Semnan University Journal of Applied Arts 2252-0260 4 1 2024 05 21 Comparative Study of Plant Motifs in Safavid and Qajar Carpets Comparative Study of Plant Motifs in Safavid and Qajar Carpets 5 34 9054 10.22075/aaj.2024.34513.1262 FA Mohamad Amin Hajizadeh Instructor, Carpet Group, Birjand University, Birjand, Iran. Seyed Reza Hoseini Associate Professor,, Painting Department, Shahed University, Tehran, Iran. Ali Asghar Shirazi Associate Professor, Art Research Department, Shahid University, Tehran, Iran. Mehdi Keshavarz Afshar Assistant Professor, Art Research Department, Tarbiat Modares University, Tehran, Iran. Iman Zakariaei Kermani Associate Professor, Handicrafts Department, Isfahan Art University, Isfahan, Iran. Journal Article 2024 06 21 Carpet arrays include a diverse collection of plants, animals, humans and abstract motifs. The breadth of plant motifs is greater than other types because its variety is as wide as the plant motifs found in nature, incorporating abstract plant motifs and in rotating and broken formats. The types of plant arrays generally include Islamic species, Khatai, flowers and bushes, trees and flowers. The study aim is to examine and identify the types of plant motifs in Safavid and Qajar carpets, as well as the trends and how they evolved from the Safavid to Qajar periods, also the entry of new plant species into Qajar period carpets. Based on this, the main questions in this study are: 1-What are the characteristics of the plant arrays engraved in Safavid and Qajar carpets? 2-What changes have emerged in the plant motifs of carpets from the Safavid period to the Qajar period? This research method is descriptive and comparative in terms of type. The method of data collection is library methods. The results show that the plant motifs used in the Safavid period carpets consist of several species and gradually added to its richness, and were repeated in the carpets of the later centuries and the Qajar period, with changes in shape, size, color and structure. These developments over the period have been most affected by the common social and cultural conditions. In the Safavid period, most of all, the royal will, Foreign Relations and the role of religion in the formation of design structures and role-making were effective, and in the Qajar period, with the influence of cultural conditions, developments were made under the effects of humanism, naturalism and the new manifestations of civilization and blue frangim. These developments led to the emergence of new elements and the enrichment of the treasure of carpet motifs. Carpet arrays include a diverse collection of plants, animals, humans and abstract motifs. The breadth of plant motifs is greater than other types because its variety is as wide as the plant motifs found in nature, incorporating abstract plant motifs and in rotating and broken formats. The types of plant arrays generally include Islamic species, Khatai, flowers and bushes, trees and flowers. The study aim is to examine and identify the types of plant motifs in Safavid and Qajar carpets, as well as the trends and how they evolved from the Safavid to Qajar periods, also the entry of new plant species into Qajar period carpets. Based on this, the main questions in this study are: 1-What are the characteristics of the plant arrays engraved in Safavid and Qajar carpets? 2-What changes have emerged in the plant motifs of carpets from the Safavid period to the Qajar period? This research method is descriptive and comparative in terms of type. The method of data collection is library methods. The results show that the plant motifs used in the Safavid period carpets consist of several species and gradually added to its richness, and were repeated in the carpets of the later centuries and the Qajar period, with changes in shape, size, color and structure. These developments over the period have been most affected by the common social and cultural conditions. In the Safavid period, most of all, the royal will, Foreign Relations and the role of religion in the formation of design structures and role-making were effective, and in the Qajar period, with the influence of cultural conditions, developments were made under the effects of humanism, naturalism and the new manifestations of civilization and blue frangim. These developments led to the emergence of new elements and the enrichment of the treasure of carpet motifs.

https://aaj.semnan.ac.ir/article_9054_d2e3e0c2ec10101c41b7f0a11ce93c57.pdf

Semnan University Journal of Applied Arts 2252-0260 4 1 2024 05 21 Practical Geometry in Applied Arts (Case Study: Geometric Proportions in the Architecture of Khan School in Shiraz) Practical Geometry in Applied Arts (Case Study: Geometric Proportions in the Architecture of Khan School in Shiraz) 35 48 9383 10.22075/aaj.2024.33922.1239 FA Reyhaneh Raisi Master's Graduate, Department of Architecture, Faculty of Art and Architecture, Shiraz University, Shiraz, Iran. Mohammad Sadegh Mirzaabolghasemi Associate Professor, Department of Art, Faculty of Art and Architecture, Shiraz University, Shiraz, Iran. 0000-0002-5865-7561 Kaveh Fattahi Assistant Professor, Department of Architecture, Faculty of Art and Architecture, Shiraz University, Shiraz, Iran. Journal Article 2024 04 25 This paper investigates the possible geometric proportions in the architecture of Khan School in Shiraz. The investigation is conducted at two levels: the geometric analysis of the plan and the geometric analysis of the facade. The analysis is based on the building components and spaces that have remained unchanged during the damages and repairs of the school. The detailed maps of Khan School from the 1950s serve as the basis for the analysis, although some architectural elements of the school complex have been newly surveyed and drawn. The research methodology examines the drawing methods proposed by Abū al-Wafā Būzhjānī (940-998) in practical geometry. Consequently, the geometric features of the surveyed plans and facades are compared and evaluated based on Būzhjānī's writings on practical geometry in his books and treatises. The results of this study demonstrate that the architecture of Khan School, both in its plans and facades, follows a checkerboard grid system. Each square in the checkerboard grid precisely corresponds to the square that encloses the outer boundaries of the main entrance's vestibule. The placement of the iwans, the octagonal pool, the western porch, and the exterior boundaries of most of the students' cells, as well as the eastern iwan of the school, also align with the Western Golden proportions. It appears that the architect of Khan School relied heavily on this ratio system, denoted as "nesbate-zat-vasatein-va-tarafeyin" or "the ratio of the middles and the sides" in Būzhjānī's treatise, to determine and design the geometric proportions of this school. This paper investigates the possible geometric proportions in the architecture of Khan School in Shiraz. The investigation is conducted at two levels: the geometric analysis of the plan and the geometric analysis of the facade. The analysis is based on the building components and spaces that have remained unchanged during the damages and repairs of the school. The detailed maps of Khan School from the 1950s serve as the basis for the analysis, although some architectural elements of the school complex have been newly surveyed and drawn. The research methodology examines the drawing methods proposed by Abū al-Wafā Būzhjānī (940-998) in practical geometry. Consequently, the geometric features of the surveyed plans and facades are compared and evaluated based on Būzhjānī's writings on practical geometry in his books and treatises. The results of this study demonstrate that the architecture of Khan School, both in its plans and facades, follows a checkerboard grid system. Each square in the checkerboard grid precisely corresponds to the square that encloses the outer boundaries of the main entrance's vestibule. The placement of the iwans, the octagonal pool, the western porch, and the exterior boundaries of most of the students' cells, as well as the eastern iwan of the school, also align with the Western Golden proportions. It appears that the architect of Khan School relied heavily on this ratio system, denoted as "nesbate-zat-vasatein-va-tarafeyin" or "the ratio of the middles and the sides" in Būzhjānī's treatise, to determine and design the geometric proportions of this school.

https://aaj.semnan.ac.ir/article_9383_8e7991af8afa942dc572950e01177da5.pdf

Semnan University Journal of Applied Arts 2252-0260 4 1 2024 05 21 A city in a photo; An Analysis of Street Photography's Evolution and Promotion from the Perspective of Meaning and Technology A city in a photo; An Analysis of Street Photography's Evolution and Promotion from the Perspective of Meaning and Technology 49 66 9385 10.22075/aaj.2024.33465.1218 FA Mohammad Amin Samini Master's Graduate, Department of Architecture, Faculty of Architecture and Urban Planning, University of Art, Tehran, Iran. 0000-0001-8742-7709 Razieh Fathi PhD Student, Department of Architecture, Faculty of Art and Architecture, University of Science and Culture, Tehran, Iran. 0000-0002-3756-5051 Ali Asgari Assistant Professor, Department of Architecture, Faculty of Architecture and Urban Planning, Shahid Beheshti University, Tehran, Iran. 0000-0002-5726-7051 Journal Article 2024 03 07 This paper explores fundamental propositions regarding photography as an art form and its interplay with urban design, focusing specifically on the dynamic realm of street photography. The aim of this research is to investigate the intricate connections between art, culture, technology, and urban development that have contributed to the evolution of street photography. The study delves into the key factors that have propelled street photography forward within the realms of architecture and urban design. Central to this investigation is the exploration of the intrinsic and environmental elements that have influenced the growth and vitality of street photography. This includes examining how advancements in tools, changes in communication environments, and the evolving contexts of subjects have shaped the ability of street photography to convey complex concepts through visual imagery. This qualitative research adopts a foundational approach, employing content analysis of scholarly sources to achieve its objectives. The interpretation of textual data involves analyzing images and fostering a discourse process grounded in the perspectives of stakeholders in the field, supported by scholarly interpretation. The findings suggest that while photography has moved beyond traditional darkrooms, technological advancements and the rise of social media platforms have significantly enhanced its capacity to share ideas and messages more efficiently and broadly. Nonetheless, environmental themes in street photography remain closely tied to spatial settings, community interactions, the lived experiences of artists, and the environmental designs of architecture and urban spaces. Throughout the twentieth century, street photographers captured the transformations brought about by industrialization, social issues, and literary movements through their depiction of urban environments and societal dynamics. Today, increased access to open urban spaces, coupled with advancements in photographic technology and amplified through social media, has led to a notable proliferation of impactful works. However, there has been a reduction in the visibility of unique perspectives and the recurrence of singular ideologies within the realm of photography. In conclusion, this research underscores the enduring relevance of street photography as a medium that not only reflects urban realities but also evolves in tandem with technological and cultural advancements. By understanding the complex interplay between artistry, urban dynamics, and technological innovation, we gain insights into how street photography continues to shape and be shaped by the environments it captures. This paper explores fundamental propositions regarding photography as an art form and its interplay with urban design, focusing specifically on the dynamic realm of street photography. The aim of this research is to investigate the intricate connections between art, culture, technology, and urban development that have contributed to the evolution of street photography. The study delves into the key factors that have propelled street photography forward within the realms of architecture and urban design. Central to this investigation is the exploration of the intrinsic and environmental elements that have influenced the growth and vitality of street photography. This includes examining how advancements in tools, changes in communication environments, and the evolving contexts of subjects have shaped the ability of street photography to convey complex concepts through visual imagery. This qualitative research adopts a foundational approach, employing content analysis of scholarly sources to achieve its objectives. The interpretation of textual data involves analyzing images and fostering a discourse process grounded in the perspectives of stakeholders in the field, supported by scholarly interpretation. The findings suggest that while photography has moved beyond traditional darkrooms, technological advancements and the rise of social media platforms have significantly enhanced its capacity to share ideas and messages more efficiently and broadly. Nonetheless, environmental themes in street photography remain closely tied to spatial settings, community interactions, the lived experiences of artists, and the environmental designs of architecture and urban spaces. Throughout the twentieth century, street photographers captured the transformations brought about by industrialization, social issues, and literary movements through their depiction of urban environments and societal dynamics. Today, increased access to open urban spaces, coupled with advancements in photographic technology and amplified through social media, has led to a notable proliferation of impactful works. However, there has been a reduction in the visibility of unique perspectives and the recurrence of singular ideologies within the realm of photography. In conclusion, this research underscores the enduring relevance of street photography as a medium that not only reflects urban realities but also evolves in tandem with technological and cultural advancements. By understanding the complex interplay between artistry, urban dynamics, and technological innovation, we gain insights into how street photography continues to shape and be shaped by the environments it captures.

https://aaj.semnan.ac.ir/article_9385_29a9f8c8460e5e2be4edde557fd83712.pdf

Semnan University Journal of Applied Arts 2252-0260 4 1 2024 05 21 Analysis of Selected Illustrations and Stories of Kalila and Damna Based on Georges Dumezil Triple Structure Theory Analysis of Selected Illustrations and Stories of Kalila and Damna Based on Georges Dumezil Triple Structure Theory 67 79 9387 10.22075/aaj.2024.33079.1211 FA Ziba Kazempoor Assistant Professor, Department of Art, Faculty of Literature and Humanities, Mohaghegh Ardabili University, Ardabil, Iran. Fatemeh Mohajeri Master's Graduate, Department of Illustration, Kamal-ol-Molk University, Nowshahr, Iran. Hossein Abeddoost Associate Professor, Visual Communication Department, Faculty of Art and Architecture, Gilan University, Rasht, Iran. 0000-0001-6413-9130 Journal Article 2024 02 02 Kalila and Damna is an instructive book in which various anecdotes have been narrated. This book, which has Indian origin, has been illustrated in different periods of Persian art history. The main question of the present study is how the characterization of some of the stories of Kalila and Damna can be analyzed based on the three classes of Dumzel and is this triple structure recognizable in the illustration of these stories? This study is descriptive-analytical in terms of methodology. The data collection method is based on library review (i.e. note taking and image analysis) and data analysis was done qualitatively. Research results show that in a similar selection of stories, there are characters who can be examined in terms of the pattern of the triple structure of Georges Dumézil 's Indo-European societies. These three structures and classes include the classes of rulers, warriors and farmers, and this triple pattern can also be identified in the illustrated paintings of Kalila and Damna. In these stories, some animals are described in class priority as ruler, and some as the weakest class are first -class nutrition. Shrewd animals, relying on their intelligence, manage the relationships between the up and downstairs. Therefore, in the visual system, using the place, the visual magnification of the same structural priorities of the fictional characters has been represented. The powerful, robust, and large ruler in the center or above the image and the third floor of the fall and death at the bottom of the image and the intelligent animals are illuminated with the ruler or the intermediary between the two groups. In fact, the coordination of the text and the image is identifiable and analyzed by the representation of the class system. Kalila and Damna is an instructive book in which various anecdotes have been narrated. This book, which has Indian origin, has been illustrated in different periods of Persian art history. The main question of the present study is how the characterization of some of the stories of Kalila and Damna can be analyzed based on the three classes of Dumzel and is this triple structure recognizable in the illustration of these stories? This study is descriptive-analytical in terms of methodology. The data collection method is based on library review (i.e. note taking and image analysis) and data analysis was done qualitatively. Research results show that in a similar selection of stories, there are characters who can be examined in terms of the pattern of the triple structure of Georges Dumézil 's Indo-European societies. These three structures and classes include the classes of rulers, warriors and farmers, and this triple pattern can also be identified in the illustrated paintings of Kalila and Damna. In these stories, some animals are described in class priority as ruler, and some as the weakest class are first -class nutrition. Shrewd animals, relying on their intelligence, manage the relationships between the up and downstairs. Therefore, in the visual system, using the place, the visual magnification of the same structural priorities of the fictional characters has been represented. The powerful, robust, and large ruler in the center or above the image and the third floor of the fall and death at the bottom of the image and the intelligent animals are illuminated with the ruler or the intermediary between the two groups. In fact, the coordination of the text and the image is identifiable and analyzed by the representation of the class system.

https://aaj.semnan.ac.ir/article_9387_6f5216f8d89b086c18298e043bfe48ed.pdf

Semnan University Journal of Applied Arts 2252-0260 4 1 2024 05 21 Clothing as Constructed Identity(case study: Naser al-Din Shah Qajar) Clothing as Constructed Identity(case study: Naser al-Din Shah Qajar) 81 96 9669 10.22075/aaj.2021.24325.1114 FA Seyed Mohammad Mehrnia Assistant Professor, Textile Design Department, Faculty of Art, Semnan University, Semnan, Iran. Neda Ashouri Master's Graduate, Art Research Department, Faculty of Art, Semnan University, Semnan, Iran. Journal Article 2021 08 23 In all human communities throughout the history, it has always been only the elites who have been privileged enough to be able to use their clothing as a means of expressing their wealth, power, and grandeur. Since the audience form their very first impressions upon judgments which are solely based on visual cues, clothing has always been a strong tool for the ones in power to express their identity in visual mediums. The main question that this research tries to answer is how clothing as a form expression influences the opinions that people hold about their rulers, and also what the effects of clothing are on forming factors such as hegemony and sovereignty in visual culture. This descriptive-analytical study is done by gathering documentaries and draws on Michel Foucault's power discourse theory. It examines the mechanism of power in clothing during the Islamic period, focusing specifically on Naser al-Din Shah Qajar—the Persian monarch who brought the first camera to Iran during his reign. Additionally, the research tries to shed light on the thought process of people of that era as they came to perceive their clothing as their identity. The aim of this research is expression of power through visual cues in clothing. The results of the research show the importance of clothing in maintaining one's identity and indicate how clothing constructs the identity of a society. Hence clothing as a means of expression plays a significant role in constructing the identity of a society as a whole and is an indicator of cultural features of each historical era. Therefore, people who hold the most power and authority, with the help of media as an exclusive instrument of control, have been able to use clothing as a non-verbal language to express their dominance and superiority to the public in a highly impactful manner. In all human communities throughout the history, it has always been only the elites who have been privileged enough to be able to use their clothing as a means of expressing their wealth, power, and grandeur. Since the audience form their very first impressions upon judgments which are solely based on visual cues, clothing has always been a strong tool for the ones in power to express their identity in visual mediums. The main question that this research tries to answer is how clothing as a form expression influences the opinions that people hold about their rulers, and also what the effects of clothing are on forming factors such as hegemony and sovereignty in visual culture. This descriptive-analytical study is done by gathering documentaries and draws on Michel Foucault's power discourse theory. It examines the mechanism of power in clothing during the Islamic period, focusing specifically on Naser al-Din Shah Qajar—the Persian monarch who brought the first camera to Iran during his reign. Additionally, the research tries to shed light on the thought process of people of that era as they came to perceive their clothing as their identity. The aim of this research is expression of power through visual cues in clothing. The results of the research show the importance of clothing in maintaining one's identity and indicate how clothing constructs the identity of a society. Hence clothing as a means of expression plays a significant role in constructing the identity of a society as a whole and is an indicator of cultural features of each historical era. Therefore, people who hold the most power and authority, with the help of media as an exclusive instrument of control, have been able to use clothing as a non-verbal language to express their dominance and superiority to the public in a highly impactful manner.

https://aaj.semnan.ac.ir/article_9669_fc322c6bd467dc6e4a70ece4ce0245f8.pdf

Semnan University Journal of Applied Arts 2252-0260 4 1 2024 05 21 The Effectiveness of the Art Nouveau Movement in the Design of the First Banknotes Printed in Iran The Effectiveness of the Art Nouveau Movement in the Design of the First Banknotes Printed in Iran 97 116 9384 10.22075/aaj.2024.33712.1228 FA Nafise Zamani Instructor, Departmen of Arts, National University of Tehran, Tehran, Iran. 0000-0002-4485-7175 Farzaneh Farrokhfar Associate Professor, Department of Visual Communication, Faculty of Art and Architecture, TarbiatModares University, Tehran, Iran. Journal Article 2024 04 06 "Art and Crafts Movement" and its subsequent "Art Nouveau" were among the events that took place in the west at the end of the Qajar era and soon brought about changes in the applied arts of Iran, including design and printing. The first banknotes printed in Iran, in addition to expressing formal and technical features, display excellent capabilities in reading the quality of the developments of the Art and Craft Movement and Art Nouveau. Since the printing stereotypes of these banknotes were the result of Western culture and art and they were directly used in the printing of the first Iranian banknotes, it is possible to identify part of the result of the Art Nouveau movement in Iran and the design principles of the first banknotes from the beginning of their publication in the Qajar era. In addition to introducing the first banknotes published in Iran, this research aims to review the design method and principles of illustration used in these works, taking into account the principles of "Art and Crafts Movement" and "Art Nouveau". This research is based on qualitative studies and its descriptive-analytical in terms of method. The method of collecting information is mainly library-electronic and in some cases field study. The results of the research show that the design of the first Iranian banknotes can be separated into three time groups from the end of the Qajar period to the beginning of the first Pahlavi era that the influence of Art Nouveau occurred most of all in the third group. In this period, under the influence of the art nouveau movement and using the printed stereotypes imported from the west, a kind of fusion between the artistic achievements of the west and Islamic-Iranian art has been formed. "Art and Crafts Movement" and its subsequent "Art Nouveau" were among the events that took place in the west at the end of the Qajar era and soon brought about changes in the applied arts of Iran, including design and printing. The first banknotes printed in Iran, in addition to expressing formal and technical features, display excellent capabilities in reading the quality of the developments of the Art and Craft Movement and Art Nouveau. Since the printing stereotypes of these banknotes were the result of Western culture and art and they were directly used in the printing of the first Iranian banknotes, it is possible to identify part of the result of the Art Nouveau movement in Iran and the design principles of the first banknotes from the beginning of their publication in the Qajar era. In addition to introducing the first banknotes published in Iran, this research aims to review the design method and principles of illustration used in these works, taking into account the principles of "Art and Crafts Movement" and "Art Nouveau". This research is based on qualitative studies and its descriptive-analytical in terms of method. The method of collecting information is mainly library-electronic and in some cases field study. The results of the research show that the design of the first Iranian banknotes can be separated into three time groups from the end of the Qajar period to the beginning of the first Pahlavi era that the influence of Art Nouveau occurred most of all in the third group. In this period, under the influence of the art nouveau movement and using the printed stereotypes imported from the west, a kind of fusion between the artistic achievements of the west and Islamic-Iranian art has been formed.

https://aaj.semnan.ac.ir/article_9384_bee8b2cc16ae69b1d21dfd4fa9dbf9ef.pdf