in particular. And you can also use the factors that can reduce it and protect it, record and record them and create a platform for future research from this article. Accordingly, this research answers the following question. How does traditional Dezful jewelry function and what is the perceived power of these objects according to the theory of objects and material consumption? The results of this research are presented with data collected from field and documentary sources in a descriptive-analytical method. Research Research These studies of Dezful jewelry have different functions; but the samples made in Dezful have been evaluated because they have a sacred and magical object and generally, in addition to the decorative function, they have protective functional types along with psychological peace for use. An example of a sacred object; necklaces containing prayers and verses and a magical example with its own magic, armbands and milpa. Also, the designs of some of these ornaments are similar to those of the 7th century books of mysticism, and it seems that these designs continue the tradition of mysticism of previous Iranian centuries. According to the theory of objects and symbolic consumption, traditional ornaments in this study, beyond aesthetic elements, have characteristics of belief, function, and meaning, and play an important role in daily life, worldview, and social relations of individuals, and are established in layers of popular culture. The continuity of these functions is a reflection of the human need for meaning, protection, identity, and power against the unknown, which, despite the vastness of human knowledge, remains ambiguous, mysterious, and complex.https://aaj.semnan.ac.ir/article_10668_0dbfe06cfabef2f69ec91edc7d9a9e26.pdfSemnan UniversityJournal of Applied Arts2252-02606120260404A Study of the Multiplicity and Diversity of Artists in Astan Quds Razavi from the Beginning to the End of the Pahlavi Period Based on the Surviving Works in the ShrineA Study of the Multiplicity and Diversity of Artists in Astan Quds Razavi from the Beginning to the End of the Pahlavi Period Based on the Surviving Works in the Shrine129144942310.22075/aaj.2024.33231.1213FANaserSadatiAssistant Professor, Department of Handicrafts, Faculty of Art, Architecture and Urban Planning, Semnan University, Semnan, Iran.ZahraAlinandegaryMaster's Graduate, Department of Art Research, Faculty of Art, Architecture and Urban Planning, Semnan University, Semnan, Iran.MeysamJalaliPh.D. Graduate, Department of Archaeology, Member of the Islamic Culture and Art Group, Islamic Research Foundation of Astan Quds Razavi, Mashhad, Iran.Journal Article20240208Throughout history, many artists have tried to bring out their artistic creations in various artistic forms, in certain places and times, and in the light of this artistic creation, to display their religious and religious beliefs. Motahar Razavi Shrine, as a unique collection of arts as a religious place, shows the art and devotion of Iranians and especially Muslim artists towards Hazrat Reza (AS).Numerous artists have worked in this holy place in different historical periods and have created various buildings and works of art with their art, and in this way, they have made a significant contribution to the increase of spirituality, beauty and human connection with this spiritual place.The purpose of this article is to identify the types of art disciplines and artists who have played a role in the decoration and formation of the art and architecture in the Motahar-Razavi shrine from the beginning to the end of the Pahlavi period. Therefore, the following questions are organized around the purpose of the article: 1- What is the status of the artworks left in the shrine according to the field-artist? 2- Which historical period do the most and least works left in the Holy Shrine belong to? The research method is quantitative content analysis, which has been done in two ways: studying the content of historical documents and related to the subject of the shrine, as well as studying the works left by artists. The statistical population of this research includes all the artists whose works were left in the shrine during the studied period. The findings of the research indicate the identification of 160 artists in 18 art disciplines who have created works of art for the holy shrine throughout history. The art field of calligraphy and inscription writing has the largest number of artists, while the applied art field has the fewest artists and the fewest works. The Qajar period is considered the most productive historical period in terms of the creation of works of art in the shrine.Throughout history, many artists have tried to bring out their artistic creations in various artistic forms, in certain places and times, and in the light of this artistic creation, to display their religious and religious beliefs. Motahar Razavi Shrine, as a unique collection of arts as a religious place, shows the art and devotion of Iranians and especially Muslim artists towards Hazrat Reza (AS).Numerous artists have worked in this holy place in different historical periods and have created various buildings and works of art with their art, and in this way, they have made a significant contribution to the increase of spirituality, beauty and human connection with this spiritual place.The purpose of this article is to identify the types of art disciplines and artists who have played a role in the decoration and formation of the art and architecture in the Motahar-Razavi shrine from the beginning to the end of the Pahlavi period. Therefore, the following questions are organized around the purpose of the article: 1- What is the status of the artworks left in the shrine according to the field-artist? 2- Which historical period do the most and least works left in the Holy Shrine belong to? The research method is quantitative content analysis, which has been done in two ways: studying the content of historical documents and related to the subject of the shrine, as well as studying the works left by artists. The statistical population of this research includes all the artists whose works were left in the shrine during the studied period. The findings of the research indicate the identification of 160 artists in 18 art disciplines who have created works of art for the holy shrine throughout history. The art field of calligraphy and inscription writing has the largest number of artists, while the applied art field has the fewest artists and the fewest works. The Qajar period is considered the most productive historical period in terms of the creation of works of art in the shrine.https://aaj.semnan.ac.ir/article_9423_3cd63e390a224f5a688ce5ba4f8b975f.pdf