University of Guilan Interdisciplinary Researches of Art 3060-7043 3 1 2025 02 11 Reinterpreting some traditional arts on the edge of Anzali wetland with the approach of evaluating the millennium ecosystem Reinterpreting some traditional arts on the edge of Anzali wetland with the approach of evaluating the millennium ecosystem 1 30 8465 10.22124/ira.2025.29447.1045 FA Abolghasem Dadvar Prof. Department of Art Research, Al-Zahra University,Tehran, Iran Fahimeh Eshghi Ph.D. Candidate, Department of Art Research, Al-Zahra University,Tehran,Iran Journal Article 2024 12 31 Introduction: Art and culture have long been intertwined, and understanding the cultural context is essential for interpreting art. Global environmental studies reveal that protecting natural ecosystems is impossible without recognizing the cultures that have evolved alongside them. Sustainable balance in ecological and social systems is achievable by safeguarding both biodiversity and cultural diversity. The "Millennium Ecosystem Assessment" (2001–2005) laid a scientific foundation for sustainable conservation and use of natural ecosystems, emphasizing the role of cultural ecosystem services. It identified art as an inspiring cultural service. Traditional arts, deeply rooted in culture, customs, and beliefs, require interdisciplinary research to analyze their connection to the environment. Such research can foster better human-environment interactions, enhance cultural understanding, and support environmental conservation. This study explored the intersection of traditional arts and cultural services in preserving Anzali Wetland as a case study. Background: Previous studies have addressed various aspects of Anzali Wetland and its conservation. Talaei and Daryadel (2015) examined legal challenges to the wetland’s preservation. Eshqi, Afhami, and Danekar (2023) assessed the public perception of the wetland’s cultural services to encourage participation in its protection. Other studies, such as those by Nikfetrat and Beitraf (2016), Norouzi, Monsef, and Nouri (2023), and Moghimi-Nejad et al. (2023), have investigated the role of culture in sustainable architecture, rural development, and the relationship between traditional arts and handicrafts, respectively. Shah-Hosseini and Hajian-Faroshani (2023) conducted a comparative study on basket weaving in Gilan and Hormozgan provinces, while Aghakhani Bijani and Fasharki (2020) analyzed the social functions of rituals in Ferdowsi's Shahnameh. However, no interdisciplinary research has explored the connection between traditional arts and the cultural ecosystem services of natural environments. This study addresses this gap. Objective: The study aims to raise awareness about the cultural services of Anzali Wetland, one of the most vulnerable ecosystems, to encourage its conservation. Research Question: How do the traditional arts of the local communities around Anzali Wetland contribute to its conservation? Methodology: Through library research and examination of rural divisions in Gilan province and maps from Iran’s national statistics portal, 42 villages and one city within a 10-kilometer radius of Anzali Wetland were identified as target settlements. Four types of traditional arts—traditional architecture, basket weaving, Lutka (wooden boat) crafting, and traditional rituals—were selected as cultural services. Questionnaires were distributed to local tourism authorities and village leaders to determine the presence of these arts over the past three years. Data were analyzed descriptively and analytically. Findings and Discussion: The results revealed that traditional architecture and rituals have disappeared, while Lutka crafting and basket weaving are in decline. Traditional Architecture: Once a vital part of Guilan’s culture, traditional architecture has faded due to modern construction methods. Incorporating the climate-responsive and structural features of traditional Guilanese architecture into contemporary designs may address this loss. Efforts like showcasing traditional homes in Gilan's Rural and Cultural Heritage Museum have been somewhat effective but insufficient. Lutka Crafting: This traditional art and industry, once central to transportation and fishing, has nearly vanished. Historically, abundant forest resources provided the raw materials for crafting wooden boats, employing many locals. However, environmental degradation, deforestation, lack of interest from younger generations, urban migration, and the rise of fiberglass boats have led to its decline. Today, only four active craftsmen remain in Bandar Anzali and two in Abkenar village. These artisans continue their craft out of a desire to preserve their ancestral heritage and local culture. Basket Weaving: This handicraft, which uses locally available natural materials, remains relatively active due to its low cost, simple tools, and suitability for small spaces. It is also a significant source of employment, particularly for women. Financial support for women basket weavers has contributed to the craft’s continuity, but it is now limited to Bandar Anzali and Abkenar. Factors like urbanization and the influx of cheap, imported crafts have reduced its popularity. Recent innovations in basket weaving, however, have opened international markets, generating substantial income. Traditional Rituals: Traditional rituals have disappeared from the studied settlements. In the past, rituals helped people cope with natural forces they could not control, fostering community resilience. Over time, increased scientific knowledge, societal shifts from traditional to modern lifestyles, and changing perceptions have diminished the significance of rituals. According to Durkheim, rituals play a vital role in reinforcing shared beliefs and practices, which strengthen social cohesion. Reviving traditional rituals can enhance cultural identity, self-esteem, and social pride. Conclusion: Cultural values, including traditional arts, are integral to sustainable development and ecosystem conservation. In Anzali Wetland, preserving and revitalizing traditional arts such as architecture, basket weaving, and Lutka crafting can enhance public awareness and participation in conservation efforts. Supporting these cultural practices and raising awareness of their environmental significance can foster a deeper connection between local communities and their natural surroundings, ultimately contributing to the sustainable protection of Anzali Wetland. Introduction: Art and culture have long been intertwined, and understanding the cultural context is essential for interpreting art. Global environmental studies reveal that protecting natural ecosystems is impossible without recognizing the cultures that have evolved alongside them. Sustainable balance in ecological and social systems is achievable by safeguarding both biodiversity and cultural diversity. The "Millennium Ecosystem Assessment" (2001–2005) laid a scientific foundation for sustainable conservation and use of natural ecosystems, emphasizing the role of cultural ecosystem services. It identified art as an inspiring cultural service. Traditional arts, deeply rooted in culture, customs, and beliefs, require interdisciplinary research to analyze their connection to the environment. Such research can foster better human-environment interactions, enhance cultural understanding, and support environmental conservation. This study explored the intersection of traditional arts and cultural services in preserving Anzali Wetland as a case study. Background: Previous studies have addressed various aspects of Anzali Wetland and its conservation. Talaei and Daryadel (2015) examined legal challenges to the wetland’s preservation. Eshqi, Afhami, and Danekar (2023) assessed the public perception of the wetland’s cultural services to encourage participation in its protection. Other studies, such as those by Nikfetrat and Beitraf (2016), Norouzi, Monsef, and Nouri (2023), and Moghimi-Nejad et al. (2023), have investigated the role of culture in sustainable architecture, rural development, and the relationship between traditional arts and handicrafts, respectively. Shah-Hosseini and Hajian-Faroshani (2023) conducted a comparative study on basket weaving in Gilan and Hormozgan provinces, while Aghakhani Bijani and Fasharki (2020) analyzed the social functions of rituals in Ferdowsi's Shahnameh. However, no interdisciplinary research has explored the connection between traditional arts and the cultural ecosystem services of natural environments. This study addresses this gap. Objective: The study aims to raise awareness about the cultural services of Anzali Wetland, one of the most vulnerable ecosystems, to encourage its conservation. Research Question: How do the traditional arts of the local communities around Anzali Wetland contribute to its conservation? Methodology: Through library research and examination of rural divisions in Gilan province and maps from Iran’s national statistics portal, 42 villages and one city within a 10-kilometer radius of Anzali Wetland were identified as target settlements. Four types of traditional arts—traditional architecture, basket weaving, Lutka (wooden boat) crafting, and traditional rituals—were selected as cultural services. Questionnaires were distributed to local tourism authorities and village leaders to determine the presence of these arts over the past three years. Data were analyzed descriptively and analytically. Findings and Discussion: The results revealed that traditional architecture and rituals have disappeared, while Lutka crafting and basket weaving are in decline. Traditional Architecture: Once a vital part of Guilan’s culture, traditional architecture has faded due to modern construction methods. Incorporating the climate-responsive and structural features of traditional Guilanese architecture into contemporary designs may address this loss. Efforts like showcasing traditional homes in Gilan's Rural and Cultural Heritage Museum have been somewhat effective but insufficient. Lutka Crafting: This traditional art and industry, once central to transportation and fishing, has nearly vanished. Historically, abundant forest resources provided the raw materials for crafting wooden boats, employing many locals. However, environmental degradation, deforestation, lack of interest from younger generations, urban migration, and the rise of fiberglass boats have led to its decline. Today, only four active craftsmen remain in Bandar Anzali and two in Abkenar village. These artisans continue their craft out of a desire to preserve their ancestral heritage and local culture. Basket Weaving: This handicraft, which uses locally available natural materials, remains relatively active due to its low cost, simple tools, and suitability for small spaces. It is also a significant source of employment, particularly for women. Financial support for women basket weavers has contributed to the craft’s continuity, but it is now limited to Bandar Anzali and Abkenar. Factors like urbanization and the influx of cheap, imported crafts have reduced its popularity. Recent innovations in basket weaving, however, have opened international markets, generating substantial income. Traditional Rituals: Traditional rituals have disappeared from the studied settlements. In the past, rituals helped people cope with natural forces they could not control, fostering community resilience. Over time, increased scientific knowledge, societal shifts from traditional to modern lifestyles, and changing perceptions have diminished the significance of rituals. According to Durkheim, rituals play a vital role in reinforcing shared beliefs and practices, which strengthen social cohesion. Reviving traditional rituals can enhance cultural identity, self-esteem, and social pride. Conclusion: Cultural values, including traditional arts, are integral to sustainable development and ecosystem conservation. In Anzali Wetland, preserving and revitalizing traditional arts such as architecture, basket weaving, and Lutka crafting can enhance public awareness and participation in conservation efforts. Supporting these cultural practices and raising awareness of their environmental significance can foster a deeper connection between local communities and their natural surroundings, ultimately contributing to the sustainable protection of Anzali Wetland.

https://ira.guilan.ac.ir/article_8465_2484010c98ee537c35b33e87059f51e3.pdf

University of Guilan Interdisciplinary Researches of Art 3060-7043 3 1 2025 05 15 The Role of Packaging Design in Preserving and Revitalizing Gilan’s Handicrafts and Increasing the Added Value of Travel Souvenirs The Role of Packaging Design in Preserving and Revitalizing Gilan’s Handicrafts and Increasing the Added Value of Travel Souvenirs 31 62 8759 10.22124/ira.2025.30257.1057 FA Hamideh Beigi Assistant Professor, Geography and Urban Planning Department, Literature and Humanities Faculty, University of Guilan, Rasht, Iran Journal Article 2025 04 02 Background: Handicrafts and traditional souvenirs are vital expressions of regional identity and heritage, embodying the cultural memory and economic resilience of local communities. In Iran’s Gilan province—a region renowned for its rich traditions in weaving, pottery, woodwork, and culinary crafts—these art forms serve as both tangible connections to the past and as economic assets in tourism-driven development. However, despite their intrinsic value, the survival of these crafts is increasingly threatened by market saturation, diminished cultural visibility, and outdated marketing strategies. Among these, the role of packaging is often neglected, although it significantly influences consumer decisions, especially in competitive markets. Packaging not only protects the physical integrity of products but also enhances their visual appeal and communicates their cultural significance to diverse audiences. Internationally, packaging is a strategic tool for brand representation and cultural transmission (Kotler & Keller, 2016). It also contributes to product differentiation in tourism economies, where consumers often make emotional, rather than utilitarian, purchasing decisions (Wu, 2020). In Gilan, however, packaging for handicrafts and local souvenirs remains largely underdeveloped—limited by high costs, inadequate materials, and insufficient design expertise. Consequently, these products often fail to capture the attention of tourists who increasingly seek unique, aesthetically pleasing, and sustainable items that carry cultural depth. Studies such as Dawood and El-Din (2019) and Dong (2018) underscore the value of culturally meaningful packaging in enriching tourist experiences and strengthening destination branding. In this context, there is an urgent need for an integrated packaging strategy that can connect Gilan’s rich cultural heritage with modern consumer expectations. Objectives: This study aims to investigate the multifaceted role of packaging design in preserving and revitalizing Gilan’s traditional handicrafts and enhancing their value as tourism commodities. It specifically explores how packaging influences buyer perceptions and behavior, especially among domestic and international tourists. Additionally, the study seeks to identify the expectations of key stakeholders—tourists, artisans, and vendors—regarding packaging aesthetics, functionality, and sustainability. Finally, it proposes a strategic packaging model tailored to Gilan’s local identity and market conditions, integrating elements of cultural symbolism, ecological responsibility, and economic feasibility. Method: To achieve these objectives, the study adopted a descriptive-analytical methodology based on a mixed-methods approach that combined both qualitative and quantitative techniques. Data collection was carried out in three phases: first, through qualitative methods involving in-depth, semi-structured interviews with 20 artisans, 15 vendors, and 30 tourists to explore their experiences, expectations, and challenges regarding the packaging of local handicrafts; second, using quantitative methods, structured surveys were administered to assess preferences and attitudes toward key packaging attributes such as durability, visual appeal, informational content, and environmental sustainability; and third, through secondary research, a thorough review of relevant literature and comparative analysis of successful international packaging strategies was conducted to establish a conceptual framework. For the qualitative data, Grounded Theory methodology was used, involving open coding to extract primary themes, axial coding to organize these into broader categories, and selective coding to construct a theoretical model linking packaging quality to consumer engagement and market effectiveness. Quantitative data were analyzed using descriptive statistics, including mean scores and frequency distributions, as well as correlation analysis to examine the relationships between packaging design features and consumer behavior within the sample. Result: Findings from the study yielded several key insights across different dimensions of packaging design and its impact. Among the most significant packaging challenges reported by artisans were high design costs (35%), lack of locally available raw materials (25%), and insufficient knowledge of packaging standards (20%). Vendors also pointed to inconsistencies in visual identity and a lack of sustainable practices as factors that weakened market appeal and discouraged repeat purchases. Tourists demonstrated a strong preference for packaging that offered durability (40%), visual appeal (30%), and informative labeling (16.6%), with an average importance score of 4.7 out of 5, underscoring packaging’s decisive influence on purchase decisions. From an economic perspective, 70% of vendors observed increased sales linked to attractive packaging, while 48% acknowledged that well-designed packaging enabled them to raise product prices, emphasizing the role of design in boosting perceived value and allowing for price flexibility. In response to these findings, a five-pronged strategic packaging model was proposed: (1) cultural grounding, by incorporating traditional symbols such as the Marlik goat, Masuleh architecture, and local textiles like chadorshab and ghalamkar fabrics; (2) sustainability, through the use of recyclable, biodegradable materials and reusable containers like bamboo baskets and fabric wraps; (3) luxury branding, involving premium presentation with woodcraft, Persian calligraphy, and refined aesthetics for export markets; (4) experiential packaging, by integrating sensory features such as scented boxes and QR codes linking to digital storytelling; and (5) accessibility and practicality, with small, lightweight formats that cater to varying tourist needs and budgets. Furthermore, packaging that conveyed the narrative of a product—highlighting its origin, craftsmanship, and cultural significance—was found to foster stronger emotional connections with consumers, significantly increasing both their willingness to purchase and their brand loyalty. Conclusion: Packaging design, when aligned with cultural values, sustainable practices, and strategic branding, emerges as a powerful lever for revitalizing Gilan’s handicrafts and expanding their appeal in both domestic and international tourism markets. This study emphasizes that packaging is not merely a functional component but a cultural and emotional interface that can redefine consumer engagement with local products. Effective packaging elevates the symbolic value of handicrafts, supports cultural storytelling, and enhances the economic viability of craft-based livelihoods. To implement such strategies, coordinated efforts from local authorities, artisans, design experts, and marketers are required. Educational programs on packaging design, subsidies for sustainable materials, and collaborative branding platforms could further facilitate this transformation. Lessons from global markets, such as Japan and Italy, show that combining traditional aesthetics with modern presentation standards can significantly enhance both brand identity and export capacity. In Gilan, a strategic investment in culturally grounded, experience-driven packaging could strengthen the region’s tourism economy, support craft sustainability, and preserve its unique cultural legacy for future generations. Background: Handicrafts and traditional souvenirs are vital expressions of regional identity and heritage, embodying the cultural memory and economic resilience of local communities. In Iran’s Gilan province—a region renowned for its rich traditions in weaving, pottery, woodwork, and culinary crafts—these art forms serve as both tangible connections to the past and as economic assets in tourism-driven development. However, despite their intrinsic value, the survival of these crafts is increasingly threatened by market saturation, diminished cultural visibility, and outdated marketing strategies. Among these, the role of packaging is often neglected, although it significantly influences consumer decisions, especially in competitive markets. Packaging not only protects the physical integrity of products but also enhances their visual appeal and communicates their cultural significance to diverse audiences. Internationally, packaging is a strategic tool for brand representation and cultural transmission (Kotler & Keller, 2016). It also contributes to product differentiation in tourism economies, where consumers often make emotional, rather than utilitarian, purchasing decisions (Wu, 2020). In Gilan, however, packaging for handicrafts and local souvenirs remains largely underdeveloped—limited by high costs, inadequate materials, and insufficient design expertise. Consequently, these products often fail to capture the attention of tourists who increasingly seek unique, aesthetically pleasing, and sustainable items that carry cultural depth. Studies such as Dawood and El-Din (2019) and Dong (2018) underscore the value of culturally meaningful packaging in enriching tourist experiences and strengthening destination branding. In this context, there is an urgent need for an integrated packaging strategy that can connect Gilan’s rich cultural heritage with modern consumer expectations. Objectives: This study aims to investigate the multifaceted role of packaging design in preserving and revitalizing Gilan’s traditional handicrafts and enhancing their value as tourism commodities. It specifically explores how packaging influences buyer perceptions and behavior, especially among domestic and international tourists. Additionally, the study seeks to identify the expectations of key stakeholders—tourists, artisans, and vendors—regarding packaging aesthetics, functionality, and sustainability. Finally, it proposes a strategic packaging model tailored to Gilan’s local identity and market conditions, integrating elements of cultural symbolism, ecological responsibility, and economic feasibility. Method: To achieve these objectives, the study adopted a descriptive-analytical methodology based on a mixed-methods approach that combined both qualitative and quantitative techniques. Data collection was carried out in three phases: first, through qualitative methods involving in-depth, semi-structured interviews with 20 artisans, 15 vendors, and 30 tourists to explore their experiences, expectations, and challenges regarding the packaging of local handicrafts; second, using quantitative methods, structured surveys were administered to assess preferences and attitudes toward key packaging attributes such as durability, visual appeal, informational content, and environmental sustainability; and third, through secondary research, a thorough review of relevant literature and comparative analysis of successful international packaging strategies was conducted to establish a conceptual framework. For the qualitative data, Grounded Theory methodology was used, involving open coding to extract primary themes, axial coding to organize these into broader categories, and selective coding to construct a theoretical model linking packaging quality to consumer engagement and market effectiveness. Quantitative data were analyzed using descriptive statistics, including mean scores and frequency distributions, as well as correlation analysis to examine the relationships between packaging design features and consumer behavior within the sample. Result: Findings from the study yielded several key insights across different dimensions of packaging design and its impact. Among the most significant packaging challenges reported by artisans were high design costs (35%), lack of locally available raw materials (25%), and insufficient knowledge of packaging standards (20%). Vendors also pointed to inconsistencies in visual identity and a lack of sustainable practices as factors that weakened market appeal and discouraged repeat purchases. Tourists demonstrated a strong preference for packaging that offered durability (40%), visual appeal (30%), and informative labeling (16.6%), with an average importance score of 4.7 out of 5, underscoring packaging’s decisive influence on purchase decisions. From an economic perspective, 70% of vendors observed increased sales linked to attractive packaging, while 48% acknowledged that well-designed packaging enabled them to raise product prices, emphasizing the role of design in boosting perceived value and allowing for price flexibility. In response to these findings, a five-pronged strategic packaging model was proposed: (1) cultural grounding, by incorporating traditional symbols such as the Marlik goat, Masuleh architecture, and local textiles like chadorshab and ghalamkar fabrics; (2) sustainability, through the use of recyclable, biodegradable materials and reusable containers like bamboo baskets and fabric wraps; (3) luxury branding, involving premium presentation with woodcraft, Persian calligraphy, and refined aesthetics for export markets; (4) experiential packaging, by integrating sensory features such as scented boxes and QR codes linking to digital storytelling; and (5) accessibility and practicality, with small, lightweight formats that cater to varying tourist needs and budgets. Furthermore, packaging that conveyed the narrative of a product—highlighting its origin, craftsmanship, and cultural significance—was found to foster stronger emotional connections with consumers, significantly increasing both their willingness to purchase and their brand loyalty. Conclusion: Packaging design, when aligned with cultural values, sustainable practices, and strategic branding, emerges as a powerful lever for revitalizing Gilan’s handicrafts and expanding their appeal in both domestic and international tourism markets. This study emphasizes that packaging is not merely a functional component but a cultural and emotional interface that can redefine consumer engagement with local products. Effective packaging elevates the symbolic value of handicrafts, supports cultural storytelling, and enhances the economic viability of craft-based livelihoods. To implement such strategies, coordinated efforts from local authorities, artisans, design experts, and marketers are required. Educational programs on packaging design, subsidies for sustainable materials, and collaborative branding platforms could further facilitate this transformation. Lessons from global markets, such as Japan and Italy, show that combining traditional aesthetics with modern presentation standards can significantly enhance both brand identity and export capacity. In Gilan, a strategic investment in culturally grounded, experience-driven packaging could strengthen the region’s tourism economy, support craft sustainability, and preserve its unique cultural legacy for future generations.

https://ira.guilan.ac.ir/article_8759_71b4008bcc8787b68f6ada22bde0c212.pdf

University of Guilan Interdisciplinary Researches of Art 3060-7043 3 1 2025 03 04 Examining the signature as a work of art – mass Examining the signature as a work of art – mass 63 86 8575 10.22124/ira.2025.29858.1050 FA Hassan Rajabinejad Moghaddam Papkiadeh Assistant professor of photography department of Isfahan University of Art, Isfahan, Iran 0000-0002-8102-8958 Journal Article 2025 02 15 Background: In ancient times, humans employed various methods to commit and guarantee the counterparty in transactions and social interactions, in order to oblige them to a specific matter, and for that commitment to be verifiable and enforceable. In this path, humans achieved accomplishments such as the use of seals, fingerprints, etc. throughout different eras. Still, due to the obstacles in the way of using each of these achievements, and following the expansion of capitalism and the industrialization of societies, the promotion of general literacy and knowledge, and based on a social contract, humans turned to the use of signatures in the form of a visual form and as a symbolic sign of their identity, which found universal application. Objectives and Questions: This article seeks to introduce, examine, and explain the effect of the signature as a work of art - mass, which is also capable of reproduction, using the views of Walter Benjamin in the article "The Work of Art in the Age of Mechanical Reproduction" and Theodor Adorno's critiques of it; another secondary goal is to explain the criteria and factors that play a role in introducing the signature as an artistic work. To achieve these goals, the present research seeks to answer the following main and secondary questions, respectively: How can the signature be explained and introduced as a work of art - mass? By what criteria can a signature be considered an artistic work? It is worth mentioning that the scope of this research does not address modern methods of signature, for example, electronic or digital signatures, or new devices related to identifying people's identities through various methods. Research Method: In this qualitative study, the research method is descriptive-analytical in terms of strategy, and in terms of the ultimate goal and the nature of the research topic, it is considered a fundamental-theoretical and applied type. The initial information and findings are collected by reviewing the written, electronic, and visual literature related to the signature, and are analyzed by descriptive, explanatory, and interpretive methods. The photos and images used in this article are selected in line with the topic and issues raised in the main text and from various sources. The present article uses a historical methodology for analyzing qualitative data, which is based on an inductive (part-to-whole) approach and seeks to identify the pathology and truth so that in this way it can perform a logical and final analysis of the research-based on the logical connection and continuity of opinions and events, which ultimately this article concludes with discussion and conclusion using the research findings and an interpretive and critical approach. Results: According to the opinions expressed by Benjamin in the treatise "The Work of Art in the Age of Mechanical Reproduction" and Adorno's critiques of it, the analysis of the data obtained shows that the effect of the signature among the artistic works is considered an exceptional work because its reproducibility is done without the use of technical and mechanical reproduction tools, but unlike Benjamin's opinion, it is not produced in bulk, but is created manually based on the need in everyday life, and the nature of its creation is inherent in the nature and essence of every human being; and at any time and any place that a person wills, it is created uniquely, therefore it always has authenticity, thus, contrary to Benjamin's views, with the universalization of the signature, its original character is always preserved, and despite its repetition, it remains unique and original, and its manifestation is preserved. According to Benjamin, despite the familiarity of the masses with modern works of art, the aesthetic thought and visual literacy of the masses have increased over time, and its effect can be seen in the creation of artistic works such as signatures as well. On the other hand, the creation and use of signatures in the modern era has caused art not to remain only in the possession of the elite of society and the supervision of capital, and has spread among the masses, and in this way, class differences and social inequality have also decreased, therefore it can be said that contrary to Adorno's opinion, the effect of the signature as a modern art is not far from the masses or the general public; and although the signature is a mass work and the masses create and use it independently in various situations of everyday life and in the issues of the modern world, such as political, social, economic and cultural events, through individual taste and creativity, it is not included in Adorno's definition of mass art, because the masses here are not caught in the culture industry and the purposeful production of standard and template culture by the ruling system, and they create it with complete intellectual independence, and also contrary to Adorno's opinion, the use of the signature as an artistic work has not only caused the backwardness of the masses, but in addition to raising the flag of the culture of the masses, it has also provided the conditions for progress in daily activities and in the market, and has led to the expansion of communication between the masses, and the masses, in addition to being consumers of the signature, are also producers and creators of an artistic and beautiful work. Studies show that the signature can be introduced as an artistic work with criteria and characteristics such as structure, medium and form, text or context, time and place of creation of the work, which are considered as criteria and indicators of an artistic work, and contrary to the belief that Adorno believed in, the artistic work does not only include fine arts or high arts that existed in a place such as museums and or out of the reach of the masses or were only created by artists, but now everyone can create a work such as a signature, and everyone can be considered or named as an artist, and his signature can also be considered as an artistic work. Background: In ancient times, humans employed various methods to commit and guarantee the counterparty in transactions and social interactions, in order to oblige them to a specific matter, and for that commitment to be verifiable and enforceable. In this path, humans achieved accomplishments such as the use of seals, fingerprints, etc. throughout different eras. Still, due to the obstacles in the way of using each of these achievements, and following the expansion of capitalism and the industrialization of societies, the promotion of general literacy and knowledge, and based on a social contract, humans turned to the use of signatures in the form of a visual form and as a symbolic sign of their identity, which found universal application. Objectives and Questions: This article seeks to introduce, examine, and explain the effect of the signature as a work of art - mass, which is also capable of reproduction, using the views of Walter Benjamin in the article "The Work of Art in the Age of Mechanical Reproduction" and Theodor Adorno's critiques of it; another secondary goal is to explain the criteria and factors that play a role in introducing the signature as an artistic work. To achieve these goals, the present research seeks to answer the following main and secondary questions, respectively: How can the signature be explained and introduced as a work of art - mass? By what criteria can a signature be considered an artistic work? It is worth mentioning that the scope of this research does not address modern methods of signature, for example, electronic or digital signatures, or new devices related to identifying people's identities through various methods. Research Method: In this qualitative study, the research method is descriptive-analytical in terms of strategy, and in terms of the ultimate goal and the nature of the research topic, it is considered a fundamental-theoretical and applied type. The initial information and findings are collected by reviewing the written, electronic, and visual literature related to the signature, and are analyzed by descriptive, explanatory, and interpretive methods. The photos and images used in this article are selected in line with the topic and issues raised in the main text and from various sources. The present article uses a historical methodology for analyzing qualitative data, which is based on an inductive (part-to-whole) approach and seeks to identify the pathology and truth so that in this way it can perform a logical and final analysis of the research-based on the logical connection and continuity of opinions and events, which ultimately this article concludes with discussion and conclusion using the research findings and an interpretive and critical approach. Results: According to the opinions expressed by Benjamin in the treatise "The Work of Art in the Age of Mechanical Reproduction" and Adorno's critiques of it, the analysis of the data obtained shows that the effect of the signature among the artistic works is considered an exceptional work because its reproducibility is done without the use of technical and mechanical reproduction tools, but unlike Benjamin's opinion, it is not produced in bulk, but is created manually based on the need in everyday life, and the nature of its creation is inherent in the nature and essence of every human being; and at any time and any place that a person wills, it is created uniquely, therefore it always has authenticity, thus, contrary to Benjamin's views, with the universalization of the signature, its original character is always preserved, and despite its repetition, it remains unique and original, and its manifestation is preserved. According to Benjamin, despite the familiarity of the masses with modern works of art, the aesthetic thought and visual literacy of the masses have increased over time, and its effect can be seen in the creation of artistic works such as signatures as well. On the other hand, the creation and use of signatures in the modern era has caused art not to remain only in the possession of the elite of society and the supervision of capital, and has spread among the masses, and in this way, class differences and social inequality have also decreased, therefore it can be said that contrary to Adorno's opinion, the effect of the signature as a modern art is not far from the masses or the general public; and although the signature is a mass work and the masses create and use it independently in various situations of everyday life and in the issues of the modern world, such as political, social, economic and cultural events, through individual taste and creativity, it is not included in Adorno's definition of mass art, because the masses here are not caught in the culture industry and the purposeful production of standard and template culture by the ruling system, and they create it with complete intellectual independence, and also contrary to Adorno's opinion, the use of the signature as an artistic work has not only caused the backwardness of the masses, but in addition to raising the flag of the culture of the masses, it has also provided the conditions for progress in daily activities and in the market, and has led to the expansion of communication between the masses, and the masses, in addition to being consumers of the signature, are also producers and creators of an artistic and beautiful work. Studies show that the signature can be introduced as an artistic work with criteria and characteristics such as structure, medium and form, text or context, time and place of creation of the work, which are considered as criteria and indicators of an artistic work, and contrary to the belief that Adorno believed in, the artistic work does not only include fine arts or high arts that existed in a place such as museums and or out of the reach of the masses or were only created by artists, but now everyone can create a work such as a signature, and everyone can be considered or named as an artist, and his signature can also be considered as an artistic work.

https://ira.guilan.ac.ir/article_8575_35ff0452f08bbdaa94f0d77663264ddc.pdf

University of Guilan Interdisciplinary Researches of Art 3060-7043 3 1 2025 01 26 Musical Talent Identification Tests: A Review of Methods and Applications Musical Talent Identification Tests: A Review of Methods and Applications 87 106 8391 10.22124/ira.2025.29295.1043 FA Rashed Mohammadian Lecturer, Department of educational sciences, Farhangian University, Tehran, Iran Kawan Mozafari PhD student, Department of Educational Management, University of Kurdistan, Sanandaj, Iran Morteza Valaei PhD student, Department of Assessment, Allameh Tabatabai University, Tehran, Iran Journal Article 2024 12 20 Background: Musical talent, as a significant facet of human intelligence, plays a vital role in the development of arts and culture in societies. It is a unique capability that fosters creativity, self-expression, and emotional connection through music. Identifying and nurturing this talent can lead to the education of distinguished musicians, contribute to the cultural enrichment of communities, and enhance societal appreciation for the arts. A well-structured approach to recognizing and developing musical abilities holds immense potential for elevating cultural levels and fostering artistic innovation. To scientifically and accurately identify musical talents, various tests have been designed, each with unique approaches and objectives to assess musical abilities. These assessments typically evaluate core musical skills, including rhythm perception, pitch discrimination, melody differentiation, and musical memory. By measuring these attributes, researchers and educators can identify an individual’s musical aptitude with greater precision. Such assessments may be auditory, visual, or a combination of both, employing tools such as specialized software, musical instruments, or written tests. For instance, certain tests require participants to identify similarities or differences between two rhythm samples, providing insights into their auditory precision and rhythm comprehension. The practical applications of these assessments are extensive. They are employed in music education to tailor teaching methods, in talent identification programs targeting children and adolescents, and in academic guidance to direct students toward suitable career paths. Furthermore, they play a critical role in recruitment processes for music-related fields, ensuring that individuals with the appropriate skills and potential are selected. Participation in these tests not only helps individuals understand their capabilities but also enables them to make informed decisions about pursuing musical endeavors. Additionally, the results serve as valuable resources for educators and parents, allowing them to make informed choices regarding educational pathways and developmental strategies. Given the diversity of methods and tools available, a comprehensive analysis of these assessments is essential. By delving into the strengths and weaknesses of existing methods, it is possible to identify areas for improvement and innovation. Such efforts can refine the talent identification process, enhance the effectiveness of music education programs, and ensure that assessments are tailored to the cultural and contextual needs of different societies. This study aims to review existing methods and applications of musical talent assessments, analyze their strengths and weaknesses, and offer recommendations for their advancement and localization. Objetives: 1. provide a review of musical talent assessment methods. 2. evaluate the strengths and limitations of widely used tools. 3. propose strategies for enhancing the effectiveness of these assessments. Therefore, The study aims to answer the following questions: 1. What are the musical talent assessments? 2. What are the implementation methods and capabilities of musical talent assessments? 3. Which musical talent assessment aligns with the context of music education in Iran? Method: This research employed a systematic review and analysis approach. Relevant literature, including scientific articles, specialized books, and credible research reports focusing on musical talent evaluation tools and methods, was collected. Search queries were formulated to systematically retrieve information from English and Persian resources. Following data collection, the gathered information was analyzed to introduce various musical talent assessment tools, detailing their features, target audiences, benefits, and limitations. Implementation feasibility and scientific metrics, such as validity, reliability, cultural adaptability, and practical ease, were considered, with a particular emphasis on the Iranian educational and cultural context. Ultimately, the study identified and thoroughly described the most suitable assessment tool for Iranian test-takers, highlighting its features, implementation methods, and capabilities in identifying musical talent. Result: Recognizing musical talent is a critical step in nurturing future artists. Given the multifaceted nature of music, comprehensive and accurate evaluations require reliable tools. Several well-established assessments have proven effective in identifying and understanding musical abilities. The Seashore Measures of Musical Talents, developed by Seashore in 1919, serves as a foundational tool for assessing pitch, intensity, rhythm, tonal memory, and timbre. This standard test effectively evaluates innate musical capabilities and is widely used in talent identification and psychological music studies. Similarly, the Musical Ear Test (MET) offers a comprehensive evaluation through six components, including melody recognition, rhythm differentiation, tonal changes, and harmony. This tool provides valuable insights, enabling educators to design tailored educational programs. The Bentley Test, introduced by Bentley in 1971, is specifically designed for children and adolescents, assessing melody recognition, rhythm, and tonal differentiation. Its flexible implementation supports customized educational interventions. Lastly, Edwin Gordon's Musical Aptitude Profile, comprising tests for different age groups (PMMA, IMMA, and AMMA), evaluates tonal and rhythmic auditory discrimination using standardized recordings. Developed in 1979, this test is instrumental in assessing the auditory comprehension necessary for advanced musical training. Together, these tools play a vital role in identifying and fostering musical talent. Conclusion: Among the reviewed tools, the Musical Aptitude Profile (MMA) by Edwin Gordon was deemed most suitable for Iranian test-takers. This test, focusing on tonal and rhythmic discrimination, aligns well with the developmental and cultural context in Iran. The MMA’s features, including standardized administration and adaptability for group or individual settings, make it an effective tool for evaluating musical talent. By employing this test, educators and parents can identify young individuals with musical potential, guiding them through structured and contextually appropriate training pathways. This study highlights the importance of culturally adapting musical talent assessments to enhance their efficacy. Further research is recommended to localize these tools and explore their long-term impact on musical education and talent development in Iran. Background: Musical talent, as a significant facet of human intelligence, plays a vital role in the development of arts and culture in societies. It is a unique capability that fosters creativity, self-expression, and emotional connection through music. Identifying and nurturing this talent can lead to the education of distinguished musicians, contribute to the cultural enrichment of communities, and enhance societal appreciation for the arts. A well-structured approach to recognizing and developing musical abilities holds immense potential for elevating cultural levels and fostering artistic innovation. To scientifically and accurately identify musical talents, various tests have been designed, each with unique approaches and objectives to assess musical abilities. These assessments typically evaluate core musical skills, including rhythm perception, pitch discrimination, melody differentiation, and musical memory. By measuring these attributes, researchers and educators can identify an individual’s musical aptitude with greater precision. Such assessments may be auditory, visual, or a combination of both, employing tools such as specialized software, musical instruments, or written tests. For instance, certain tests require participants to identify similarities or differences between two rhythm samples, providing insights into their auditory precision and rhythm comprehension. The practical applications of these assessments are extensive. They are employed in music education to tailor teaching methods, in talent identification programs targeting children and adolescents, and in academic guidance to direct students toward suitable career paths. Furthermore, they play a critical role in recruitment processes for music-related fields, ensuring that individuals with the appropriate skills and potential are selected. Participation in these tests not only helps individuals understand their capabilities but also enables them to make informed decisions about pursuing musical endeavors. Additionally, the results serve as valuable resources for educators and parents, allowing them to make informed choices regarding educational pathways and developmental strategies. Given the diversity of methods and tools available, a comprehensive analysis of these assessments is essential. By delving into the strengths and weaknesses of existing methods, it is possible to identify areas for improvement and innovation. Such efforts can refine the talent identification process, enhance the effectiveness of music education programs, and ensure that assessments are tailored to the cultural and contextual needs of different societies. This study aims to review existing methods and applications of musical talent assessments, analyze their strengths and weaknesses, and offer recommendations for their advancement and localization. Objetives: 1. provide a review of musical talent assessment methods. 2. evaluate the strengths and limitations of widely used tools. 3. propose strategies for enhancing the effectiveness of these assessments. Therefore, The study aims to answer the following questions: 1. What are the musical talent assessments? 2. What are the implementation methods and capabilities of musical talent assessments? 3. Which musical talent assessment aligns with the context of music education in Iran? Method: This research employed a systematic review and analysis approach. Relevant literature, including scientific articles, specialized books, and credible research reports focusing on musical talent evaluation tools and methods, was collected. Search queries were formulated to systematically retrieve information from English and Persian resources. Following data collection, the gathered information was analyzed to introduce various musical talent assessment tools, detailing their features, target audiences, benefits, and limitations. Implementation feasibility and scientific metrics, such as validity, reliability, cultural adaptability, and practical ease, were considered, with a particular emphasis on the Iranian educational and cultural context. Ultimately, the study identified and thoroughly described the most suitable assessment tool for Iranian test-takers, highlighting its features, implementation methods, and capabilities in identifying musical talent. Result: Recognizing musical talent is a critical step in nurturing future artists. Given the multifaceted nature of music, comprehensive and accurate evaluations require reliable tools. Several well-established assessments have proven effective in identifying and understanding musical abilities. The Seashore Measures of Musical Talents, developed by Seashore in 1919, serves as a foundational tool for assessing pitch, intensity, rhythm, tonal memory, and timbre. This standard test effectively evaluates innate musical capabilities and is widely used in talent identification and psychological music studies. Similarly, the Musical Ear Test (MET) offers a comprehensive evaluation through six components, including melody recognition, rhythm differentiation, tonal changes, and harmony. This tool provides valuable insights, enabling educators to design tailored educational programs. The Bentley Test, introduced by Bentley in 1971, is specifically designed for children and adolescents, assessing melody recognition, rhythm, and tonal differentiation. Its flexible implementation supports customized educational interventions. Lastly, Edwin Gordon's Musical Aptitude Profile, comprising tests for different age groups (PMMA, IMMA, and AMMA), evaluates tonal and rhythmic auditory discrimination using standardized recordings. Developed in 1979, this test is instrumental in assessing the auditory comprehension necessary for advanced musical training. Together, these tools play a vital role in identifying and fostering musical talent. Conclusion: Among the reviewed tools, the Musical Aptitude Profile (MMA) by Edwin Gordon was deemed most suitable for Iranian test-takers. This test, focusing on tonal and rhythmic discrimination, aligns well with the developmental and cultural context in Iran. The MMA’s features, including standardized administration and adaptability for group or individual settings, make it an effective tool for evaluating musical talent. By employing this test, educators and parents can identify young individuals with musical potential, guiding them through structured and contextually appropriate training pathways. This study highlights the importance of culturally adapting musical talent assessments to enhance their efficacy. Further research is recommended to localize these tools and explore their long-term impact on musical education and talent development in Iran.

https://ira.guilan.ac.ir/article_8391_ea35808d8e55998330f7b21ebeb3e121.pdf

University of Guilan Interdisciplinary Researches of Art 3060-7043 3 1 2025 01 27 Semiotic Analysis of Selected Images from Nasrollah Kasraian’s Photo Book Masooleh Based on Roland Barthes’ Theories Semiotic Analysis of Selected Images from Nasrollah Kasraian’s Photo Book Masooleh Based on Roland Barthes’ Theories 107 130 8426 10.22124/ira.2024.28453.1030 FA Pejman Dadkhah Assistant Professor, Department of Photography, Faculty of Arts, Iqbal Lahori Institute of Higher Education, Mashhad, Iran Reza Ataei Master student of photography, Faculty of Arts, Iqbal Lahori Institute of Higher Education, Mashhad, Iran Journal Article 2024 09 12 Introduction: Nasrollah Kasraian is one of Iran's most distinguished photographers, known for his ability to capture the essence of Iranian life with artistic depth and cultural resonance. His collection Masooleh stands out as a rich example of how photography transcends documentation, offering nuanced narratives that reflect the traditions and stories of rural communities in Iran. This research employs Roland Barthes’ semiotic theory to explore how Kasraian’s photographs go beyond their literal depiction, revealing multiple layers of cultural and social meaning. Barthes’ framework—comprising denotative, connotative, and mythological levels—provides a means to dissect the visual elements and understand their broader implications on Iranian identity and social values. This study aims to analyze selected images from Kasraian’s Masooleh through a semiotic lens to uncover hidden meanings within the photographs. Semiotics, as defined by Barthes, help to move beyond the immediate and literal aspects of an image and delve into its deeper connotations. The goal is to determine how Kasraian’s use of visual techniques enriches the layers of meaning and how these meanings contribute to the perception of Iranian culture and social identity. This exploration addresses how visual elements such as composition, lighting, and subject matter function as cultural signifiers. Research Objective: This research aims to demonstrate how Kasraian’s photographs function as multi-dimensional texts that communicate more than just visual documentation. By applying Barthes’ semiotic approach, this study seeks to analyze how Kasraian’s work evokes implicit and explicit messages, and how these messages prompt viewers to reflect on themes of Iranian identity, tradition, and social values. Methodology: This research employs a qualitative, descriptive-analytical approach, utilizing Barthes’ theory as a theoretical framework. The analysis identifies three levels of meaning: the denotative level (literal meaning), the connotative level (cultural and emotional implications), and the mythological level (broader cultural narratives). Visual elements such as composition, framing, and lighting are examined to determine their role in shaping meaning and how they invite viewers to interpret deeper cultural and social themes. Results: The analysis of Kasraian’s photographs reveals that they operate as complex texts, embedding layers of meaning that reach beyond mere visual recording. Each photograph is dissected for its denotative level, which includes observable components like figures, landscapes, and objects. For example, an image of a traditional gathering in Masooleh may show people in traditional clothing at a communal event, representing the literal scene. The connotative level adds depth by uncovering themes such as unity, resilience, and cultural preservation. The viewer might feel a sense of connection to the community depicted or appreciate the importance of maintaining such traditions. The mythological level situates these images within a broader narrative of Iranian identity, signifying values like continuity, community, and respect for heritage. This approach reinforces how Kasraian’s work captures both the local and universal, encouraging viewers to reflect on shared cultural narratives. Kasraian’s visual strategies, such as strategic framing, the use of natural light, and subject matter selection, contribute to these meanings. Framing directs the viewer’s attention, guiding the focus to elements of significance, while natural lighting lends a timeless and authentic quality to the images. The choice of location, often showcasing traditional architecture and natural landscapes, emphasizes Iran’s rich cultural heritage and unique geography. These choices ensure that his photographs are more than documentation; they invite viewers to engage and interpret with layers of cultural and philosophical implications. The findings demonstrate that Kasraian’s photographs are not limited to simple depictions of reality but function as semiotic signifiers that evoke complex cultural reflections. Barthes’ three levels of meaning provide a lens to see how visual elements are used to reinforce cultural identity and values. Through their subtle yet intentional composition, Kasraian’s images promote a deeper understanding of themes like the balance between modernity and tradition, the unity of rural communities, and the continuity of Iranian heritage. The photographs can also be seen as reflecting social issues and collective memories. For instance, images of people working together or performing traditional rituals can invoke themes of resilience and communal strength, important aspects of Iranian social values. This deeper interpretation positions photography as a medium capable of conveying nuanced messages and fostering cultural dialogue. Nasrollah Kasraian’s Masooleh is more than a collection of photographs; it is an exploration of Iranian identity and tradition conveyed through powerful visual language. By applying Barthes’ semiotic theory, this study reveals that Kasraian’s images serve as cultural texts, where each visual element plays a role in building multi-layered meanings. These photographs prompt viewers to engage with the broader themes of social values, tradition, and cultural continuity, offering a profound look at the ways in which photography can act as a vehicle for cultural expression and identity formation. Introduction: Nasrollah Kasraian is one of Iran's most distinguished photographers, known for his ability to capture the essence of Iranian life with artistic depth and cultural resonance. His collection Masooleh stands out as a rich example of how photography transcends documentation, offering nuanced narratives that reflect the traditions and stories of rural communities in Iran. This research employs Roland Barthes’ semiotic theory to explore how Kasraian’s photographs go beyond their literal depiction, revealing multiple layers of cultural and social meaning. Barthes’ framework—comprising denotative, connotative, and mythological levels—provides a means to dissect the visual elements and understand their broader implications on Iranian identity and social values. This study aims to analyze selected images from Kasraian’s Masooleh through a semiotic lens to uncover hidden meanings within the photographs. Semiotics, as defined by Barthes, help to move beyond the immediate and literal aspects of an image and delve into its deeper connotations. The goal is to determine how Kasraian’s use of visual techniques enriches the layers of meaning and how these meanings contribute to the perception of Iranian culture and social identity. This exploration addresses how visual elements such as composition, lighting, and subject matter function as cultural signifiers. Research Objective: This research aims to demonstrate how Kasraian’s photographs function as multi-dimensional texts that communicate more than just visual documentation. By applying Barthes’ semiotic approach, this study seeks to analyze how Kasraian’s work evokes implicit and explicit messages, and how these messages prompt viewers to reflect on themes of Iranian identity, tradition, and social values. Methodology: This research employs a qualitative, descriptive-analytical approach, utilizing Barthes’ theory as a theoretical framework. The analysis identifies three levels of meaning: the denotative level (literal meaning), the connotative level (cultural and emotional implications), and the mythological level (broader cultural narratives). Visual elements such as composition, framing, and lighting are examined to determine their role in shaping meaning and how they invite viewers to interpret deeper cultural and social themes. Results: The analysis of Kasraian’s photographs reveals that they operate as complex texts, embedding layers of meaning that reach beyond mere visual recording. Each photograph is dissected for its denotative level, which includes observable components like figures, landscapes, and objects. For example, an image of a traditional gathering in Masooleh may show people in traditional clothing at a communal event, representing the literal scene. The connotative level adds depth by uncovering themes such as unity, resilience, and cultural preservation. The viewer might feel a sense of connection to the community depicted or appreciate the importance of maintaining such traditions. The mythological level situates these images within a broader narrative of Iranian identity, signifying values like continuity, community, and respect for heritage. This approach reinforces how Kasraian’s work captures both the local and universal, encouraging viewers to reflect on shared cultural narratives. Kasraian’s visual strategies, such as strategic framing, the use of natural light, and subject matter selection, contribute to these meanings. Framing directs the viewer’s attention, guiding the focus to elements of significance, while natural lighting lends a timeless and authentic quality to the images. The choice of location, often showcasing traditional architecture and natural landscapes, emphasizes Iran’s rich cultural heritage and unique geography. These choices ensure that his photographs are more than documentation; they invite viewers to engage and interpret with layers of cultural and philosophical implications. The findings demonstrate that Kasraian’s photographs are not limited to simple depictions of reality but function as semiotic signifiers that evoke complex cultural reflections. Barthes’ three levels of meaning provide a lens to see how visual elements are used to reinforce cultural identity and values. Through their subtle yet intentional composition, Kasraian’s images promote a deeper understanding of themes like the balance between modernity and tradition, the unity of rural communities, and the continuity of Iranian heritage. The photographs can also be seen as reflecting social issues and collective memories. For instance, images of people working together or performing traditional rituals can invoke themes of resilience and communal strength, important aspects of Iranian social values. This deeper interpretation positions photography as a medium capable of conveying nuanced messages and fostering cultural dialogue. Nasrollah Kasraian’s Masooleh is more than a collection of photographs; it is an exploration of Iranian identity and tradition conveyed through powerful visual language. By applying Barthes’ semiotic theory, this study reveals that Kasraian’s images serve as cultural texts, where each visual element plays a role in building multi-layered meanings. These photographs prompt viewers to engage with the broader themes of social values, tradition, and cultural continuity, offering a profound look at the ways in which photography can act as a vehicle for cultural expression and identity formation.

https://ira.guilan.ac.ir/article_8426_bbd2da7b1cf8e705d4fff14254c85aa7.pdf

University of Guilan Interdisciplinary Researches of Art 3060-7043 3 1 2025 05 15 Comparing drawing features of children in happy families with the ones in troubled families based on family drawing test (Corman model) plus interviews (Case study: Girls aged 8 to 10 in the city of Tehran) Comparing drawing features of children in happy families with the ones in troubled families based on family drawing test (Corman model) plus interviews (Case study: Girls aged 8 to 10 in the city of Tehran) 131 160 8760 10.22124/ira.2025.30044.1055 FA Shanly Momeni Master of Painting, Faculty of Arts, Central Tehran Islamic Azad University, Tehran, Iran Atieh Youzbashi Associate faculty member of Painting Department, Faculty of Arts, Islamic Azad University, Central Tehran Branch, Tehran, Iran Farnaz Kalantari Master of Strategic Management, Faculty of Management and Accounting, Shahid Beheshti University, Tehran, Iran Journal Article 2025 03 05 Theoretical Background: Childhood is considered the most important period in forming the personality of a person inside the family. Family is the smallest yet most important and stable among social groups in a society. It can even be named as the primary base for shaping a child’s emotions, self-image, interpersonal interaction abilities, and relationships. So, children’s upbringing can be affected by parents’ interaction with each other and their children; the level of stability and mental security inside the family; overindulgence and negligence in terms of child-rearing, and even adverse living conditions. All of these can negatively affect the child’s identity formation resulting in a dent in his/her understanding of the surrounding environment especially the inner structure of the family paving the way for prospective crises in their life. Children face difficulty regarding directly expressing their emotions and experiences through words but when it comes to indirect methods like pictures and drawing provide a way into their world helping them express their feelings. Drawing is one of the methods known to be affected by cognitive, emotional, and social development which makes it a window to the world of children overlooking their emotions and thoughts. Children’s drawings in happy families and troubled ones have various features and scales, as a result analyzing the child’s projection in a family drawing test can give us valuable information considering the child’s personality, possible conflicts, and the relationship between the child and parents, siblings, and others. Research Objective: The current study tried to use a family drawing test (Corman model) and semi-structured interviews, in a descriptive and analytical manner, with children and their parents in an attempt to identify and analyze children in happy families and troubled ones. The aim of this study is to gain a deeper understanding of the mental representation of children from the family, how the emotional situation of the family is reflected in their drawings and verbal responses, and to pinpoint indicators that can contribute to the diagnosis of mental disorders or mental health in a family system. This study aims to explore the differences in emotional and cognitive traits between children from happy families and those from troubled ones. And how can the analysis of drawings along with conversations with children provide a more realistic picture of their mental state and emotions within the family? A family drawing test is an appropriate method to go beyond inappropriate defense mechanisms and the obtaining of genuine and less defensive responses from the child. With the help of this method most unconscious orientations, conflicts, personality disorders in children and their defense mechanisms, as well as the relationship between the role of the family and these disorders in their development, can be diagnosed. Research Methodology: The methods for finding information were based on library and field research. The family study interface includes writing components, the font, the color, the space, the distance between the characters, the worthlessness of the characters, the addition of other personalities, love, identification, social, cultural, and economic characteristics, which were examined and analyzed using SPSS software and two-way analysis of variance. The participants were 50 female children aged between 8 and 10. They were chosen, using cluster randomization, from Shahid Beheshti school in District 15 Tehran and game centers for children in districts 1- 2-3-6-15 and 22 in Tehran in 1402. Discussion and Analysis: Based on library research and statistical sample analysis, there were 27 happy families and 23 families with problems in the present study. The research components are categorized based on 9 most common factors handwriting, color, space, distance among people, devaluation of people, addition of other personalities, lack of love, identity determination, as well as cultural, social, and economic characteristics; each of which has several main characteristics that have been examined and analyzed. Based on the Chi-Square Test results, to examine the differences between two groups of children in happy and troubled families, two out of four descriptive variables related to the line, are meaningful between the two groups. Other indicators do not have any significant differences. Hatched, clear, independent, and long lines and “broken, variable, and complex lines” are significant differences between families with and without troubles. In the ‘Hatched, clear, independent and long’ category, the happy family group is prevalent, while ‘broken, variable and complex’ lines are more common in the troubled family’s group. Of the three characteristics related to color, two are significant between the two groups. ‘Cold colors’ and “brown and grey colors” are significant differences between families with and without troubles, and are more prevalent in terms of frequency in the troubled family’s group. Of the six descriptive characteristics related to space, no significant difference was observed between families with and without troubles in any of the indicators. Of the two descriptive characteristics related to the distance between individuals, the indicator ‘close to each other or hand in hand’ showed a significant difference between families with and without troubles. ‘Close to each other or hand in hand’ was observed in both troubled and happy families, but it was more common in happy families. Of the three indicators related to devaluing people, no significant difference was observed between troubled families and happy families. In terms of the additional indicator of adding other people's names, no significant differences were observed between troubled and happy families. Based on two indicators related to Affection Deprivation, no significant differences were observed between families with and without trouble. Of the two indicators related to identification, the indicator ‘relief painting of a person in the picture’ was significantly different between families with and without trouble, with a higher prevalence in families with trouble. Based on two indicators related to cultural, social, and economic characteristics, no significant differences were observed between families with and without trouble. Theoretical Background: Childhood is considered the most important period in forming the personality of a person inside the family. Family is the smallest yet most important and stable among social groups in a society. It can even be named as the primary base for shaping a child’s emotions, self-image, interpersonal interaction abilities, and relationships. So, children’s upbringing can be affected by parents’ interaction with each other and their children; the level of stability and mental security inside the family; overindulgence and negligence in terms of child-rearing, and even adverse living conditions. All of these can negatively affect the child’s identity formation resulting in a dent in his/her understanding of the surrounding environment especially the inner structure of the family paving the way for prospective crises in their life. Children face difficulty regarding directly expressing their emotions and experiences through words but when it comes to indirect methods like pictures and drawing provide a way into their world helping them express their feelings. Drawing is one of the methods known to be affected by cognitive, emotional, and social development which makes it a window to the world of children overlooking their emotions and thoughts. Children’s drawings in happy families and troubled ones have various features and scales, as a result analyzing the child’s projection in a family drawing test can give us valuable information considering the child’s personality, possible conflicts, and the relationship between the child and parents, siblings, and others. Research Objective: The current study tried to use a family drawing test (Corman model) and semi-structured interviews, in a descriptive and analytical manner, with children and their parents in an attempt to identify and analyze children in happy families and troubled ones. The aim of this study is to gain a deeper understanding of the mental representation of children from the family, how the emotional situation of the family is reflected in their drawings and verbal responses, and to pinpoint indicators that can contribute to the diagnosis of mental disorders or mental health in a family system. This study aims to explore the differences in emotional and cognitive traits between children from happy families and those from troubled ones. And how can the analysis of drawings along with conversations with children provide a more realistic picture of their mental state and emotions within the family? A family drawing test is an appropriate method to go beyond inappropriate defense mechanisms and the obtaining of genuine and less defensive responses from the child. With the help of this method most unconscious orientations, conflicts, personality disorders in children and their defense mechanisms, as well as the relationship between the role of the family and these disorders in their development, can be diagnosed. Research Methodology: The methods for finding information were based on library and field research. The family study interface includes writing components, the font, the color, the space, the distance between the characters, the worthlessness of the characters, the addition of other personalities, love, identification, social, cultural, and economic characteristics, which were examined and analyzed using SPSS software and two-way analysis of variance. The participants were 50 female children aged between 8 and 10. They were chosen, using cluster randomization, from Shahid Beheshti school in District 15 Tehran and game centers for children in districts 1- 2-3-6-15 and 22 in Tehran in 1402. Discussion and Analysis: Based on library research and statistical sample analysis, there were 27 happy families and 23 families with problems in the present study. The research components are categorized based on 9 most common factors handwriting, color, space, distance among people, devaluation of people, addition of other personalities, lack of love, identity determination, as well as cultural, social, and economic characteristics; each of which has several main characteristics that have been examined and analyzed. Based on the Chi-Square Test results, to examine the differences between two groups of children in happy and troubled families, two out of four descriptive variables related to the line, are meaningful between the two groups. Other indicators do not have any significant differences. Hatched, clear, independent, and long lines and “broken, variable, and complex lines” are significant differences between families with and without troubles. In the ‘Hatched, clear, independent and long’ category, the happy family group is prevalent, while ‘broken, variable and complex’ lines are more common in the troubled family’s group. Of the three characteristics related to color, two are significant between the two groups. ‘Cold colors’ and “brown and grey colors” are significant differences between families with and without troubles, and are more prevalent in terms of frequency in the troubled family’s group. Of the six descriptive characteristics related to space, no significant difference was observed between families with and without troubles in any of the indicators. Of the two descriptive characteristics related to the distance between individuals, the indicator ‘close to each other or hand in hand’ showed a significant difference between families with and without troubles. ‘Close to each other or hand in hand’ was observed in both troubled and happy families, but it was more common in happy families. Of the three indicators related to devaluing people, no significant difference was observed between troubled families and happy families. In terms of the additional indicator of adding other people's names, no significant differences were observed between troubled and happy families. Based on two indicators related to Affection Deprivation, no significant differences were observed between families with and without trouble. Of the two indicators related to identification, the indicator ‘relief painting of a person in the picture’ was significantly different between families with and without trouble, with a higher prevalence in families with trouble. Based on two indicators related to cultural, social, and economic characteristics, no significant differences were observed between families with and without trouble.

https://ira.guilan.ac.ir/article_8760_388092e88c87340dd8def8e12a4fd5ef.pdf

University of Guilan Interdisciplinary Researches of Art 3060-7043 3 1 2025 02 25 Symbolism of Birds in the Stucco Decorations of Historical Houses in Mazandaran (Qajar Era) and Their Connection with Folk Beliefs: A Case Study of Shafaei House in Amol Symbolism of Birds in the Stucco Decorations of Historical Houses in Mazandaran (Qajar Era) and Their Connection with Folk Beliefs: A Case Study of Shafaei House in Amol 161 184 8548 10.22124/ira.2025.29381.1044 FA Seyede Mahboobe Moghimnejad Hosseini Department of Art, Islamic Azad University Qaimshahr branch, Qaimshahr, Iran Seyed Mehran Moghimnejad Hosseini Department of Art, Faculty of Theoretical Science Studies, Iran University of Iran, Tehran, Iran Journal Article 2024 12 25 Abstract: The stucco decorations of the Shafaei House in Amol stand as a remarkable example of Qajar-era architectural ornamentation in Mazandaran. Beyond their aesthetic appeal, these decorative elements are deeply intertwined with symbolic representations that reflect the beliefs and cultural narratives of the region’s people. This study explores the significance of avian motifs in the stucco work of the Shafaei House and their connection to the folk traditions of Mazandaran. The research seeks to answer the following questions: What is the relationship between the bird motifs in the stucco decorations and the popular beliefs of Mazandaran? What symbolic meanings do these motifs convey, and how do they relate to the people's daily lives? Using a qualitative approach that combines descriptive, analytical, and fieldwork-based research with historical and anthropological perspectives, this study examines the symbolic layers embedded in the avian motifs of the Shafaei House. By analyzing these symbols' spatial arrangement and artistic composition, the study sheds light on birds' broader cultural and metaphysical significance in Mazandarani folklore. The findings reveal that these motifs serve as more than just decorative elements; they function as visual metaphors, communicating messages related to nature, spirituality, and the human connection to the unseen world. Introduction: During the Qajar period, stucco decoration evolved from earlier Safavid styles, transitioning from abstract patterns to more naturalistic designs. In Mazandaran, this artistic tradition flourished, particularly in central and eastern regions, where stucco ornamentation featured botanical, zoomorphic, and anthropomorphic motifs. Due to the region's humid climate, these decorations were predominantly used in interior spaces, though some external stucco work remains intact on historic buildings. Among the most distinguished examples of Qajar residential architecture in Mazandaran is the Shafaei House in Amol, renowned for its delicate stucco work, which prominently features avian motifs. Bird imagery has held profound symbolic meaning across various cultures and belief systems, often representing messengers between the earthly and divine realms. In Mazandarani folklore, birds are associated with celestial beings, freedom, the human soul, and even mythological and religious narratives. This cultural perspective influenced the artistic choices made in the decoration of the Shafaei House. This study investigates how these motifs reflect and reinforce the spiritual and symbolic worldviews of the region’s people. To achieve this, the research examines the historical and folkloric context of bird symbolism and its manifestation in the artistic and architectural traditions of the Qajar period. Theoretical Framework: The Qajar dynasty, of Mongol descent, rose to prominence in Iran following their involvement in the Safavid and later Afsharid periods. With the establishment of Qajar rule, European influences in Iranian society intensified, affecting political, economic, and cultural domains. This exposure to Western artistic styles significantly impacted Qajar-era architecture, leading to a synthesis of traditional Iranian motifs with European decorative elements. This cultural exchange was particularly evident in stucco work, which became a prominent feature of Qajar-era buildings, from royal palaces to residences of the upper and middle classes. Mazandaran’s architectural heritage reflects both indigenous artistic traditions and the broader cultural shifts of the Qajar period. The Shafaei House, as a case study, illustrates how regional beliefs and artistic practices were preserved amid these influences. The stucco motifs, including birds, were not merely ornamental but carried deeper meanings that connected art, spirituality, and daily life. This study explores these interconnections, emphasizing how the depiction of birds in architectural decoration was shaped by both historical influences and local belief systems. Findings and Analysis: The analysis of the Shafaei House’s stucco decorations highlights the symbolic importance of birds in Mazandarani culture. These motifs often appear in compositions that suggest movement, interaction, or communication, reinforcing their association with metaphysical themes. In local folklore, birds are seen as intermediaries between the physical and spiritual worlds, embodying themes of transcendence, guidance, and divine connection. Furthermore, the placement of these motifs within the architectural design of the house suggests intentionality in their symbolic messaging. The positioning of bird figures in relation to Randy returned to his normal sleep schedule in two weeks. Other decorative elements, such as floral and geometric patterns, create a narrative that aligns with Mazandarani cosmology and belief systems. This study finds that these motifs do not merely serve an aesthetic function but reflect a cultural consciousness deeply embedded in the artistic expressions of the time. Conclusion: This research underscores the role of avian symbolism in the stucco work of the Shafaei House in Amol, revealing how these motifs encapsulate cultural, spiritual, and mythological meanings. Birds, within this architectural context, serve as visual metaphors for themes of transcendence, freedom, and the connection between earthly and celestial realms. The findings highlight the deep interrelationship between art and folk beliefs, demonstrating that these motifs are integral to understanding the worldview of Mazandaran’s people during the Qajar period. Beyond its artistic significance, the Shafaei House stands as a valuable cultural artifact, preserving historical narratives through its intricate decorations. The study of its stucco work provides insights into the broader interplay between architecture and cultural identity, emphasizing the need for the preservation of such heritage sites. By analyzing these symbolic representations, this research contributes to a deeper appreciation of Iran’s architectural and artistic legacy, offering a foundation for further studies on cultural symbolism in historical architecture. Abstract: The stucco decorations of the Shafaei House in Amol stand as a remarkable example of Qajar-era architectural ornamentation in Mazandaran. Beyond their aesthetic appeal, these decorative elements are deeply intertwined with symbolic representations that reflect the beliefs and cultural narratives of the region’s people. This study explores the significance of avian motifs in the stucco work of the Shafaei House and their connection to the folk traditions of Mazandaran. The research seeks to answer the following questions: What is the relationship between the bird motifs in the stucco decorations and the popular beliefs of Mazandaran? What symbolic meanings do these motifs convey, and how do they relate to the people's daily lives? Using a qualitative approach that combines descriptive, analytical, and fieldwork-based research with historical and anthropological perspectives, this study examines the symbolic layers embedded in the avian motifs of the Shafaei House. By analyzing these symbols' spatial arrangement and artistic composition, the study sheds light on birds' broader cultural and metaphysical significance in Mazandarani folklore. The findings reveal that these motifs serve as more than just decorative elements; they function as visual metaphors, communicating messages related to nature, spirituality, and the human connection to the unseen world. Introduction: During the Qajar period, stucco decoration evolved from earlier Safavid styles, transitioning from abstract patterns to more naturalistic designs. In Mazandaran, this artistic tradition flourished, particularly in central and eastern regions, where stucco ornamentation featured botanical, zoomorphic, and anthropomorphic motifs. Due to the region's humid climate, these decorations were predominantly used in interior spaces, though some external stucco work remains intact on historic buildings. Among the most distinguished examples of Qajar residential architecture in Mazandaran is the Shafaei House in Amol, renowned for its delicate stucco work, which prominently features avian motifs. Bird imagery has held profound symbolic meaning across various cultures and belief systems, often representing messengers between the earthly and divine realms. In Mazandarani folklore, birds are associated with celestial beings, freedom, the human soul, and even mythological and religious narratives. This cultural perspective influenced the artistic choices made in the decoration of the Shafaei House. This study investigates how these motifs reflect and reinforce the spiritual and symbolic worldviews of the region’s people. To achieve this, the research examines the historical and folkloric context of bird symbolism and its manifestation in the artistic and architectural traditions of the Qajar period. Theoretical Framework: The Qajar dynasty, of Mongol descent, rose to prominence in Iran following their involvement in the Safavid and later Afsharid periods. With the establishment of Qajar rule, European influences in Iranian society intensified, affecting political, economic, and cultural domains. This exposure to Western artistic styles significantly impacted Qajar-era architecture, leading to a synthesis of traditional Iranian motifs with European decorative elements. This cultural exchange was particularly evident in stucco work, which became a prominent feature of Qajar-era buildings, from royal palaces to residences of the upper and middle classes. Mazandaran’s architectural heritage reflects both indigenous artistic traditions and the broader cultural shifts of the Qajar period. The Shafaei House, as a case study, illustrates how regional beliefs and artistic practices were preserved amid these influences. The stucco motifs, including birds, were not merely ornamental but carried deeper meanings that connected art, spirituality, and daily life. This study explores these interconnections, emphasizing how the depiction of birds in architectural decoration was shaped by both historical influences and local belief systems. Findings and Analysis: The analysis of the Shafaei House’s stucco decorations highlights the symbolic importance of birds in Mazandarani culture. These motifs often appear in compositions that suggest movement, interaction, or communication, reinforcing their association with metaphysical themes. In local folklore, birds are seen as intermediaries between the physical and spiritual worlds, embodying themes of transcendence, guidance, and divine connection. Furthermore, the placement of these motifs within the architectural design of the house suggests intentionality in their symbolic messaging. The positioning of bird figures in relation to Randy returned to his normal sleep schedule in two weeks. Other decorative elements, such as floral and geometric patterns, create a narrative that aligns with Mazandarani cosmology and belief systems. This study finds that these motifs do not merely serve an aesthetic function but reflect a cultural consciousness deeply embedded in the artistic expressions of the time. Conclusion: This research underscores the role of avian symbolism in the stucco work of the Shafaei House in Amol, revealing how these motifs encapsulate cultural, spiritual, and mythological meanings. Birds, within this architectural context, serve as visual metaphors for themes of transcendence, freedom, and the connection between earthly and celestial realms. The findings highlight the deep interrelationship between art and folk beliefs, demonstrating that these motifs are integral to understanding the worldview of Mazandaran’s people during the Qajar period. Beyond its artistic significance, the Shafaei House stands as a valuable cultural artifact, preserving historical narratives through its intricate decorations. The study of its stucco work provides insights into the broader interplay between architecture and cultural identity, emphasizing the need for the preservation of such heritage sites. By analyzing these symbolic representations, this research contributes to a deeper appreciation of Iran’s architectural and artistic legacy, offering a foundation for further studies on cultural symbolism in historical architecture.

https://ira.guilan.ac.ir/article_8548_84e32666087ad7eb9410782a5041b0c7.pdf

University of Guilan Interdisciplinary Researches of Art 3060-7043 3 1 2025 03 04 Understanding the Symbols Concepts Formative Motif of Talesh County Kilims Understanding the Symbols Concepts Formative Motif of Talesh County Kilims 185 208 8576 10.22124/ira.2025.29559.1047 FA Saeid Hasanpour Loumer Ph.D. Graduated in Architecture, Department of Architecture, Islamic Azad University of Tabriz Branch, Tabriz, Iran Journal Article 2025 01 13 Abstract: Symbols, over time, have been identified as one of the oldest and most successful forms of human communication, with a significant role in the transmission of cultural, social, religious, and philosophical ideas. Symbolic elements, conveyed through form and design in a range of works of art, uniquely bear the beliefs and values that are intrinsic to different societies. Among all these art forms, one of the most genuine and respected handicrafts of Iran is kilim weaving, which is an exemplary example of the utilization of symbols. Kilims are not only used for practical purposes, such as for floor covering or as shawls, but also as mirrors reflecting the values of culture, beliefs, and worldviews of people of each region, conveying more than their material characteristics. Talesh city, in Guilan province, is identified as a prominent kilim weaving center in Iran. Talesh kilims occupy a unique place among Iranian handicrafts because of their utmost variety of patterns and the presence of clearly defined symbolic motifs. Talesh kilims' motifs have a close relation to the area's cultural, social, and religious features and are directly linked to its dense natural landscape. These motifs, apart from their beauty, convey significant messages and ideas from generation to generation. To this extent, Talesh kilims can be said to be a means of non-verbal communication presenting the stories, beliefs, and values of a society innovatively. However, the recent socioeconomic developments have had a profound effect on kilim weaving in the area. The youth migration to urban areas, reduced contact with traditional art forms, and lifestyle changes all threaten this valuable art form seriously. Moreover, the fact that there has not been much research into the symbolic meanings within Talesh kilim designs, as well as restricted access to scholarly literature, has contributed to the gradual disappearance of this rich cultural heritage. This circumstance results in a deterioration of the cultural identity of the region on one hand, while concurrently limiting the prospective avenues for sustainable development and the improvement of Talesh handicrafts on the other hand. Therefore, this study aims to recognize the symbolic motifs in Talesh kilim patterns. Recording and explaining these symbols is a way of preserving and reviving this important art form. This research can serve as a foundation for cultural and economic planning, enabling a better understanding of the cultural and artistic elements of the region. The outcome of this research can be used as a foundation for preparing programs for sustainable development and regional handicrafts' enhancement, thus making a significant contribution to preserving the cultural and artistic heritage of Talesh. The symbolic motifs of Talesh kilims are predominantly the outcome of the intertwinement of natural forms and abstract ideas, such as surrounding flora, botanical motifs, farming and decorative tools, mythic patterns, local and foreign fauna, and ritualistic symbols of human activities. Animal motifs in Talesh kilims reflect local lifestyles immediately, for example, permissible animals, aquatic animals, and birds. The artists also provide future generations with a visual representation of animal species that are extinct or endangered. The artists also develop various dynamic ideas in their work by using motifs inspired by wild animals and applying the inherent characteristics of the animals in safeguarding their crops. Talesh Kilim's design has been highly influenced by cultural exchange. The geographical fact of Talesh bordering Turkish-speaking areas and the subsequent cultural exchange have led the artisans to incorporate motifs from various ethnic groups. In particular, the Shahsavan kilims feature motifs with patterns such as crabs, ram's head, S shape, and snakes, while the Naznazi, Helai flower, and Baku patterns are characteristic of the Azerbaijan Talesh. Observations reveal that nature, including mountains, seas, rivers, celestial bodies, rain, plants, and fruits, significantly affects the symbols depicted in the Talesh kilims. Studies can be conducted on the application of kilim patterns on other local Talesh garments, and the similarities between kilims and other traditional Talesh arts. Research Question: What determines the development of concepts, meanings, and sources for geometric patterns in Talesh kilims? Research Method: In this research, 195 kilims were collected with a descriptive-analytical approach, based on fieldwork and library research, to study the concepts within Talesh kilim designs. First, tours were taken to 47 operational handicraft workshops within the city where kilim patterns were gathered. Next, 195 various kilims with various colors and patterns were analyzed. Finally, the concept and meaning of Talesh kilim patterns were interpreted by interviewing people and studying libraries. Abstract: Symbols, over time, have been identified as one of the oldest and most successful forms of human communication, with a significant role in the transmission of cultural, social, religious, and philosophical ideas. Symbolic elements, conveyed through form and design in a range of works of art, uniquely bear the beliefs and values that are intrinsic to different societies. Among all these art forms, one of the most genuine and respected handicrafts of Iran is kilim weaving, which is an exemplary example of the utilization of symbols. Kilims are not only used for practical purposes, such as for floor covering or as shawls, but also as mirrors reflecting the values of culture, beliefs, and worldviews of people of each region, conveying more than their material characteristics. Talesh city, in Guilan province, is identified as a prominent kilim weaving center in Iran. Talesh kilims occupy a unique place among Iranian handicrafts because of their utmost variety of patterns and the presence of clearly defined symbolic motifs. Talesh kilims' motifs have a close relation to the area's cultural, social, and religious features and are directly linked to its dense natural landscape. These motifs, apart from their beauty, convey significant messages and ideas from generation to generation. To this extent, Talesh kilims can be said to be a means of non-verbal communication presenting the stories, beliefs, and values of a society innovatively. However, the recent socioeconomic developments have had a profound effect on kilim weaving in the area. The youth migration to urban areas, reduced contact with traditional art forms, and lifestyle changes all threaten this valuable art form seriously. Moreover, the fact that there has not been much research into the symbolic meanings within Talesh kilim designs, as well as restricted access to scholarly literature, has contributed to the gradual disappearance of this rich cultural heritage. This circumstance results in a deterioration of the cultural identity of the region on one hand, while concurrently limiting the prospective avenues for sustainable development and the improvement of Talesh handicrafts on the other hand. Therefore, this study aims to recognize the symbolic motifs in Talesh kilim patterns. Recording and explaining these symbols is a way of preserving and reviving this important art form. This research can serve as a foundation for cultural and economic planning, enabling a better understanding of the cultural and artistic elements of the region. The outcome of this research can be used as a foundation for preparing programs for sustainable development and regional handicrafts' enhancement, thus making a significant contribution to preserving the cultural and artistic heritage of Talesh. The symbolic motifs of Talesh kilims are predominantly the outcome of the intertwinement of natural forms and abstract ideas, such as surrounding flora, botanical motifs, farming and decorative tools, mythic patterns, local and foreign fauna, and ritualistic symbols of human activities. Animal motifs in Talesh kilims reflect local lifestyles immediately, for example, permissible animals, aquatic animals, and birds. The artists also provide future generations with a visual representation of animal species that are extinct or endangered. The artists also develop various dynamic ideas in their work by using motifs inspired by wild animals and applying the inherent characteristics of the animals in safeguarding their crops. Talesh Kilim's design has been highly influenced by cultural exchange. The geographical fact of Talesh bordering Turkish-speaking areas and the subsequent cultural exchange have led the artisans to incorporate motifs from various ethnic groups. In particular, the Shahsavan kilims feature motifs with patterns such as crabs, ram's head, S shape, and snakes, while the Naznazi, Helai flower, and Baku patterns are characteristic of the Azerbaijan Talesh. Observations reveal that nature, including mountains, seas, rivers, celestial bodies, rain, plants, and fruits, significantly affects the symbols depicted in the Talesh kilims. Studies can be conducted on the application of kilim patterns on other local Talesh garments, and the similarities between kilims and other traditional Talesh arts. Research Question: What determines the development of concepts, meanings, and sources for geometric patterns in Talesh kilims? Research Method: In this research, 195 kilims were collected with a descriptive-analytical approach, based on fieldwork and library research, to study the concepts within Talesh kilim designs. First, tours were taken to 47 operational handicraft workshops within the city where kilim patterns were gathered. Next, 195 various kilims with various colors and patterns were analyzed. Finally, the concept and meaning of Talesh kilim patterns were interpreted by interviewing people and studying libraries.

https://ira.guilan.ac.ir/article_8576_63b96e6e4b06769e623db38fd24f0ebb.pdf

University of Guilan Interdisciplinary Researches of Art 3060-7043 3 1 2025 03 04 An Analysis of Socio-cultural Parameters Related to the Tendency of Iranian Daf Players to Utilize Decorated Dafs An Analysis of Socio-cultural Parameters Related to the Tendency of Iranian Daf Players to Utilize Decorated Dafs 209 224 8577 10.22124/ira.2025.29685.1048 FA Sadjad Pourghanad Department of Ethnomusicology, Farabi international campus, Iran University of Art, Tehran, Iran. Seyed Pouria Nasiri Department of Music Composition, Faculty of Music, Iran University of Art, Tehran, Iran Saba Masumian Department of Painting, Ferdows Institute for Higher Education, Mashhad, Iran. 0009-0006-3882-893X Journal Article 2025 01 27 Introduction and background: The relationship between the decorative arts and musical instruments, as an approach to interdisciplinary studies, offers an intriguing perspective for exploring how different artists create and manifest their preferences and styles. Consequently, this study focuses on decorated (adorned) Dafs—a percussive musical instrument in Iran. The evolution and transformation of music in Iran and other countries is a multifaceted phenomenon that encompasses various issues that artists from these regions confront, as well as how renowned artists and maestros address these challenges. Therefore, it is essential to understand and examine the perspectives of artists from this region. This is particularly relevant to the research problem due to its significance in Iran and the novelty of adopting an interdisciplinary approach in this area, which underscores the comprehensiveness of the issue. It is crucial to comprehend how these masters and musicians, who represent the first generation of Daf players in Iran, confronted innovation, particularly in the decoration and fabrication of visual art techniques on musical instruments. Furthermore, such research enables the tracing of the emergence of these elements as aesthetic features related to Iranian music, specifically within the Iranian Daf players' community. This study concentrates on the approach of a generation of prominent Daf players from the 1960s and 1970s of the Hijri calendar in Iran (from 1980 to 1999), as well as non-professional consumers of decorated Dafs. This research has established a sociocultural classification based on the tendency to purchase a musical instrument as a product. Objectives and Research Questions: The primary objective of this study is to examine the tendencies and preferences of Daf musicians and customers regarding patterned or adorned Dafs. The secondary objective is to investigate the reasons behind the acceptance or rejection of such decorated instruments. The research questions are as follows: 1) What rationale or rationales influence Daf players' acceptance or rejection of decorated instruments? 2) Does the presence of decoration on the Daf instrument affect its acceptance or rejection by Daf players? 3) Do opponents of decorated Dafs perceive the use of such instruments as "unartistic" and merely a “market” approach? Research Method: The research method employed in this study is a survey, with data collected primarily through a questionnaire. This research is classified under the category of fundamental research. A questionnaire was developed for this study, and interviews were conducted with a first-generation of well-known Daf masters and musicians to gather their opinions and perspectives on decorated Dafs. The questionnaire consisted of a total of six questions, which were answered with "yes" and “no”. The questions are as follows: 1) Do you like “patterned Dafs”?, 2) Do you use “patterned Dafs”?, 3) Do you believe in the duality of “artistic Daf playing” and “non-artistic Daf playing” in the field of daf playing?, 4) Do you consider a specific type of design on the daf to belong to the “art businessmen” community and, on the other hand, to “serious art community”?, 5) If you encountered a design that is not currently available on the market and does not conform to any existing daf design styles, would you accept it? 6) Are the patterns and designs on the Daf a reason for the inconsistency of this instrument with other Iranian instruments? Literature review: There have been no research studies examining the biases of musical artists in their use of decorative arts on Iranian musical instruments. The only article related to this topic is a field study titled "Description and Analysis of the Use of Iranian Decorative Arts in Relation to Iranian Musical Instruments: A Case Study of the Dafi Instrument, which addresses the classification of existing designs of patterned dafs. Result and conclusion: This research revealed that this generation does not accept decoration and adornment on the Daf. It was also deduced that the diverse design of the Dafs did not influence their selection in the community of well-known Daf players and that by boycotting such Dafs, this group is attempting to distinguish themselves both artistically and socially from those who regard them as "art businessmen" with a non-artistic mindset and manner. Introduction and background: The relationship between the decorative arts and musical instruments, as an approach to interdisciplinary studies, offers an intriguing perspective for exploring how different artists create and manifest their preferences and styles. Consequently, this study focuses on decorated (adorned) Dafs—a percussive musical instrument in Iran. The evolution and transformation of music in Iran and other countries is a multifaceted phenomenon that encompasses various issues that artists from these regions confront, as well as how renowned artists and maestros address these challenges. Therefore, it is essential to understand and examine the perspectives of artists from this region. This is particularly relevant to the research problem due to its significance in Iran and the novelty of adopting an interdisciplinary approach in this area, which underscores the comprehensiveness of the issue. It is crucial to comprehend how these masters and musicians, who represent the first generation of Daf players in Iran, confronted innovation, particularly in the decoration and fabrication of visual art techniques on musical instruments. Furthermore, such research enables the tracing of the emergence of these elements as aesthetic features related to Iranian music, specifically within the Iranian Daf players' community. This study concentrates on the approach of a generation of prominent Daf players from the 1960s and 1970s of the Hijri calendar in Iran (from 1980 to 1999), as well as non-professional consumers of decorated Dafs. This research has established a sociocultural classification based on the tendency to purchase a musical instrument as a product. Objectives and Research Questions: The primary objective of this study is to examine the tendencies and preferences of Daf musicians and customers regarding patterned or adorned Dafs. The secondary objective is to investigate the reasons behind the acceptance or rejection of such decorated instruments. The research questions are as follows: 1) What rationale or rationales influence Daf players' acceptance or rejection of decorated instruments? 2) Does the presence of decoration on the Daf instrument affect its acceptance or rejection by Daf players? 3) Do opponents of decorated Dafs perceive the use of such instruments as "unartistic" and merely a “market” approach? Research Method: The research method employed in this study is a survey, with data collected primarily through a questionnaire. This research is classified under the category of fundamental research. A questionnaire was developed for this study, and interviews were conducted with a first-generation of well-known Daf masters and musicians to gather their opinions and perspectives on decorated Dafs. The questionnaire consisted of a total of six questions, which were answered with "yes" and “no”. The questions are as follows: 1) Do you like “patterned Dafs”?, 2) Do you use “patterned Dafs”?, 3) Do you believe in the duality of “artistic Daf playing” and “non-artistic Daf playing” in the field of daf playing?, 4) Do you consider a specific type of design on the daf to belong to the “art businessmen” community and, on the other hand, to “serious art community”?, 5) If you encountered a design that is not currently available on the market and does not conform to any existing daf design styles, would you accept it? 6) Are the patterns and designs on the Daf a reason for the inconsistency of this instrument with other Iranian instruments? Literature review: There have been no research studies examining the biases of musical artists in their use of decorative arts on Iranian musical instruments. The only article related to this topic is a field study titled "Description and Analysis of the Use of Iranian Decorative Arts in Relation to Iranian Musical Instruments: A Case Study of the Dafi Instrument, which addresses the classification of existing designs of patterned dafs. Result and conclusion: This research revealed that this generation does not accept decoration and adornment on the Daf. It was also deduced that the diverse design of the Dafs did not influence their selection in the community of well-known Daf players and that by boycotting such Dafs, this group is attempting to distinguish themselves both artistically and socially from those who regard them as "art businessmen" with a non-artistic mindset and manner.

https://ira.guilan.ac.ir/article_8577_390c76b0ad61238fb1e75f8c098d016a.pdf

University of Guilan Interdisciplinary Researches of Art 3060-7043 3 1 2025 04 14 The Role of Interactive Narratives in Creating Emotional Bonding between Players and Story Characters in Video Games: A Case Study of Heavy Rain The Role of Interactive Narratives in Creating Emotional Bonding between Players and Story Characters in Video Games: A Case Study of Heavy Rain 225 244 8672 10.22124/ira.2025.29923.1054 FA Ali Razizadeh Assistant Professor in Department of Media Arts, Religion and Media Faculty, IRIB University, Qom, Iran Journal Article 2025 02 22 Introduction: Video games, as one of the dynamic media of the contemporary era, have profoundly affected the psychological, social, and cultural dimensions of their users. A prominent feature of these games is their ability to create interactive narratives that allow users to influence the progression of the story actively. This study aims to examine the role of interactive narratives in fostering emotional bonds between users and story characters by analyzing how personal choices and user agency contribute to forming strong and lasting emotional connections within video game experiences. To achieve this, the case study of Heavy Rain has been selected—a game that, with its nonlinear narrative structure and moral choice system, provides an ideal platform for deeply engaging users in its story. The main objectives of this research include defining the concept of interactive narratives, identifying the dimensions of user agency, and analyzing how moral choices and physical interactions strengthen emotional attachment. The key questions in this research explore how a user’s choices in ethical and critical situations alter the narrative’s path and create feelings of empathy, guilt, regret, or joy. The hypothesis posits that user agency and physical interactions not only alter the course of the story but also play a significant role in forming emotional bonds between the user and the game’s characters. Background and Conceptual Framework: Research in the field of video games has primarily explored three main perspectives: games as systems, games as media, and games as art. Interactive narratives in games are conceptually understood as a process in which users, through independent decision-making, not only guide the progression of the story but also develop a sense of responsibility toward the fate of the characters. The conceptual framework of this study focuses on three main elements: narrative, interaction, and agency. Narrative refers to the structure that presents events and the storyline coherently and logically. Interaction describes the process through which users engage with the game environment, allowing them to shape events. Agency signifies the user’s ability to make choices that visibly impact the story's progression. Heavy Rain serves as a prime example of the integration of these elements, offering a nonlinear narrative structure and a moral choice system that enables users to form deep emotional connections with the game’s characters. Methodology: This qualitative research employs an analytical-interpretive approach, which allows for an in-depth examination of emotional experiences and user reactions to interactive narratives. Data for this study were collected through direct gameplay experiences of Heavy Rain. During this process, key user decisions were recorded, and character reactions to these decisions were observed. Furthermore, descriptive analysis was conducted on sections of the game that exhibit significant interactive narrative features, assessing how they contribute to the storytelling process. The study focuses on three primary aspects for analysis: narrative structure, moral dilemmas, and physical interactions. By using an analytical-interpretive method, this research aims to comprehensively explain the relationship between user choices and the formation of emotional bonds within the game’s narrative. Analysis and Discussion: The analysis of the data reveals that Heavy Rain's nonlinear narrative structure allows users to directly influence the progression of the story through their ethical and practical decisions. For instance, when users must choose between saving or sacrificing a character, the consequences of these choices are immediately reflected in the storyline and the emotional responses of the characters. These moral decisions not only evoke emotions such as empathy and guilt but also create a sense of responsibility in users regarding the outcomes of their actions, thereby fostering emotional attachment to the game’s characters. Furthermore, the game’s physical interaction mechanisms—such as controller usage and touch-screen gestures—enhance the sense of presence within the story. In critical moments, particularly when characters are in danger, these physical interactions, combined with the narrative consequences, generate an emotionally immersive experience for the user. As a result, individual choices and physical engagement simultaneously shape the narrative trajectory and strengthen the emotional connection between the user and the characters. A detailed analysis of the data demonstrates that user agency in decision-making not only alters the story’s direction but also creates a uniquely personalized experience for each player. In other words, a user who makes independent choices in response to ethical dilemmas actively participates in shaping the story and, over time, develops a profound emotional experience. This experience goes beyond mere entertainment, contributing to the user’s lived experience and personal identity within the realm of video games. The emotional experiences generated through interactions with the story and characters lead users to a deeper understanding of ethical and psychological concepts, engaging them in continuous reflection and evaluation. Overall, the findings of this study suggest that interactive narratives, by providing a platform for active user engagement in storytelling, transform the gaming experience from superficial entertainment into an emotionally and psychologically meaningful engagement. Individual choices, particularly in critical and moral situations, play a crucial role in establishing lasting emotional bonds with game characters. Additionally, physical interactions and sensory engagement with the game environment enhance the sense of real presence, making the experience uniquely immersive. Consequently, integrating interactive narratives into video game design not only enhances the quality of user experience but also has profound psychological and social implications. Conclusion: This study highlights how Heavy Rain leverages interactive storytelling to create strong emotional connections between players and characters. Through moral decision-making, physical interactions, and branching narratives, the game offers a deeply immersive experience where choices genuinely shape the story. The findings suggest that user-driven storytelling enhances player investment and engagement, making video games powerful mediums for emotional and psychological exploration. The moral dilemmas presented encourage self-reflection, demonstrating how games can serve as more than just entertainment. Future research could further explore the psychological effects of interactive narratives across different genres. Ultimately, Heavy Rain exemplifies how video games can redefine storytelling, offering personalized and emotionally compelling experiences that blur the line between gaming and interactive art. Introduction: Video games, as one of the dynamic media of the contemporary era, have profoundly affected the psychological, social, and cultural dimensions of their users. A prominent feature of these games is their ability to create interactive narratives that allow users to influence the progression of the story actively. This study aims to examine the role of interactive narratives in fostering emotional bonds between users and story characters by analyzing how personal choices and user agency contribute to forming strong and lasting emotional connections within video game experiences. To achieve this, the case study of Heavy Rain has been selected—a game that, with its nonlinear narrative structure and moral choice system, provides an ideal platform for deeply engaging users in its story. The main objectives of this research include defining the concept of interactive narratives, identifying the dimensions of user agency, and analyzing how moral choices and physical interactions strengthen emotional attachment. The key questions in this research explore how a user’s choices in ethical and critical situations alter the narrative’s path and create feelings of empathy, guilt, regret, or joy. The hypothesis posits that user agency and physical interactions not only alter the course of the story but also play a significant role in forming emotional bonds between the user and the game’s characters. Background and Conceptual Framework: Research in the field of video games has primarily explored three main perspectives: games as systems, games as media, and games as art. Interactive narratives in games are conceptually understood as a process in which users, through independent decision-making, not only guide the progression of the story but also develop a sense of responsibility toward the fate of the characters. The conceptual framework of this study focuses on three main elements: narrative, interaction, and agency. Narrative refers to the structure that presents events and the storyline coherently and logically. Interaction describes the process through which users engage with the game environment, allowing them to shape events. Agency signifies the user’s ability to make choices that visibly impact the story's progression. Heavy Rain serves as a prime example of the integration of these elements, offering a nonlinear narrative structure and a moral choice system that enables users to form deep emotional connections with the game’s characters. Methodology: This qualitative research employs an analytical-interpretive approach, which allows for an in-depth examination of emotional experiences and user reactions to interactive narratives. Data for this study were collected through direct gameplay experiences of Heavy Rain. During this process, key user decisions were recorded, and character reactions to these decisions were observed. Furthermore, descriptive analysis was conducted on sections of the game that exhibit significant interactive narrative features, assessing how they contribute to the storytelling process. The study focuses on three primary aspects for analysis: narrative structure, moral dilemmas, and physical interactions. By using an analytical-interpretive method, this research aims to comprehensively explain the relationship between user choices and the formation of emotional bonds within the game’s narrative. Analysis and Discussion: The analysis of the data reveals that Heavy Rain's nonlinear narrative structure allows users to directly influence the progression of the story through their ethical and practical decisions. For instance, when users must choose between saving or sacrificing a character, the consequences of these choices are immediately reflected in the storyline and the emotional responses of the characters. These moral decisions not only evoke emotions such as empathy and guilt but also create a sense of responsibility in users regarding the outcomes of their actions, thereby fostering emotional attachment to the game’s characters. Furthermore, the game’s physical interaction mechanisms—such as controller usage and touch-screen gestures—enhance the sense of presence within the story. In critical moments, particularly when characters are in danger, these physical interactions, combined with the narrative consequences, generate an emotionally immersive experience for the user. As a result, individual choices and physical engagement simultaneously shape the narrative trajectory and strengthen the emotional connection between the user and the characters. A detailed analysis of the data demonstrates that user agency in decision-making not only alters the story’s direction but also creates a uniquely personalized experience for each player. In other words, a user who makes independent choices in response to ethical dilemmas actively participates in shaping the story and, over time, develops a profound emotional experience. This experience goes beyond mere entertainment, contributing to the user’s lived experience and personal identity within the realm of video games. The emotional experiences generated through interactions with the story and characters lead users to a deeper understanding of ethical and psychological concepts, engaging them in continuous reflection and evaluation. Overall, the findings of this study suggest that interactive narratives, by providing a platform for active user engagement in storytelling, transform the gaming experience from superficial entertainment into an emotionally and psychologically meaningful engagement. Individual choices, particularly in critical and moral situations, play a crucial role in establishing lasting emotional bonds with game characters. Additionally, physical interactions and sensory engagement with the game environment enhance the sense of real presence, making the experience uniquely immersive. Consequently, integrating interactive narratives into video game design not only enhances the quality of user experience but also has profound psychological and social implications. Conclusion: This study highlights how Heavy Rain leverages interactive storytelling to create strong emotional connections between players and characters. Through moral decision-making, physical interactions, and branching narratives, the game offers a deeply immersive experience where choices genuinely shape the story. The findings suggest that user-driven storytelling enhances player investment and engagement, making video games powerful mediums for emotional and psychological exploration. The moral dilemmas presented encourage self-reflection, demonstrating how games can serve as more than just entertainment. Future research could further explore the psychological effects of interactive narratives across different genres. Ultimately, Heavy Rain exemplifies how video games can redefine storytelling, offering personalized and emotionally compelling experiences that blur the line between gaming and interactive art.

https://ira.guilan.ac.ir/article_8672_f055c4b594a2461f2e627c9ea7a2df5a.pdf

University of Guilan Interdisciplinary Researches of Art 3060-7043 3 1 2025 04 14 The Mythological Concept of Sparagmos and its Relationship with the Greek Fertility Myth (Case Study: Euripides` Play Known as Bacchae) The Mythological Concept of Sparagmos and its Relationship with the Greek Fertility Myth (Case Study: Euripides` Play Known as Bacchae) 245 264 8671 10.22124/ira.2025.29896.1053 FA Hamed Abbasi Persian Language & Literature, Faculty of Letters & Humanities, Shiraz University, Shiraz, Iran Journal Article 2025 02 20 Introduction: Myth is one of the most important foundations in the literary texts of nations, and Greece is no exception. Meanwhile, Dionysus, the main god associated with tragedy, has always been associated with fertility practices, and numerous fertility functions have been attributed to him. The concept of Sparagmos is one of the mythological themes related to fecundity that has been revealed in myth and subsequently in tragedy. The main goal of this research is to analyze the mythological concept in ancient Greek literature and dramatic art in order to clarify the relationships between myth and artistic forms. The research method has been to analyze the propositions related to Sparagmos and fertility as two mythological components, in order to gain a better practical understanding of the dramatic arts, and specifically ancient Greek tragedy. Based on what is stated in the play Bacchae by Euripides, the punishment of beheading and mutilation that Dionysus imposed on Pentheus because it was due to his blasphemy and ingratitude, is considered sacred and religious, and in this sense, it can be considered Sparagmos. On the other hand, since Dionysus, who orders the execution of Sparagmos, has reproductive and vegetative functions, the connection between killing in Sparagmos and birth in his miracles well expresses a kind of connection in that Dionysus, as a vegetative and reproductive god, completely uses Sparagmos as a ritual punishment (and not ordinary) to bring about fertility. The most important results of this research, apart from what has been mentioned, are that firstly, Sparagmos is the punishment that the central character of a myth is subjected to due to religious blasphemy, and secondly, Dionysus, as the god of fertility, is trying to bring about a new birth by issuing the order to execute Sparagmos. Background of the Study: In general, research on Sparagmos, as one of the most important mythological concepts, should usually be sought in non-Iranian works. On the other hand, various studies have been conducted on fertility myths in different nations. Hence, some of the research generally includes the presence of the fertility myth in Iran and the world, in these researches, it can be seen that each of them tried to address the issue from a different angle: Seddiqi and Zarei (2015) have done a comparative analysis of the origin of the myth of the double herbal persons in Persian and Arab civilizations, and at the same time, they have discussed and investigated the myth of Siavash and Sudabe comparatively with Tammuz and Ishtar. Aydenlu (2013) aims to confront the relationship of Esfandiar in Iranian mythology with the basic question of whether he is an herbal god or not. But what is very close to the present article, the fertility myth in Greece based on Sparagmos, has not been directly mentioned, although researchers attribute the issue of Sparagmos to a ritual act, and on the other hand, they refer to Dionysus as an herbal deity, but they have not mentioned the combination of the two, and only in a few prominent studies such as McConnell (2016), Hubback (1990) and a number of others that will be referred to in the article, this issue has been avoided. Methodology, Aim & Issues: This research is based on a descriptive method, using qualitative content analysis and documentary research, relying on and utilizing library information collection and compilation tools. Accordingly, the play The Bacchae by Euripides, as a work and book in which the myth of Sparagmos is the main theme, has been discussed in order to explain and interpret the issue of fertility and its relationship with Sparagmos in a tangible and text-based manner. So, the questions in this research are these: a. Is Sparagmos just one of the divine acts against the rebels, or are ritual and mythological layers discernible in this unique act? b. By what means can ritual behavior in tragedy be separated from non-ritual violence? The main purpose & aim of the research Is this: After discussing the concept of Sparagmos and its relationship to the fertility myth in Greece, its counterpart in Euripides' play The Bacchae is explained in order to find answers to two basic questions. Conclusion & Results: A. Sparagmos is not necessarily a tragic component, but a mythological category that appears in tragedy more than other literary types due to the content structure of tragedy that focuses on disaster; B. As there are many similarities between Greece and Rome, in general, Rome and its mythology can be considered the same as that of Greece, which was used in Rome with changes. Sparagmos, as one of the mythological components in Greece, had a meaningful function and use in Rome as well; C. There is a form of dramatic functions and the use of mythological components, during which the poet consciously or unconsciously and simply by following the common literary traditions of his time uses them in his work. Ritual mythology made it stronger and more tangible. Introduction: Myth is one of the most important foundations in the literary texts of nations, and Greece is no exception. Meanwhile, Dionysus, the main god associated with tragedy, has always been associated with fertility practices, and numerous fertility functions have been attributed to him. The concept of Sparagmos is one of the mythological themes related to fecundity that has been revealed in myth and subsequently in tragedy. The main goal of this research is to analyze the mythological concept in ancient Greek literature and dramatic art in order to clarify the relationships between myth and artistic forms. The research method has been to analyze the propositions related to Sparagmos and fertility as two mythological components, in order to gain a better practical understanding of the dramatic arts, and specifically ancient Greek tragedy. Based on what is stated in the play Bacchae by Euripides, the punishment of beheading and mutilation that Dionysus imposed on Pentheus because it was due to his blasphemy and ingratitude, is considered sacred and religious, and in this sense, it can be considered Sparagmos. On the other hand, since Dionysus, who orders the execution of Sparagmos, has reproductive and vegetative functions, the connection between killing in Sparagmos and birth in his miracles well expresses a kind of connection in that Dionysus, as a vegetative and reproductive god, completely uses Sparagmos as a ritual punishment (and not ordinary) to bring about fertility. The most important results of this research, apart from what has been mentioned, are that firstly, Sparagmos is the punishment that the central character of a myth is subjected to due to religious blasphemy, and secondly, Dionysus, as the god of fertility, is trying to bring about a new birth by issuing the order to execute Sparagmos. Background of the Study: In general, research on Sparagmos, as one of the most important mythological concepts, should usually be sought in non-Iranian works. On the other hand, various studies have been conducted on fertility myths in different nations. Hence, some of the research generally includes the presence of the fertility myth in Iran and the world, in these researches, it can be seen that each of them tried to address the issue from a different angle: Seddiqi and Zarei (2015) have done a comparative analysis of the origin of the myth of the double herbal persons in Persian and Arab civilizations, and at the same time, they have discussed and investigated the myth of Siavash and Sudabe comparatively with Tammuz and Ishtar. Aydenlu (2013) aims to confront the relationship of Esfandiar in Iranian mythology with the basic question of whether he is an herbal god or not. But what is very close to the present article, the fertility myth in Greece based on Sparagmos, has not been directly mentioned, although researchers attribute the issue of Sparagmos to a ritual act, and on the other hand, they refer to Dionysus as an herbal deity, but they have not mentioned the combination of the two, and only in a few prominent studies such as McConnell (2016), Hubback (1990) and a number of others that will be referred to in the article, this issue has been avoided. Methodology, Aim & Issues: This research is based on a descriptive method, using qualitative content analysis and documentary research, relying on and utilizing library information collection and compilation tools. Accordingly, the play The Bacchae by Euripides, as a work and book in which the myth of Sparagmos is the main theme, has been discussed in order to explain and interpret the issue of fertility and its relationship with Sparagmos in a tangible and text-based manner. So, the questions in this research are these: a. Is Sparagmos just one of the divine acts against the rebels, or are ritual and mythological layers discernible in this unique act? b. By what means can ritual behavior in tragedy be separated from non-ritual violence? The main purpose & aim of the research Is this: After discussing the concept of Sparagmos and its relationship to the fertility myth in Greece, its counterpart in Euripides' play The Bacchae is explained in order to find answers to two basic questions. Conclusion & Results: A. Sparagmos is not necessarily a tragic component, but a mythological category that appears in tragedy more than other literary types due to the content structure of tragedy that focuses on disaster; B. As there are many similarities between Greece and Rome, in general, Rome and its mythology can be considered the same as that of Greece, which was used in Rome with changes. Sparagmos, as one of the mythological components in Greece, had a meaningful function and use in Rome as well; C. There is a form of dramatic functions and the use of mythological components, during which the poet consciously or unconsciously and simply by following the common literary traditions of his time uses them in his work. Ritual mythology made it stronger and more tangible.

https://ira.guilan.ac.ir/article_8671_c2e6a6ffca446f0d4418da7e044c3bdb.pdf

University of Guilan Interdisciplinary Researches of Art 3060-7043 3 1 2025 05 25 Analysis of the complexity of Maqeli patterns in the dados of Hakim Mosque in Isfahan by using the fractal method Analysis of the complexity of Maqeli patterns in the dados of Hakim Mosque in Isfahan by using the fractal method 265 282 8783 10.22124/ira.2025.29885.1051 FA Iman Zakariaee Kermani Carpet Department, Faculty of Handicrafts, Art University of Isfahan, Isfahan, Iran Keyhane Reisi Master degree in persian Painting, faculty of Handicrafts, Isfahan University of Art, Isfahan, Iran Jalil Jokar Instructor, Faculty of Handicrafts, Art University of Isfahan, Isfahan, Iran Samad Najarpoor Assistant Professor, Faculty of Handicrafts, Isfahan University of Art, Isfahan, Iran Journal Article 2025 02 19 Background: Iran’s historical architecture has always been inspired by the use of geometry and mathematical principles in its designs. One influential perspective in architecture is the theory of complex systems, which relates to fractal geometry. To date, fractal analysis has been utilized as a practical analytical tool in architecture and urban planning at various scales. The use of geometric order in design, combined with hidden geometry, repetitive patterns, and diverse self-similar motifs, has consistently been a focus in architectural decoration. Fractals are characterized by self-similarity, and the fractal dimension of fractal shapes is fractional, serving as a measure to quantify their complexity, irregularity, texture, and roughness. The Hakim Mosque in Isfahan, a masterpiece of the Safavid era, is rich in maqeli decorations. The repetition of patterns, while preserving proportions and the method of drawing maqeli based on grid networks, indicates the presence of fractal geometry within them. Thus, fractal features can be sought and demonstrated in the dado tile patterns of the Hakim Mosque. Understanding the geometric features of the dado patterns from the perspective of non-Euclidean geometry will aid in better comprehending the characteristics and intellectual roots of traditional Iranian architectural artists. Furthermore, this understanding will influence modern designs while preserving traditions. On the other hand, the visual complexity of an artwork can serve as a criterion for its aesthetics and plays an important role in organizing urban spaces. However, judging the degree of complexity requires precise calculation (Forsythe et al., 2010, pp. 49-50). Objectives: The aim of this research is to analyze the complexity of the maqeli patterns on the dado tiles of Hakim Mosque in Isfahan using the fractal method. To this end, first, the fractal geometry features-self-similarity and fractal dimension-are examined in the patterns, and then the complexity of the maqeli designs on the dado tiles is studied. Method: This research is applied in terms of its objective and descriptive-analytical in terms of its methodology. Data collection was conducted through fieldwork involving direct observation and photography, while documentary (library) sources were used to complete the theoretical foundations and introduce fractal structures and maqeli patterns. For analysis, the structure and principles of fractal geometry, as well as the structure of the dado tile patterns, were first described. To this end, nine representative samples of the dado tiles from Hakim Mosque were purposefully selected, all featuring similar knot designs but differing in complexity and density. The existence of fractal geometry in these patterns was then demonstrated, and the complexity of the dado tile patterns was analyzed. The patterns were initially drawn using AutoCAD software to examine their self-similarity. Then, these patterns were converted into shapefiles and vector files using ArcMap software and imported into Fractalyse software to calculate their fractal dimension. The obtained data were analyzed both qualitatively and quantitatively. After calculating the fractal dimension of the dado patterns, the complexity analysis of the maqeli patterns was conducted based on a reference motif through pattern comparison. Result: By comparing the dado tile patterns with a common base motif and calculating their fractal dimensions, the study concluded that the maqeli patterns of the Hakim Mosque dado tiles gradually increase in complexity by expanding a base motif. For this purpose, the dado tiles were purposefully divided into three groups of three samples each. For example, in Table 3, three samples with the swastika (pili maqeli) design, which gradually become more complex and fragmented when combined with other knots-resulting in an increased fractal dimension-are compared. The next three samples, shown in Table 4, are similar to interlaced diamond designs, where variations in combination lead to differences in pattern complexity and density, causing changes in their fractal dimensions. Table 5 presents the Zahra and Chahar Selli designs combined in various ways, including with the swastika maqeli pattern, resulting in higher fragmentation, complexity, density, and consequently higher fractal dimensions. This analysis demonstrates how the fractal properties of self-similarity and fractional dimension effectively describe the increasing visual complexity of the maqeli tile patterns in the Hakim Mosque’s dados through systematic expansion and combination of base motifs. Conclusion: This research initially described and analyzed the maqeli tile patterns on the dadoes of Hakim Mosque in Isfahan based on fractal geometry features, self-similarity, and fractal dimension. The results showed that the maqeli patterns on the mosque’s dadoes exhibit self-similarity in both their hidden and visible geometries. Additionally, the fractal dimensions of the patterns were fractional, consistent with fractal dimensions. Therefore, it can be concluded that the dado tile patterns possess fractal characteristics. Since fractal shapes have properties such as texture, complexity, fragmentation, smoothness, and roughness-all of which affect fractal dimension-quantifying the complexity, fragmentation, and density of the dado patterns based on their fractal dimensions and categorizing them according to base knot motifs led to the finding that the designer of the mosque’s maqeli patterns created visual harmony with the natural environment (such as mountains or plants) by using repetitive rhythms and gradually increasing complexity in the tile designs. This reflects a simultaneous combination of order and complexity in the design, which in Islamic art is considered a measure of balance between simplicity and complexity. The fractal analysis of the dadoes showed that despite their apparent complexity, the patterns have an underlying order due to the use of a base motif and the presence of self-similarity. This analysis demonstrates that Safavid-era artists, with an intuitive understanding of complex geometry principles, succeeded in creating works that can today be described using advanced mathematical concepts like fractals. The harmony between traditional art and modern mathematical concepts attests to the deep geometric knowledge of Iranian architects. Considering the research results, the diversity of traditional patterns, and the use of repetitive motifs, it is possible-within a non-Euclidean space and infinite repetition of self-similar patterns and quantification of visual complexity, fragmentation, and density (which serve as criteria for aesthetics and influence urban design)-to create new designs in architectural decoration. Background: Iran’s historical architecture has always been inspired by the use of geometry and mathematical principles in its designs. One influential perspective in architecture is the theory of complex systems, which relates to fractal geometry. To date, fractal analysis has been utilized as a practical analytical tool in architecture and urban planning at various scales. The use of geometric order in design, combined with hidden geometry, repetitive patterns, and diverse self-similar motifs, has consistently been a focus in architectural decoration. Fractals are characterized by self-similarity, and the fractal dimension of fractal shapes is fractional, serving as a measure to quantify their complexity, irregularity, texture, and roughness. The Hakim Mosque in Isfahan, a masterpiece of the Safavid era, is rich in maqeli decorations. The repetition of patterns, while preserving proportions and the method of drawing maqeli based on grid networks, indicates the presence of fractal geometry within them. Thus, fractal features can be sought and demonstrated in the dado tile patterns of the Hakim Mosque. Understanding the geometric features of the dado patterns from the perspective of non-Euclidean geometry will aid in better comprehending the characteristics and intellectual roots of traditional Iranian architectural artists. Furthermore, this understanding will influence modern designs while preserving traditions. On the other hand, the visual complexity of an artwork can serve as a criterion for its aesthetics and plays an important role in organizing urban spaces. However, judging the degree of complexity requires precise calculation (Forsythe et al., 2010, pp. 49-50). Objectives: The aim of this research is to analyze the complexity of the maqeli patterns on the dado tiles of Hakim Mosque in Isfahan using the fractal method. To this end, first, the fractal geometry features-self-similarity and fractal dimension-are examined in the patterns, and then the complexity of the maqeli designs on the dado tiles is studied. Method: This research is applied in terms of its objective and descriptive-analytical in terms of its methodology. Data collection was conducted through fieldwork involving direct observation and photography, while documentary (library) sources were used to complete the theoretical foundations and introduce fractal structures and maqeli patterns. For analysis, the structure and principles of fractal geometry, as well as the structure of the dado tile patterns, were first described. To this end, nine representative samples of the dado tiles from Hakim Mosque were purposefully selected, all featuring similar knot designs but differing in complexity and density. The existence of fractal geometry in these patterns was then demonstrated, and the complexity of the dado tile patterns was analyzed. The patterns were initially drawn using AutoCAD software to examine their self-similarity. Then, these patterns were converted into shapefiles and vector files using ArcMap software and imported into Fractalyse software to calculate their fractal dimension. The obtained data were analyzed both qualitatively and quantitatively. After calculating the fractal dimension of the dado patterns, the complexity analysis of the maqeli patterns was conducted based on a reference motif through pattern comparison. Result: By comparing the dado tile patterns with a common base motif and calculating their fractal dimensions, the study concluded that the maqeli patterns of the Hakim Mosque dado tiles gradually increase in complexity by expanding a base motif. For this purpose, the dado tiles were purposefully divided into three groups of three samples each. For example, in Table 3, three samples with the swastika (pili maqeli) design, which gradually become more complex and fragmented when combined with other knots-resulting in an increased fractal dimension-are compared. The next three samples, shown in Table 4, are similar to interlaced diamond designs, where variations in combination lead to differences in pattern complexity and density, causing changes in their fractal dimensions. Table 5 presents the Zahra and Chahar Selli designs combined in various ways, including with the swastika maqeli pattern, resulting in higher fragmentation, complexity, density, and consequently higher fractal dimensions. This analysis demonstrates how the fractal properties of self-similarity and fractional dimension effectively describe the increasing visual complexity of the maqeli tile patterns in the Hakim Mosque’s dados through systematic expansion and combination of base motifs. Conclusion: This research initially described and analyzed the maqeli tile patterns on the dadoes of Hakim Mosque in Isfahan based on fractal geometry features, self-similarity, and fractal dimension. The results showed that the maqeli patterns on the mosque’s dadoes exhibit self-similarity in both their hidden and visible geometries. Additionally, the fractal dimensions of the patterns were fractional, consistent with fractal dimensions. Therefore, it can be concluded that the dado tile patterns possess fractal characteristics. Since fractal shapes have properties such as texture, complexity, fragmentation, smoothness, and roughness-all of which affect fractal dimension-quantifying the complexity, fragmentation, and density of the dado patterns based on their fractal dimensions and categorizing them according to base knot motifs led to the finding that the designer of the mosque’s maqeli patterns created visual harmony with the natural environment (such as mountains or plants) by using repetitive rhythms and gradually increasing complexity in the tile designs. This reflects a simultaneous combination of order and complexity in the design, which in Islamic art is considered a measure of balance between simplicity and complexity. The fractal analysis of the dadoes showed that despite their apparent complexity, the patterns have an underlying order due to the use of a base motif and the presence of self-similarity. This analysis demonstrates that Safavid-era artists, with an intuitive understanding of complex geometry principles, succeeded in creating works that can today be described using advanced mathematical concepts like fractals. The harmony between traditional art and modern mathematical concepts attests to the deep geometric knowledge of Iranian architects. Considering the research results, the diversity of traditional patterns, and the use of repetitive motifs, it is possible-within a non-Euclidean space and infinite repetition of self-similar patterns and quantification of visual complexity, fragmentation, and density (which serve as criteria for aesthetics and influence urban design)-to create new designs in architectural decoration.

https://ira.guilan.ac.ir/article_8783_a072564737794e00cb816ad08512fe45.pdf