https://aaj.semnan.ac.ir/ Journal of Applied Arts en daily 1 Mon, 22 Dec 2025 00:00:00 +0330 Mon, 22 Dec 2025 00:00:00 +0330 https://aaj.semnan.ac.ir/article_10335.html Graphic design has long been considered as one of the branches of visual arts. Creating communication and presenting meaning are among the main functions of visual texts, especially posters. In this context, the system of cultural posters, due to their artistic nature, involves limited audiences and codes. The authors of cultural posters use various methods to camouflage meanings in their texts, which sometimes become distorted due to technical and aesthetic issues. Intertextuality, as an approach that develops meaning through textual relationships, provides key capabilities for the critic, reader, or even graphic designer to explain signification. The theoretical framework of intertextuality, through movement among the relationships of texts within a systematic structure, facilitates the unfolding and inference of meanings. Genette’s Hypertextuality provides numerous capabilities for application in reading and analyzing texts, as well as creating and composing texts in various arts, especially ‘visual arts,’ available to the critic-author What hidden meanings from these graphic texts does the explanation of hyper-textual relationships in the cultural poster of the Presence exhibition reveal? This is the research question of the This paper, which in this direction, the Presence exhibition poster from the Azad Art Gallery poster project has been analyzed based on Genette’s six-stage model of hyper-textual reading of visual texts, using a descriptive-analytical method with reliance on library and internet resources. The research results showed that the poster of the Azad Art Gallery paining exhibition is meaningful at two levels: structural codes and process codes. Structural codes encompass superficial and surface meaning containing basic information; however, in process codes, the inference of meaning is facilitated through the movement between hyper-textual relationships with pre-text(s), which includes various meanings. Additionally, the body of studies from the perspective of quantitative Transformation includes different degrees such as amplifiction, extension, and excision. From the perspective of thematic Internal changes, inter-sign, transmedia, and trans-pragmatic manifestations have also been revealed. https://aaj.semnan.ac.ir/article_10336.html Cities have become more and more a place where the phenomena of extreme poverty, social destruction, and social isolation are concentrated. It should be mentioned that the social inequalities reflected in the processes of urban segregation have been the subject of growing literature in the world. It should be mentioned that the social inequalities reflected in the processes of urban segregation have been the subject of growing literature in the world. The turn toward human practice and the analysis of spatial behavior has become one of the most fundamental categories in contemporary spatial understanding. This renewed conception of space—along with the interweaving of social life with linguistic systems—has led to an increasing integration of art and literature with the sciences in general, and with the social sciences in particular. Our assumption and insight in the article is based on the principle that deterministic science and knowledge of a geographical phenomenon such as separation is always related to art and philosophy. The necessity of spatial separation representation in the use of the artistic method is shown in this way that the work of art always brings together the understanding of the problem by solving or problematizing the problem by combining the two elements of consciousness/unconsciousness as well as the status quo/ideal. In the current research, we investigate the problem of spatial separation by using the qualitative approach and Roland Barthes' five codes. The question of the present article is, what is the representation of urban separation in the film Parasite, under the use of Roland Barthes' Five Codes? The main theme of this cinematic narrative of separatism can be seen in the understanding of cities as the existential arena of discourse/power. Here, by deconstructing the symbolic/real dualities, the representation of justice and the issue of urban separation takes on a postmodern cognitive flavor. It keeps us active in facing this phenomenon. A situation in which different narratives engage in a conversation where there is no possibility of the superiority of a narrative except for its general understanding and meaning by the people. https://aaj.semnan.ac.ir/article_10337.html It is almost clear that the style, construction procedure, and design method of Iranian architecture have changed during different historical periods due to the availability of required equipment as well as the amount of knowledge that experts in a specific period owe. One of the important periods that attracted the attention of architecture was the Seljuk period. The current paper investigates the role of brick and brickwork in the formations of Seljuk vaults. Three aspects of structural configuration, decoration, and construction techniques are considered key parameters in which this role should be evaluated. For this purpose, 27 mosques identified as Seljuk were selected as case studies. Assessing the originality of these architectures, it is observed that only 14 mosques among the initial category haven’t been manipulated during the time due to rehabilitation after demolishing or the addition of extra decorations in different afterward periods, so they can be securely dated to Seljuk. Therefore, the resulted 14 pure Seljuk mosques are opted as final case studies. The required information is collected based on previous works and available documents as well as in-site architectural surveys; then, the mentioned criteria are evaluated based on comparative analogy on the comparable and equivalent samples with the use of the analytical method. The obtained results demonstrate that one of the specific features of the Seljuk architecture is the use of bricks in three mentioned aspects. The existing geographic and cultural differences in the selected case studies converged to a similarity in both the configuration and design of their vaults according to the limitations made by the application of bricks. In general, it can be concluded that the utilization of brick modules in the Seljuk period led to the construction of similar architects and the knowledge of the brick behavior and its ability as structural and non-structural material resulted in providing a unique design in both structural and architectural points of view. https://aaj.semnan.ac.ir/article_10141.html In the edifices of the Holy Shrine of Imam Reza (AS), one of the largest and most magnificent religious complexes in the world, tilework stands as the most prominent decorative element in the architecture of its courtyards. This research examines the motifs in these tilework pieces and their specific spatial placement within the Azadi Courtyard of the Razavi Holy Shrine. The objective of this study is to investigate the origins of these motifs and to comprehend their relationship with their respective locations across the porticoes (Iwans) of the Azadi Courtyard. Employing a descriptive-analytical methodology, with data gathered through both documentary and field research, this study seeks to answer two primary questions: Firstly, what are the origins of the various decorative tile motifs adorning the porticoes of the Azadi Courtyard from the Qajar era? Secondly, how does this origin correlate with the specific placement of each motif? The findings indicate that the origins of the tile motifs on the four porticoes of the Azadi Courtyard can be categorized within the realms of tradition, modernity, and a synthesis of both. Traditional motifs encompass geometric combinations, figurative designs, as well as floral and vase patterns. Postcard-style landscape paintings are identified as modern motifs. Conversely, motifs such as Gol-o-Morgh (bird and flower), Gol-e Farang (Europeanized flowers), trees, vases with Gol-e Farang designs, landscapes, dish-and-cup patterns, and angels are classified as hybrid or synthetic. The results further demonstrate that traditional motifs exhibit the highest frequency in the decoration of the porticoes. The Western Iwan, given its preeminent position, predominantly utilizes traditional motifs. The Eastern Iwan displays a conservative amalgamation of traditional, modern, and synthetic motifs. The Northern Iwan, featuring the most diverse array of decorative motifs, signifies a greater degree of artistic freedom exercised by designers in selecting and applying patterns in accordance with the creative developments of the Qajar period. In contrast, the Southern Iwan is primarily dedicated to the display of traditional motifs. It appears that the designer, in addition to considering the origin and type of motif, also incorporated the artistic and social transformations of the Qajar era into the strategic placement of these designs. https://aaj.semnan.ac.ir/article_10367.html There are many examples of historical and practical structures known as bridge-dams on the rivers of Iran, which, in addition to facilitating traffic on both sides of the river, caused the water level to rise and irrigated fields and started mills. made it possible In recent years, studies have been carried out on these structures, including Amir Dam Bridge in Fars Province. The problem is that most of these studies are descriptive and are limited to the description of the history, application, shape of architectural components and materials, and in few cases the engineering mechanism and technical understanding of the ancestors in their design and construction have been discussed. The main research question of the present study is: What factors and characteristics have contributed to the durability of the historic Amir weir-bridge over the course of a thousand years, and how have the geometric features of its designed sections affected the structural strength of the bridge? Therefore, in the current research, the analysis and explanation of the forces and stresses on the Amir Bridge-Dam, in order to understand it technically, is of interest. The hypothesis of this research states that the shape characteristics of Amir Bridge-Dam have a decisive role on its stability and the design and construction of this bridge-Dam has been done based on the understanding of the forces and behavior of the structural components. The purpose of this research is to explain the static and dynamic forces on the Amir Bridge-Dam structure and a new and practical look at the construction of such historical engineering works. In this article, the most important static and hydrostatic issues affecting the stability of Amir Bridge-Dam have been investigated. This research has been done with descriptive-analytical method and data collection has been done with two documentary methods and field studies, also data analysis has been done based on the basics of structural engineering sciences. The results of the research show that the Amir Bridge has shown good stability during ten centuries, under numerous stresses and countless changes in the amount of stresses. This stability is the result of the intelligent considerations and preparations of the designer and builders, in its shape and construction, which expresses the practical knowledge of the ancients in the engineering of water structures. https://aaj.semnan.ac.ir/article_10135.html Abolhasan Ghaffari Kashani was one of the most important famous artists of the Qajar period in the field of courtly iconography, and in his paintings, in addition to his original and unique features, his complete and accurate recognition of the use of complementary colors in the scientific history of color has also been addressed. Iranian color knowledge in the works of Iranian artists has a style and visual characteristics that have been passed on from one artist to another, and Abolhasan Ghaffari was also aware of color properties and how to use the structural components of color, contrast and simultaneous contrast. In his works, color taste in color theory was observed to display iconographic works, and in the two works discussed in this study, this point has been given special attention and shows the innovation of the present study. The purpose of the present study is to study traditional color theory based on color taste and simultaneous contrast and the use of warm and cool colors in two of his portrait paintings of Qajar courtiers. The main questions in this study are as follows: How is the representation and use of complementary colors used in character development in the works of Abolhassan Ghaffari Kashani? This research is qualitative and uses a descriptive-analytical method, and the analysis of the works is based on the study of the principles of traditional color theory, focusing on complementary colors and simultaneous contrast. The findings of this study show that Abolhassan Ghaffari had a high level of color knowledge and used the use of complementary colors in his works consciously and practically, emphasizing simultaneous contrast. In the works discussed in this study, simultaneous contrast and attention to warm and cool color natures were the artist's concern in two works of Qajar courtiers for representation. https://aaj.semnan.ac.ir/article_8281.html Evaluation in the process of urban planning is a very effective step in the degree of realization of plans. Different evaluation methods are used in the stages before, during and after implementation in urban development plans. Despite the long history of preparation and implementation of urban development plans such as detailed plans, evaluation of the degree of realization and success of such plans has rarely been done. This issue ultimately leads to a gap between planning and implementation. Therefore, in order to achieve a dynamic, continuous, flexible and reality-based planning, the evaluation of detailed plans is a necessary step that cannot be ignored. Therefore, the aim of the current research is to investigate the feasibility of Tehran's 10th detailed plan using the plan-process-results evaluation method. This method integrates three different types of plan evaluation, process evaluation and results evaluation and is mainly used in the evaluations during implementation and after implementation. The criteria used in this approach are components such as participation in the implementation of the plan, guidance (for urban development), commitment of financial and human resources (related during implementation), internal coherence and communication (related before implementation), and each of these criteria, In order to measure, they are classified under several criteria. The results of the evaluation of the detailed plan of the 10th district of Tehran show the weakness of the plan in most of the evaluated criteria; Meanwhile, the criterion of internal coherence and its related sub-criteria have a better situation than other criteria with a score of 0.44 out of a total of one score. On the other hand, the criterion of participation during the implementation of the plan and the commitment of financial and human resources are the most inappropriate with scores of 0.052 and 0.087, respectively, which indicates the problems of the municipality regarding the provision of human resources and the lack of proper organization for the implementation of the plan, as well as the lack of stability in The income and expenses section is for the implementation of executive programs. https://aaj.semnan.ac.ir/article_9051.html National railway heritage is a symbol of Iran's history of technology and modern development due to its complexity and distinction from other registered works in the country's world heritage list, as well as the activity and dynamism of the railway and the need for development in this industry based on today's needs and future perspectives, for protection and management It needs a distinct and systematic framework. Lack of understanding of the concepts, values, rules, and specialized approaches in the protection process (recording, classification, and prioritization of intervention) is one of the challenges of the railway heritage in Iran. Presenting a practical and generalizable model at the national level plays a key role in improving the conditions of this heritage category and plays a role in improving the status of railway heritage and industrial and modern heritage in the socio-cultural environment of society. The purpose of this research is to examine the experiences through the documents, laws, policies, and approaches of the countries that have been influential in the construction of Iran's nationwide railway so that according to the findings, the field of achieving a management mechanism and providing a suitable system to promote the protection and support policies of the country's railway heritage is provided. In this regard, with document study, qualitative-descriptive document research, and analysis of the experiences of these countries, data was collected and after implementation in an inductive form and with a descriptive method, an interpretation along with the analysis of categories such as conceptual approach, managerial approach, social participation and the position of the structure were analyzed about the railway heritage, as a result of which it was recommended to combine the two methods of dealing with England and Japan as more efficient methods in comparison with other cases for the national railway heritage of Iran. https://aaj.semnan.ac.ir/article_9423.html 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_10016.html 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 qualitative type and in terms of the goal, is fundamental, it has a descriptive-analytical nature, and the information is by the 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. https://aaj.semnan.ac.ir/article_10096.html In the past, everyday products were not merely functional artifacts but also embodied expressions of ‎the cultural values, aesthetic sensibilities and symbolic traditions of the communities that designed ‎and used them. These material objects functioned as tangible narratives of lived experience -shaped ‎by the specific historical, geographical and social contexts in which they emerged. Items such as ‎utensils, textiles, furniture or tools often bore traces of local craftsmanship, belief systems and social ‎customs. Their forms, materials, patterns and methods of production were intimately tied to the ‎rhythms of daily life and to the collective memory of the communities that gave rise to them. In this ‎sense, products were more than objects of utility; they were cultural signifiers -vessels through which ‎communities articulated their identities, sustained intergenerational knowledge and reinforced a ‎sense of belonging. These design practices were not isolated or arbitrary but were embedded within ‎broader systems of meaning-making, where every design choice -from the curve of a handle to the ‎motif on a surface-reflected values, cosmologies and symbolic codes deeply rooted in tradition.‎Moreover, the use and circulation of such products reinforced cultural continuity and social cohesion. ‎As these artifacts were passed down, shared or ritually used, they helped sustain intangible ‎dimensions of culture, such as oral histories, collective memories and shared moral frameworks. In ‎traditional societies, the relationship between people and products was thus deeply reciprocal, just as ‎people shaped their objects, these objects, in turn, shaped people’s perceptions of the world and their ‎place within it. Design, in this context, was a profoundly cultural act-grounded in meaning, shaped ‎by community and oriented toward continuity. However, the contemporary design landscape has ‎undergone profound transformation. With the rise of globalization, the dominance of international ‎markets and the extensive adoption of mass production techniques, design has increasingly ‎gravitated toward standardized aesthetics and uniform functional models. This shift has led to a ‎marked homogenization of design languages across regions and cultures, resulting in the erosion of ‎culturally distinctive features in product forms and a weakening of the tangible links between ‎material culture and local identity.‎In response to this growing cultural flattening, the integration of intangible cultural heritage into the ‎practice of industrial design has gained recognition as a powerful and meaningful strategy. This ‎approach aims not only to preserve and honor the richness of traditional knowledge, rituals and ‎values, but also to creatively translate them into contemporary forms that are relevant to modern ‎lifestyles. Specifically, this study investigates the role and importance of transferring the values ‎inherent in Iran’s intangible cultural heritage to the design of contemporary industrial products. It ‎posits that culture-based design can function simultaneously as a medium for safeguarding cultural ‎heritage and as a catalyst for innovation, identity articulation and emotional resonance in product ‎development.‎Employing a descriptive-analytical methodology, the research undertakes a systematic conceptual ‎review grounded in thematic content analysis of a curated body of scholarly literature. The findings ‎underscore the transformative potential of culture-based design to embed deep-seated cultural ‎meanings into industrial products, thereby enabling users to re-establish connections with their ‎heritage through everyday encounters with design. At the same time, the analysis reveals a persistent ‎challenge, the absence of a structured, context-sensitive framework for identifying, interpreting and ‎operationalizing cultural values within the product design process. This gap points to the pressing ‎need for design methodologies that are not only analytically rigorous but also creatively adaptive and ‎locally grounded. Ultimately, the study advocates for the intentional and informed integration of ‎intangible cultural heritage into Iranian industrial design as a vital pathway toward promoting cultural ‎sustainability, enhancing product identity and enriching the experiential quality of user engagement.‎ https://aaj.semnan.ac.ir/article_10136.html . During the Qajar era, tile designers decorated the interior and exterior surfaces of both religious and non-religious buildings using epic, lyrical, and religious stories as well as historical narratives. A section of the southwestern wall of Golestan Palace is decorated with a feast theme, executed in the haft-rang tile technique. The theme of the feast, similar to artworks from the Safavid period, is depicted in an open space with the presence of musicians and servants. However, a notable difference is the inclusion of a punishment scene in one corner of the composition, which likely represents a significant event from the early Qajar period. As a cultural archetype, the feast traces its origins to the pre-Islamic civilizations of Mesopotamia and Iran. Numerous works featuring this theme have endured from the Sassanid era through the Qajar period. The depiction of the feast theme alongside hunting scenes, and their placement in a part of the palace leading to Arg Square and the bazaar, not only served a decorative purpose but likely conveyed a specific message, making it worthy of further examination. The primary objective of this research, in addition to identifying and introducing the feast of "Loti Saleh" assembly depicted in the tile frames of the southern wall of the Golestan Palace courtyard, is to analyze and interpret this artwork based on historical documents and sources to uncover its underlying symbolic values. The main research question is: What are the characteristics of the narrative the feast of "Loti Saleh" depicted in the tile frames on the southwestern wall of the Golestan Palace courtyard, and what symbolic values does it convey? This article aims to offer a new interpretation of the ancient theme of feasting in the decorative arts of the Qajar era by employing Erwin Panofsky's three-stage method of iconological description, analysis, and interpretation. This research employs a documentary and fieldwork method. Research findings indicate that feast gatherings have their roots in the culture and traditions of pre-Islamic Iran and are often depicted alongside battle or hunting scenes. The theme depicted on the southwestern wall of Golestan Palace, based on an iconological interpretation, depicts the feast of "Jafar Qoli Khan Qajar" and "Loti Saleh". After this feast, "Agha Mohammad Khan Qajar" used it as a pretext to severely punish both men. According to historical records, given Jafar Qoli Khan Qajar's status and influence, his death—under the pretext of attending this nightly feast—played a crucial role in consolidating Fath Ali Shah Qajar's rule over Iran. https://aaj.semnan.ac.ir/article_10180.html 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_10359.html The cultural, social, and technological transformations of recent decades have increasingly confronted the future of Iranian music with complexities and uncertainties. These changes have challenged many traditional concepts and assumptions about the audience, content, style, and structure of music. Cultural policymakers and professionals are facing new challenges that could significantly alter existing directions and patterns. The aim of this study is to identify and analyze the drivers and strategic uncertainties affecting the future of Iranian music by 2035. This research was conducted with a qualitative approach using structural analysis methods. Data were gathered through documentary studies and in-depth interviews with experts. The target population included futurists, music researchers, cultural sociologists, and experienced music professionals. In this study, 15 key factors influencing the future of Iranian music were identified and analyzed using a cross-impact matrix and the MicMac software. The results showed that five key drivers include: the expansion of online communication technologies and digital distribution, the approach of official music policymakers, innovations in music content production and distribution, transparency and efficiency of economic processes, and changes in social values and norms. Additionally, strategic uncertainties were identified, including potential changes in government policies, technological advancements such as artificial intelligence and virtual reality, shifts in the cultural preferences of future generations, and economic threats arising from global changes. This study contributes to a better understanding of the challenges ahead and helps predict potential future pathways for Iranian music. The findings of this research can serve as a basis for decision-making for policymakers and stakeholders in music, assisting them in navigating transformations and making long-term plans in this field. https://aaj.semnan.ac.ir/article_10360.html 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_10361.html 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_10413.html Belief in supernatural entities and protective talismans has historically shaped traditional cultures, particularly among nomadic communities, to address existential fears and threats. The Al-Bavari motif in Bakhtiari nomadic handmade serves as a ritual symbol to counter the mythical entity "Al," a perceived threat to postpartum women and newborns. This study employs a descriptive-analytical method to explore the ritualistic function of the Al-belief motif in Bakhtiari textiles and trace its historical roots, adopting Howard Morphy’s perspective, which views art as a social act that reproduces cultural and spiritual identity. Data were collected through library research, field observations, and analysis of 10 handwoven samples (including rugs, salt bags, bedding covers, and saddlebags). Findings indicate that the Al-Bavari motif, characterized by single- or double-horned triangular patterns, acts as a protective talisman against "Al" while embodying Bakhtiari intangible cultural heritage. Integrated with rituals such as placing iron knives, drawing Maryam’s line, or using garlic and wolf-related talismans, the motif ensures physical and psychological security for postpartum women. Historically, it aligns with Elamite fertility symbols, its transformation into a protective talisman reflecting the Bakhtiari’s adaptation to nomadic life. The Al-Bavari motif exemplifies the interplay of art, belief, and daily life. Female weavers, as cultural agents, preserve ethnic identity and transmit spiritual knowledge across generations through this motif. This study emphasizes the need to safeguard these handmade as cultural heritage and recommends comparative analyses of the motif among other Iranian ethnic groups. https://aaj.semnan.ac.ir/article_10414.html The twelve-day war between Iran and Israel, though brief, left profound and lasting effects on the social, psychological, and cultural fabric of Iranian society. The suddenness and intensity of the attacks, especially on Tehran, resulted in widespread destruction of residential areas, leaving behind not only material ruins but also spiritual and emotional burdens. Photographs captured by professional and amateur photographers documented these ruins, revealing layers of human experience marked by loss, despair, and dislocation. At first glance, these images might appear to convey only hopelessness. However, drawing on Ernst Bloch’s theory of utopia and the principle of hope, it becomes possible to perceive within these photographs sparks of potential for a better future, embedded in human consciousness and imagination. Bloch’s concept of the “Not-Yet” is central to understanding this potential. Human beings, according to Bloch, are incomplete, possessing unrealized capacities that exist within constraints imposed by social and historical conditions. These unrealized potentials, or the “Not-Yet,” point toward what could become, offering a latent vision of transformation. The realization of this latent potential depends on the interplay between the “Not-Yet” and what Bloch terms “possibility,” which refers to the conditions and capacities that allow potentialities to manifest. Possibility can be formal, cognitive, objective, or dialectical, but only dialectical possibility, which engages with social reality and is not bound by predetermined conditions, allows for actualization in the real world. Hope emerges from this relationship, serving as both a motivational force and a directional guide toward a desirable future. Hope is anchored in the concepts of the front, the novum, and matter, which, together, provide the framework for anticipating and shaping what is not yet realized.Within this theoretical framework, the photographs of ruins can be interpreted as utopian expressions. They are not complete representations but fragmented and disrupted forms that echo Bloch’s notion of “ruin.” These ruins, when combined with human perception and emotional engagement, form a metaphorical “carpet,” in which disparate elements, contradictions, and losses are woven together into an imagined whole. This imagined construction allows viewers to perceive the potential for reconstruction, renewal, and hope within spaces otherwise defined by destruction. The “carpet” represents the process by which the observer integrates formal and emotional cues to construct a utopian vision, transforming the immediate experience of devastation into a site of imaginative possibility. Selected photographs of the twelve-day war illustrate this dynamic. One image depicts a demolished residential building viewed through a hole in a wall, symbolizing the passage from loss to potential reconstruction. The ruined home, stripped of its material presence, evokes absence and grief, yet openings, light, and residual elements like curtains suggest latent possibilities, or the novum, for new life. Another photograph shows rescue workers amidst collapsed buildings. Here, hope emerges not directly from the ruins themselves but from human action—the intervention of rescuers embodies dialectical possibility, signaling the potential for survival, recovery, and the reconstruction of life. In a third example, a woman stands on the debris of a destroyed building, waving the Iranian flag. Her presence, situated between the ruined landscape and the city horizon, symbolizes the role of human agency in actualizing utopian potential. She represents the conscious enactment of hope, bridging the past’s destruction and the anticipated future of societal renewal. These images, when analyzed through Bloch’s framework, demonstrate that hope is not merely an abstract sentiment but a product of human perception, imagination, and engagement with possibility. The photographs of ruins do more than record devastation; they serve as catalysts for social imagination, illustrating how communities might transform absence into presence, loss into creation, and despair into the pursuit of a more desirable future. By integrating elements of the “Not-Yet,” possibility, and human agency, these images enact what Bloch describes as a utopian consciousness, allowing viewers to mentally reconstruct spaces and experiences, generating hope that is both active and directed toward a future not yet realized. in conclusion, the analysis of photographs from the twelve-day war reveals that, despite their depiction of destruction and human suffering, they possess the capacity to embody hope and utopian vision. Through the interaction of ruins, human action, and imaginative perception, these images create a metaphorical “carpet” that weaves together fragments of loss, unfulfilled potential, and the possibility of renewal. The study demonstrates that post-war visual culture can provide more than documentation of trauma; it can act as a vehicle for social imagination, collective consciousness, and the envisioning of a better future. Hope, in this context, is both an interpretive and practical tool, allowing individuals and communities to conceive of reconstruction and to engage actively with possibilities for change. Photography thus becomes a medium through which the human experience, transformed into a stimulus for reflection, aspiration, and imaginative reconstruction, aligning with Bloch’s principle of hope and the transformative potential of utopian thinking. https://aaj.semnan.ac.ir/article_10499.html Sasanian bullae or stamped clay labels are data that were attached to administrative and commercial letters or packages. Sasanian bullae are indicative of the administrative structure, commerce and other cultural concepts, which usually differ from each other in the sealed figures, size and the number of times they have been stamped. In these data, we encounter the ranks and positions of those who dealt with the clay seals, as well as praises, prayers, geometric symbols, and other cultural phenomena of the Sasanian period. The symbols, especially the dynamic and static representations of animals and humans on the bullae, indicate seals that are characterized by prominence and stability. Among these, some human representations and most animal species are adorned with celestial symbols, wearing a divine covering. Also, the inscriptions on the bullae written in both Pahlavi script-inscriptional and cursive convey the enduring and dynamic culture of Iran and the Zoroastrian faith and other beliefs during that period. These inscriptions also mention the names and recognized administrative positions of this era which despite their simplicity, reflect a well-organized social structure. Nevertheless, what this research presents includes the ranks mentioned on the clay seals, the diversity of names and representations of individuals, the accuracy or inaccuracy of attributing symbols, especially monograms, human busts, and animal species to clergy in some of 50 unregistered archaeological bullae from the National Museum's archive. Although many of these bullae are worn and damaged, reading their symbols, and Pahlavi inscriptions will significantly aid us in reconstructing the social and artistic fabric of the Sasanian kingdom. To achieve this, we utilized library studies and documentation of these data, along with the challenging reading of the Pahlavi inscriptions on the Sasanian bullae. Our aim in writing this article is to examine the sociology of the Sasanian period based on the inscriptions, designs and symbols of the bullae in the archives of the National Museum. To better understand these features, the symbols and inscriptions have been examined. Undoubtedly, since seals represented an advanced administrative structure throughout the Sasanian Empire, their reflection on bullae is an attempt to create culture and commemorate valuable cultural heritage. By examining the unprovenanced bullae held in the National Museum's treasury, it is possible to address, to some extent, certain historical or scientific ambiguities or unspoken aspects. Processing the concepts sealed onto these bullae assists us in better understanding Sasanian culture and society, for instance, by clarifying attributions commonly made when interpreting names and motifs, particularly symbols. To achieve this, we will focus on names, titles, and, among the motifs, monograms and human busts, as well as animal species, especially rams and goats, which reflect the ritualistic foundation of Sasanian society, and the Pahlavi inscriptions on the bullae, which represent name prefixes or family names, inscription symbols or abbreviations, programs or multifaceted attributes, organizational positions, place names, personal names, eulogies, and ideograms (concepts). The present research, adopting a historical and analytical approach to documentation, including photography, design analysis, typology, reading Pahlavi inscriptions, and reinterpreting the historical themes of 50 bullae from the museum's collection, identified by the code 3722 K-B, has been conducted. Here, these bullae are further identified by the addition of sequential numbers.