https://bonyanhonar.dafineh.ir/ Bunyān-i hunar; justārhā-yi mūzah/dārī, marimmat, bāstānshināsī va tārīkh-i hunar (Foundation of Art; Studies of Museums, Conservation, Archeology and Art History) en daily 1 Sat, 22 Nov 2025 00:00:00 +0330 Sat, 22 Nov 2025 00:00:00 +0330 https://bonyanhonar.dafineh.ir/article_731639.html With the death of Yazdgerd III (632-652 AD), an independent dynasty called the Dabuyi Gobaregan was formed in Tabaristan, and Farkhan (712-731 AD), son of Dabuyi, minted coins that were not different from the coins of the Sassanid era but in size and weight. With the death of Khurshid (748-761 AD), the last king of this dynasty, after enduring the Umayyad and Abbasid invasions for about a century and a half, Tabaristan was finally opened during the reign of Mansur Abbasid (137-158 AH) and Abbasid governors took over the administration of affairs. With the only notable difference being the rendering of the emir's name in Kufic script, the coinage continued in the same style.        In this research, eighteen coins from the Mostazafan Foundation Museums Cultural Institution and four coins from the collection of Mr. Mojtaba Zadeh Khorasani, owned by Abbasid governors, were tested in the Vandograf section of the Atomic Energy Organization using the Pixie method.       A research based on historical texts, numismatic sources, and laboratory results of elemental analysis of coins, attempts to provide a relative understanding of the economic and political situation and the authenticity of the coins in question. The results of the analysis show the fineness of coins is inextricably linked to the political and economic conditions prevailing in society, and a high amount of silver, a small percentage of gold and bismuth, and a small amount of copper can indicate the authenticity of the coin. IntroductionArchaeometry is a modern branch of archaeological studies with laboratory methods that assist archaeologists in authenticity, dating, manufacturing technology, and material analysis. Elemental analysis of coins provides the ability to identify mints, mines, and economic conditions and metal extraction technology, and is important for quantitative and qualitative measurement of coins and accurate dating.The data of this article includes 22 half-dirham silver coins from the Abbasid period of Tabaristan, 18 of which belong to the Foundation museums and 4 to the Mojtaba Zadeh Khorasani collection. The two main questions of this research are as follows:        What is the economic situation and monetary policies of Tabaristan during this period, based on laboratory results? What analysis of the elemental composition of the coins does the elemental analysis of the Abbasid governors of Tabaristan provide? For more information and a better analysis of the economic and political conditions, selected coins were tested in the Vandograph laboratory of the Atomic Energy Organization using the pixie method based on that, the method of extracting metals from ore, re-melting, the type of mine, the constituent elements, and the fineness of the coins can be determined.Theoretical Basics With the death of Yazdgerd III (20 Yazdgerd-31 AH-652 AD) and the fall of the Sassanid, an independent dynasty called the Dabuyi Espahbadans was formed in Tabaristan and minted coins whose type of calligraphy, motifs, and symbolic signs are a complete imitation of the coins of the late Sassanid kings.        On one side of the coin, the king's profile and name, religious words and symbolic symbols are engraved, and on the other side, the hearth, the guardians, and the date and place of minting are engraved in the Sassanid Pahlavi script. The date of origin of the coins is June 11, 652 AD, corresponding to 31 AH, and the day of the death of Yazd Gerd III. The coins are mainly made of silver, with a few bronze coins in existence. A dynasty that lasted until 142 or 143 AH and finally collapsed during the caliphate of Mansur Abbasid (136-158 AH) and the administration of affairs was entrusted to governors elected by the Abbasid caliphs.       The Abbasid caliphs attempted to achieve cultural dominance through political supremacy, but they were unsuccessful and the coins of this period continued in the same style as before. The coins are written in both Pahlavi and Kufic scripts. Historical sources and numismatic evidence have identified 43 Arab or Iranian governors appointed by the Abbasid caliphs.       Out of these numbers, 23 are mentioned in written sources, 15 in numismatic and historical sources, and 5 have entered the field of history only through numismatic sources. From the time Abu al-Khasib (141-142 AH) was commissioned to conquer Tabaristan to Muthanna ibn al-Hajjaj (179-180 AH), the last Arab ruler in Tabaristan ruled this region continuously from 107 or 108 AH (141 or 142 AH) to 143 AH (178 or 179 AH), for a total of 36 or 37 years. Of course, with an interval of 18 years, Fadl ibn Sahl minted a coin in the previous style in 161 AH (197 AH). Discussion and Analysis Of the ten analyzed coins named after Khalid ibn Barmak, Omar ibn al-Ala, Saeed ibn Daalaj, Hani ibn Hani, Sulayman, Muqatil, and Abdullah ibn Qahtaba from the Abbasid period, three coins from the years 124 Umar, 138 Hani, and 139 Muqatil have more than 90 percent silver, and among them, the Muqatil coin has the best quality with 95.96 percent silver.       The average silver content of Abbasid coins is 90.49% and copper is 7.08%, indicating a relative change in the monetary system and economic situation. The changes and devaluation of the currency do not seem to be very severe, but this small amount indicates the occasional instability of the political and economic situation in Tabaristan at this historical point.       During the years 129 to 143 AD, nameless coins with the word Afzot were minted in Tabaristan, and 12 of these coins were dated 129, 130, 131, 132, 135 (two coins), 136 (two coins), 137, 141 (two coins), and 143 AD.       Among them, three coins dated 131, 136 and 1/141 lack bismuth and gold elements, and low silver and high copper strengthen the possibility of counterfeiting. The remaining coins dated 129, 130, 132, 135 (two), 136, 137, 141/2, 143 with an average silver content of 85.05% show a decrease of more than 5% compared to the coins of the Abbasid Emirs. The decrease in silver with an average increase in copper of 10.13% leaves no doubt that these shifts were driven by economic necessity. The amount of gold (0.09) and bismuth (0.17) on the coins further supports the notion that the copper content was deliberately manipulated. Conclusion Elemental analysis shows the type and amount of metals in the coins and their dominant compositions. Since the only name on the coins as a mint is the generic term Tapuristan, referring to the entire province, it is not possible to locate the mines and minerals used unless historical silver ore mines are examined, and the compositions present in them are analyzed, and by comparing them, the origin of the mineral used is identified. The most important achievement of the elemental analysis of coins is the representation and reflection of the political, economic and monetary conditions of Tabaristan during this period. The coins of the Abbasid provinces are of lower quality and purity than those of the Dabu'i Espahbadan, and this situation may have arisen due to the rapid change and relocation of Emirs, the interference and simultaneous rule of governors, and the resulting instability. The lowest grade obtained from the elemental analysis belongs to the nameless coins with the word "Afzot", a ratio that could indicate the fact that the coins were minted by subordinates and associates of the Abbasid governorate in a part of the province of Tabaristan and therefore suffered from deficiencies and imperfection.       In elemental analysis of this collection, sometimes contradictory data from the same date were obtained, and this complexity makes it challenge to provide an accurate report. For example, two anonymous coins from the date 141 has given different results.       Accordingly, one coin contained 85.67 percent silver and the other 76.52 percent silver, and 11.42 and 19.37 percent copper, disparate amounts that further complicate the issue. The first coin lacks bismuth and gold, while the second coin, with less silver, contains the element bismuth. https://bonyanhonar.dafineh.ir/article_732247.html This study aims to evaluate the impact of a beacon-based smart guiding system on enhancing the visitor experience at the Quran Museum located in the Holy Shrine of Imam Reza (PBUH). The system uses indoor positioning technology to transmit digital content, such as information and multimedia, to visitors based on their geographical location via Bluetooth. The research specifically focuses on understanding how this technology influences the overall quality of the museum visit, enhances visitor interaction with the exhibits, and increases visitor satisfaction, especially within the cultural and religious context of the Holy Shrine of Imam Reza (PBUH). One of the key aspects of this study is its focus on the effectiveness of the beacon system for non-Persian-speaking visitors, particularly foreign tourists who may encounter language and cultural barriers while visiting.       In recent years, modern technology has become a crucial tool for enhancing the museum experience. As the Holy Shrine of Imam Reza (PBUH) attracts thousands of visitors annually from various parts of the world, providing an easy-to-use, accessible means for visitors to interact with museum content is essential. This is particularly important for foreign tourists who may not speak Persian as it can help break down language barriers and improve the understanding of the cultural and historical significance of the exhibits. The beacon system’s ability to offer real-time and location-specific information in multiple languages helps enhance cultural awareness and provides a richer visitor experience.       This research adopts a descriptive-analytical approach and uses both quantitative and qualitative methods to assess the impact of the beacon system. Data were collected through structured surveys and semi-structured interviews with 350 visitors to the Quran Museum. These visitors were divided into two groups: an experimental group of 175 visitors who used the beacon system and a control group of 175 visitors who did not. Statistical analysis, including t-tests, ANOVA, and correlation analysis, was used to compare the visitor experiences between the two groups. The findings suggest that the beacon system significantly improved visitor satisfaction, interaction with exhibits, and information access, especially among non-Persian-speaking visitors. However, challenges such as Bluetooth activation and mobile battery consumption were also noted, suggesting areas for improvement. IntroductionIn recent years, the role of technology in enhancing cultural and museum experiences has become increasingly important. Museums, as institutions dedicated to preserving and sharing cultural heritage, are increasingly adopting digital technologies to enrich the visitor experience. Among these technologies, beacon systems have shown significant potential in providing real-time, personalized content to visitors based on their location within a museum or cultural space.      By transmitting information to visitors' smartphones or other Bluetooth-enabled devices, beacon systems create an interactive, educational experience that facilitates engagement with exhibits and enhances overall visitor satisfaction. Beacon technology provides a modern solution to some of the traditional challenges faced by museums in terms of accessibility and engagement. By offering tailored, on-demand information, visitors can explore the museum in a more individualized manner, allowing for a deeper and more meaningful connection with the exhibits.       The Quran Museum at the Holy Shrine of Imam Reza (PBUH) in Mashhad, Iran, is one of the most visited cultural and religious destinations in the country. With a large number of international visitors, especially pilgrims, there is a pressing need to offer a seamless, multilingual, and culturally sensitive experience. As many visitors to the Holy Shrine may not be familiar with the Persian language or the intricacies of local culture, providing them with tools that help them understand and connect with the exhibits is crucial. The implementation of a beacon-based smart guiding system could be a solution to this challenge, allowing visitors to access information in their native language and at their own pace. This technological advancement is particularly important in a multicultural and multilingual environment, where cultural diversity must be respected and accommodated in the visitor experience.       This study aims to explore the effectiveness of such a system in improving the overall visitor experience at the Quran Museum. By investigating how the beacon system influences visitor engagement, interaction with exhibits, and overall satisfaction, this research contributes to the growing body of literature on the integration of technology in museum settings, with a particular focus on enhancing access for non-Persian-speaking visitors. MethodologyThis study employs a descriptive-analytical approach, combining both quantitative and qualitative research methods to evaluate the effectiveness of the beacon system. The primary data collection tools included structured questionnaires and semi-structured interviews. The questionnaires were designed to assess visitors' experiences with the beacon system, their level of satisfaction with the technology, their interaction with the digital content provided, and their overall evaluation of the visit. The qualitative component involved field observations and in-depth interviews with a subset of visitors to gain a deeper understanding of their experiences and to explore aspects that could not be fully captured through the survey.       The statistical population of the study consisted of 350 visitors to the Quran Museum at the Holy Shrine of Imam Reza (PBUH). The participants were randomly divided into two groups: the experimental group, which consisted of 175 visitors who used the beacon system during their visit, and the control group, which included 175 visitors who did not use the technology. This division allowed for a direct comparison between the two groups, helping to assess the specific impact of the beacon system on the visitor experience.       To ensure the validity of the data, various statistical methods were employed, including t-tests, analysis of variance (ANOVA), and correlation analysis. These tests were used to identify significant differences between the experimental and control groups in terms of visitor satisfaction, information access, and overall engagement with the exhibits.  Discussion & AnalysisThe findings of the study indicate that the beacon-based smart guiding system had a significant positive impact on the visitor experience at the Quran Museum. Visitors who used the system reported higher levels of satisfaction across several key criteria, including interaction with exhibits, access to information, and overall visit satisfaction. Specifically, the experimental group showed a marked improvement in their ability to obtain detailed, contextually relevant information about the exhibits. The beacon system provided not only textual information but also multimedia content such as images, videos, and audio explanations in multiple languages, which allowed for a deeper understanding of the artifacts.       One of the most notable advantages of the beacon system was its ability to facilitate information access for non-Persian-speaking visitors. Many foreign tourists who spoke languages such as English, Arabic, and others were able to use the system to access the information in their native languages. This feature significantly improved their ability to connect with the cultural and religious aspects of the museum and helped break down the language barriers that would otherwise hinder their engagement with the exhibits. As a result, these visitors felt more included in the cultural experience, which in turn led to greater overall satisfaction with their visit.       However, despite the many advantages of the beacon system, several challenges were reported by the participants. A primary concern was the need for visitors to activate Bluetooth on their smartphones in order to use the system. Visitors who forgot to enable Bluetooth or were unfamiliar with the technology were unable to access the beacon-based content, limiting the effectiveness of the system for these individuals. Additionally, the high battery consumption of mobile phones while using the beacon system was another issue, especially for those who intended to spend extended periods of time in the museum. This problem could discourage some visitors from fully utilizing the technology throughout their visit.       Moreover, some visitors reported initial difficulties in navigating the system, particularly those who had limited experience with similar technologies. These challenges suggest that future versions of the system could benefit from improvements in user interface design, making it more intuitive and accessible for a broader range of users. ConclusionThe results of this study highlight the significant impact that beacon-based smart guiding systems can have on the visitor experience in museum and cultural settings. The implementation of such systems in the Quran Museum at the Holy Shrine of Imam Reza (PBUH) has proven to be an effective tool for enhancing visitor interaction, especially for non-Persian-speaking tourists. By providing real-time, multilingual, and contextually relevant information, the system has improved the overall experience for international visitors and has helped bridge the language and cultural gaps that often exist in such settings.       The research also suggests that the use of similar technologies in other museums and cultural spaces, particularly those with a large number of foreign visitors, could be highly beneficial. These technologies can not only improve access to information but also enhance cultural awareness and understanding, making the museum experience more inclusive and engaging for people from diverse backgrounds.       However, the study also emphasizes the importance of addressing certain challenges, such as Bluetooth activation and mobile battery consumption, which could impact the usability of the system. To maximize the benefits of the beacon system, future versions should be designed with these concerns in mind, ensuring that the technology is both user-friendly and efficient. Additionally, future research should explore how to further enhance the system’s accessibility for a wider range of users, including those with disabilities or limited technological expertise.Overall, this study demonstrates the potential of beacon-based systems to transform the way visitors experience museums and cultural sites, making them more interactive, engaging, and accessible. By leveraging modern technology, museums can offer personalized, immersive experiences that enhance learning, foster cultural exchange, and ensure that visitors leave with a deeper understanding of the exhibits and their significance. https://bonyanhonar.dafineh.ir/article_731981.html Archaeometry, as an interdisciplinary branch, is not limited to the systematic analysis and interpretation of laboratory data from historical artifacts, but rather its scope encompasses all aspects related to the systematic collection of data. In this regard, sampling of historical materials and artifacts is an increasingly important methodological component due to the inherent heterogeneity and structural diversity of artifacts. Diversity in the nature of objects requires a corresponding diversity in extraction techniques and sampling methods.       Therefore, the sampling implementation protocol is a critical issue, because any error or negligence resulting from insufficient knowledge in this regard can lead to analytical biases, invalidation of scientific results, and ultimately, irreparable damage to the material integrity of the historical monument.Therefore, the present article, with its educational-analytical nature, aims to promote methodological competence among students and researchers, and explains in detail the fundamental importance of sampling in archaeometry and the theoretical principles, key concepts, such as sample size, harvest ability, and describes the operational challenges associated with selecting and extracting representative samples from historical monuments.IntroductionIn recent years, the interdisciplinary field of archaeometry, as a new research paradigm, has witnessed significant prosperity and expansion in Iran; to the extent that the current decade can be considered the "decade of archaeometric studies" or the "decade of attention to archaeological sciences."       These studies, as a complex and multifaceted process, include a range of continuous tasks, the accuracy of the final output of which depends on strict adherence to methodological principles at all stages. Failure to recognize and neglect any of these stages can lead to deviation from the research path; ultimately, it can lead to the widespread dissemination of erroneous data and invalid conclusions in the field of archaeometry.    Although performing accurate instrumental analyses on museum artifacts and archaeological finds requires experience, ingenuity, and perseverance in addition to knowledge, however, the development and adoption of standard methodological arrangements can minimize the process's dependence on non-scientific factors.       These arrangements include comprehensive planning, adherence to appropriate sampling methods, compliance with high quality standards for materials, professional calibration of equipment, and the allocation of specialized laboratory environments.       In the meantime, sampling of historical artifacts plays a fundamental and distinctive role, as decisions made at this stage directly affect the quality and presentation of the data produced, the accuracy of subsequent inferences, and even the research policies of other researchers. Therefore, the lack of experience and methodological competence of young researchers in sampling, as a central challenge, requires that this sensitive stage be given deep and serious attention and training. Research MethodThis research is of an applied-developmental type and aims to advance methodological knowledge in the field of archaeological sampling. The research approach is descriptive-analytical and is based on a combination of documentary analysis, standards review, and conceptual analysis.The research method is based on qualitative content analysis and systematic study of sources. The research is conducted by reviewing reliable sources (specialized archaeometry books, national standards, scientific articles, and professional documents), and key concepts related to sampling are extracted, categorized, and analyzed.Discussion and Conversation Importance and Definition of Sampling Sampling is a scientific and artistic process that aims to extract a representative subset of the entire population under study so that analyses based on these samples can be generalized to the entire population. This process requires knowledge, experience, and critical thinking at all stages before, during, and after sampling. Improper sampling can lead to inaccurate results and irreparable damage to historical monuments. Types and Methods of SamplingThe two main methods of sampling in archaeometry are as follows;·         Selective (purposeful) sampling: It is carried out based on the researcher's expert knowledge of important or damaged parts of the work.·         Random sampling: This is carried out in such a way that each part of the work has an equal chance of being selected to eliminate researcher bias and ensures sample representativeness. Sampling Plan and Practical ConsiderationsA sampling plan is a roadmap that specifies details such as the number, location, and time of sample collection. The volume, shape, and number of samples should be determined based on the type of material, the purpose of the study, and ethical constraints; in a way that does not harm the originality and integrity of the work. Larger samples than necessary, especially in intact works, are considered unacceptable and unethical. The Relationship Between Sampling and AnalysisThe quality of analytical results is highly dependent on the quality of the sampling. Analysis of historical artifacts falls into three categories: • Destructive analysis (e.g. petrography), which requires physical sampling and destruction of the sample.• Semi-destructive analysis, which requires a small amount of sample and is minimally destructive (e.g. FTIR). • Non-destructive analysis, which is performed without sampling or damage to the object and is ideal for museum objects. Non-destructive methods include portable XRF analysis and optical imaging.  Ethical and Conservation ConsiderationsThe main criterion for sampling is to preserve the authenticity, health and integrity of historical monuments. Sampling should be carried out at points that cause the least damage to the monument and, if possible, the monuments should be restored after sampling. Destructive sampling is only permitted when no non-destructive or semi-destructive method is applicable, and the scientific results are essential for conservation and restoration.   Difference Between Sampling in Archaeology and RestorationSampling in the field of archaeology is usually done on broken or non-museum materials, which is less challenging. While in conservation and restoration, sampling of intact and museum artifacts is much more sensitive and challenging, and a less invasive approach must be followed. Conclusion: The importance of sampling in archaeological studies is an evident and obvious principle even if the analysis of samples is carried out with the highest precision. If sampling is not carried out correctly, the entire work done will be devoid of scientific value. This interdependence is two-way; that is, even if sampling is carried out in the best possible way, and in case there is no accuracy in the analysis or the wrong choice of analytical method, all the activities carried out will still be considered futile. Failure to properly understand each step in the sampling and analysis process can lead to errors and mistakes that completely invalidate the research in question. These problems often remain hidden from the researcher's eyes during the process and only become apparent when the final conclusions are drawn. Therefore, a person who conducts research in the field of archaeometry must have complete knowledge of all the stages and history of their sample, because these stages form an irreversible chain. And any mistake at any stage will be detrimental. The seven critical stages in the history of the (irreversible) specimen are as follows:1) Sampling plan: Developing a comprehensive protocol for the artifact or the historical artifacts in question,2) Determining the sampling point and location: Accurately selecting the sampling location based on scientific and ethical considerations, 3) Sample collection: Performing the sample extraction operation with appropriate tools and observing minimal intervention, 4) Sample transport to the laboratory: Transporting samples under controlled conditions to maintain sample integrity,5) Analysis and testing: Performing instrumental and chemical analyses,6) Sample completion or storage: Managing the remaining sample (complete use or systematic storage),7) And data conversion: The sample is provided to the researcher in the form of chemical or structural data. https://bonyanhonar.dafineh.ir/article_728620.html This research aims to analyze the visual elements (color, line, form, texture and space, shape) in the paintings of Hossein Zenderoudi, as one of the founders of the Saqqakhaneh School, focusing on five of his prominent works. The primary research question centers on how traditional visual elements are redefined within the framework of modern Iranian art and their role in creating a national-international identity. Adopting a descriptive-analytical method, data was collected through direct study of the artworks and analysis of their visual structures. The findings reveal that Zenderoudi achieved a distinct visual language by skillfully integrating religious symbols, elements of folk art, and Persian calligraphy with modern abstract forms. In the examined works, line (particularly thuluth script) transcends its linguistic function to become a visual element redefined through rhythmic compositions, dynamic symmetries, and demarcated color planes (purposeful use of warm and cool colors). Specifically, sacred geometry (the circle as a symbol of the cosmos, vertical rectangles reminiscent of epigraphy) and mystical concepts (infinity represented in Ghous-e Abi-e Nilgoon) are conveyed through the repetition of letters such as "He" (ه) and symbolic numerals. Furthermore, the contrast between geometric order and free expressive gestures (especially in For Dasteh) reflects the duality of tradition and modernity within Iran's historical context. This study demonstrates that by transforming indigenous visual elements into conceptual tools, Zenderoudi not only enriched the discourse of contemporary Iranian art but also provided a unique model for integrating cultural heritage with global aesthetics.   Introduction During Iran's modernization and the conflicts between traditionalists and proponents of modernity, a group of innovative artists established a school that profoundly impacted the transformations of Iran's Modernist art and even innovations in the field of calligraphy. This school or artistic movement later became known as the "Saqqakhaneh School." The founders of this movement sought to redefine national and traditional beauties. In other words, inspired by love for aspects of their national culture and with a broad perspective on global culture, they conceived the idea of founding a national-international school. This group's approach to objects and visual elements present in the people's living environment—found in saqqakhanehs (public water dispensaries), shrines, and religious sites—led to these objects being redefined within a contemporary context. Through a novel organization, these elements coalesced into a new, widely accepted school brimming with innovation. Saqqakhaneh artists incorporated designs of familiar public objects into their paintings and utilized their forms in their works. They consistently strived to create art rooted in the thoughts and beliefs of the Iranian people while simultaneously reflecting the ideas of contemporary humanity. Saqqakhaneh artists drew upon two-dimensional and flat surfaces, the absence of chiaroscuro (shading), the use of outlines, and the disregard for perspective from past art. From modern art, they were inspired by the lack of intricate detail, forthright expression, and bold techniques.This group of artists derived inspiration from the visual elements of modern paintings and the motifs of Iran's traditional, religious, and ancient arts.The core research question focuses on analyzing the visual elements (color, line, form, texture, space, shape) with a conceptual perspective in the works of Hossein Zenderoudi as one of the founders of this school, considering his mystical dimension.   Research Method This study adopts a descriptive-analytical method and a qualitative approach to conduct a systematic investigation of five significant works by Hossein Zenderoudi (Untitled, Chaharbagh, Baraye Dasteh, Ghous-e Abi-e Nilgoon, and Binam). These works were selected through purposeful sampling from the entire statistical population of the artist's Persian calligraphic paintings (naghashi-khatt), based on four criteria: representing the integration of tradition and modernity, diversity in the application of visual elements, a key position within the discourse of the Saqqakhaneh school/movement, and the expression of a creative perspective. Data were gathered through direct study of the visual structures and semiotic content analysis of the symbols.   Discussion and Conclusion This study, through systematic analysis of five seminal works by Hossein Zenderoudi—a foundational figure of the Saqqakhaneh School—reveals the process of reinterpreting traditional visual elements (color, line, form, texture, space, shape) within the context of Iran's modernist art. Findings demonstrate that Zenderoudi employs a conceptual, multi-layered approach, placing Shiite religious symbols, elements of folk art, and Persian calligraphy not in opposition, but in dynamic dialogue with modern abstract forms.        This sophisticated synthesis yields three key achievements: 1. The transition of script from linguistic to visual function: Particularly evident in Thuluth calligraphy, where script transforms from textual carrier into rhythmic structure within his works. Through compositional devices like the rhythmic repetition of the letter "Heh" (هـ) in Qoos-e Abi-ye Nilgoon, it represents sacred concepts such as cosmic infinity. 2. The redefinition of sacred geometry within contemporary aesthetics: Where basic forms like the circle (symbolizing unity of existence) and rectangle (referencing religious tablets) in the "Untitled" work employ warm/cool color contrasts. These simultaneously evoke traditional arabesques (Islimi) while harmonizing with modern abstraction. 3. The creation of a dual visual language: Exemplified in Baraye Dasteh (For the Hand), which merges expressive techniques (agitated brushstrokes, dark palette) with Shiite symbolism (broken ship = Ashura), depicting Iran's historical tension between tradition and modernity.        A crucial aspect of this process is the transformation of indigenous elements into conceptual tools: The green (sanctity) and white (purity) in Baraye Dasteh are not mere decoration, but mediums conveying collective human grief and spirituality. Furthermore, the repetition of symbolic numbers (5, 7) in Chaharbagh (Four Gardens), by turning script into form, intricately links discourses of Islamic mysticism with abstract aesthetics. This approach establishes Zenderoudi as a bridge between Iran's cultural memory and global art. In Ghous-e Abi-e Nilgoon, the mathematical infinity symbol (∞) is redefined through the Persian letter "Heh," remaining faithful to Eastern mythology while speaking the universal language of abstract art. On a broader level, this research proves that the Saqqakhaneh School, spearheaded by Zenderoudi, transcends mere imitation. It provides a paradigmatic model for artistic identity formation in transitional societies: an art rooted in its own cultural geography (public water dispensers/Saqqakhanehs, talismanic writing, occult sciences) yet, through critical reinterpretation of visual elements, integrates them into the contemporary global vocabulary. This success lies not in rejecting tradition nor surrendering to modernism, but in revitalizing indigenous signs as conceptual signatures. Consequently, Zenderoudi not only enriched the discourse of Iranian art but also created a theoretical framework for global artists seeking to synthesize local heritage with artistic meta-narratives. Along this path, ancient visual elements, imbued with novel conceptual systems, became innovative tools to counter global aesthetic uniformity. https://bonyanhonar.dafineh.ir/article_718882.html Qajar Period is one of the most significant eras in the art history of Iran, in which royal sculpting and visual realism appeared in a new style in visual arts, especially painting and textile. In the primary half of Qajar period, particularly during the reign of FathAli- Saha, the focus of the painters was on the king and the royal family in every artistic field. Compared to other Qajar kings, FathAli-Shah has been most painted by the artists and painters. His figure was painted in artificial positions in various techniques at different levels. This has caused the miniature painting and human motives find their way through other fields of art; including, zarbaft (brocade) textile weaving and patterned velvet; which was formerly woven with geometrical herbal patterns.       Researchers, leaning on this historical background, coined a new theory based on the fact that human motives in Qajar textiles were not only ornamental, but also contained social and symbolic concepts. These figures reflected the power, transited from the royal court to the public culture sector. And it signified a transformation in taste from Safavid symbolic and mystic aestheticism to a more narrative, experimental and realistic Qajar version.       The methodology is descriptive-analytical, and based on physical study of museum works, documents and library. The statistical society includes two pieces of zarbaft textile and one piece of velvet textile, from the treasury of Cultural Institute of Bonyad Museums, containing human motives. The textiles have been studied in combination of colors, the material of warp and weft, the weaving technique and patterning. Afterwards the results were compared to other paintings and hand prints of the same era.IntroductionQajar dynasty caused many fundamental changes in arts and culture since thirteenth AH. Alongside the modernism wave, the traditional arts weren’t exceptional from these changes. Although these motives are unrealistic, allegorical and symbolic, in the tailwind, we can observe the influence of European art on Iranian art with traces of realism and visualizing Iranian life routine on Iranian art works during this era. It is worth mentioning that in the first half of Qajar period, especially during the reign of FathAli-Shah, the artists, at different fields, would focus on the king and the court, even showing doing daily chores of the royal family. Compared to other Qajar kings, FathAli-Shah has been most painted by the artists and painters. His figure was painted in artificial positions in various techniques at different levels.       Transiting from Fath-Ali Shah art era towards Naseri rea, we can witness the European art and realism invigorated. Besides painting on the canvas and tile, the changes in Qajar period have also appeared in   textile industry and patterning. Textile industry, in Qajarid Era, stood after Islamic era art-industry as the second best, in terms of quality and richness of the color (table 3). However, in political-economic turbulences at the late time of this era, until the stability in art during Fath-Ali Shah’s period, the art of textile was fading; until with revitalization of other types of art, textile industry got revived too. With this difference that the majority of woven clothes where either plain, or had very simple abstract herbal or geometrical motives, far different from Safavid patterns and landscapes.        Limited usage of human motives have been mostly in single figures with moarragh techniques, painting, embroidery or ghalamkar print, except for a sample textile from Naderid era which currently stays in Victoria and Albert Museum (table 3), and the human figure similar to the figures attributed to Ghyias from Safavid period in the context of the textile. Only three pieces of this fabric with human figure have been found in the first half of Qajar period; which are now in Tar-o-pood Museum of Yazd.       Therefore, this study aims to introduce these unique pieces of textile to respond to the following questions:  How similar or different the textiles are in terms of material, techniques, the spectrum of colors, and the woven patterns? How have the woven patterns on the clothes and the arts contemporary with that emerged?  The analysis and interpretation of works1.Zarbaft cloth No.1Time: Qajar, Texture: Daraei from Isfahan, Material: Silk & Golabtun, Dimension: 150×79 Centimeter       The cloth is zarbaft with ribbons of human, animal and plant motives, which repeat in ordered patterns. Among the patterns, there is an inscription saying: “FathAli-Shah, the prince, year 1203”, attributed to his era. This is a prominent work which has embodied royal sculpting on the surface of textile; A reproduction of royal art on textile.        Comparing to Qajar miniature, the figures on this fabric are either full-faced or half-faced, without any specific gestures. The dominant colors are beige, brown, or golden, and the zarrin (gold) texture has given a royal look to it. From an aesthetic perspective, human visualization reflects dominance and respect, not daily life. Hence this work is a symbol of the political identity of the time.  2. zarbaft cloth No.2Time: Qajar, Origin: Kashan-Yazd. Dimension: 65×72-centimeter, Silk and Golabtun, herbal color.       This textile is a combination of, animal, human and herbal color. The change in color in the rows in because of different weft. Therefore, in a technical eye, a vast variety in color and formal modulation is observed; which create visual movement. Human motives in smaller patterns have fit among other ornamental motives; despite the previous cloth, in which the figures were more central.        It is said that these fabrics show the human motives entering more daily practical textile, diminishing the distance between royal and public art. Compared to other visual versions of its contemporary time, mild colors and symmetrical patterns remind us of ornamental approaches of Safavid era; yet, with Qajar realist spirit.3. Velvet Fabric       Time: Qajar, Origin: Kashan, Silk velvet with hand-made cotton layer, Dimension: 59×85 centimeter.      This work is a very unique spectacular velvet piece with human motif. Vertical patterns are seen with turquoise and brown coloring on chickpea beige. The uneven texture of the velvet causes a play of light and shadow on the surface of the cloth, and adds doubled-layer visual value to it. In a symbolic view, turquoise and brown reveals contrast between traditional spirituality and modernist Qajar world; Turquoise as a mystic color, alongside with brown representing soil and earthly life. Human motives, in this work, amongst the herbal patterns, show a high resemblance between the ancient figure of man and tree of life. General analysis and Relation with Cultural TextureHuman motives, in these fabrics have been analyzed from three viewpoints:1-formalism and style:       Using the relativity of body standing and half-faced angles, limiting lines representing the effect of royal and post-Safavid miniature painting.2- Study of colors:       Dominant warm colors (brown, golden, chickpea beige) with limited turquoise and green shading have made the figures look royally glamorous. However, at the level of color psychology, not only do they represent the glamour, but also the change in the time soul moving towards more earthly and realistic human motives. 3. Concepts and semanticsThe role of human in textiles altered from royal glamor to social and cultural iconology. The research shows human in Qajar art descended in Safavid era to a more narrative, reflecting real-life substance. Regarding to the historical data in Tar-O-Pood museum, the storage for keeping the works from Qajar era, in Yazd, is itself part of the history of textile industry shaping in Iran. This environmental consistency shows the textile not only as a mere production, but also a cultural document of economic events, paint passion, and signs of social class. The research also with an aesthetic approach explains how importing European textile industry has broken a relative record in hand-craftsmanship in late Qajar. However, in an artistic view, European patterns have also expanded realism in Iranian patterns.  Conclusion1. Qajar textiles being studied put the consistency in Safavid tradition in a new frame: from ritual motives to Human ones, and from royal symbols to cultural expression.2. Material, color and pattern function in a unified meaningful structure; warm colors for richness, golden texture for social class, and human motives for social narratives. 3. Tar-O-Pood museum, conserving these works on the historical setting of Janoob-e-Yazd knitting and weaving factory, has provided the opportunity for “cultural reading” of textile industry. Where art expanded and moved from palaces to city life.4. Studying the textiles, with a humanistic approach, and pictorial iconography can recreate a deeper understanding of Iranian identity in transition from tradition to modernity. Qajar textiles, not only are ornamental objects, but also visually cultural contexts which introduce the history, society and aesthetic mentality of that era. Therefore, we may call the art of textile as a mirror which reflects the evolution in the visual reflection. A change from royal glory to cultural realism, from kings’ figures, to day-to-day human, and from an ornamental product to a historical document. An interdisciplinary reading of color, patter, material and meaning which reveal social and aesthetic values of Qajar era in a complete frame.   https://bonyanhonar.dafineh.ir/article_733006.html The bronze belt housed in the Dafineh Museum Campus is one of the discoveries from unscientific excavations and, due to its intact condition, is considered a unique specimen among other known belts. The bronze belt is a single sheet measuring 96 cm in length and 7.5 cm in width. Its surface has been divided into 15 panels using the techniques of hammering, engraving, and punching. These panels are filled with motifs of rope patterns, animal figures, and mythological scenes. The animal motifs include scenes of dogs pursuing gazelles, while the mythological depictions present three scenes: the capture of a demon, a half-human creature holding two hunted gazelles, and two mythical beings with three heads.       Two fundamental questions arise regarding this belt: 1) Its dating, and 2) Its historical attribution. The objectives of this research are to introduce the belt, its decorations, and the techniques used, and to conduct an artistic stylistic analysis, dating, and historical attribution through an examination of its technical and artistic characteristics. The findings indicate that the subject matter of the motifs and the techniques of their execution bear significant resemblance to Luristan bronze artifacts, including votive plaques, dagger sheaths, quiver covers, and pinheads. Based on these similarities, the belt's origin is attributed to the Luristan region during the 1st millennium BCE, reflecting the region's rich cultural history and distinct identity. The research methodology of this article is descriptive-analytical and based on library studies.Artifact Introduction:The examined belt, with catalog ID 44387, is a one-piece bronze artifact. It measures 96 cm in length, 7.5 cm in width, and has a thickness of 30.5 cm, and is in good condition. Irregularly spaced holes along the top and bottom edges suggest it was likely attached to a leather or fabric backing. Additionally, holes at the junction of the belt's two ends were made for fastening them together.The belt comprises 15 panels. The two panels at each end are decorated with rope-pattern motifs. Ten panels feature animal motifs, and the three central panels contain mythological scenes.The animal motifs consist of six scenes of fleeing gazelles and four scenes of pursuing dogs. These are arranged in a deliberate and meaningful pattern around the three main scenes, conveying the message that these three central figures constitute the belt's primary subject.1. The First Mythological Scene: This depicts the capture of a demon(?) by two guards (Image 3). The guards are bearded, mustachioed men. Their faces and legs are shown in profile, while their torsos are depicted frontally. They wear brimmed hats/helmets and long, layered, pleated robes. Each guard has a dagger in a sheath at his waist. With one hand, they each hold the hands of the demon(?), and in the other hand, they hold a jarideh[1] (a type of javelin or mace). In contrast to the guards, the demon(?) is shown frontally, wearing a layered, pleated garment.2. The Second Mythological Scene: Positioned at the center of the belt, this scene features a semi-human creature with a gazelle's head and a human body. It holds two gazelles by their legs, a motif that connects thematically with the scenes of fleeing gazelles. Two winged creatures flank the semi-human figure. In the upper part of the panel, two ducks or vultures, positioned back-to-back, stand on the hands of the winged creatures.3. The Third Mythological Scene: This image depicts two men with three heads. The men have large eyes, long mustaches and beards, and wear horned(?) headgear. Two ram/goat heads are visible on either side of their human heads. The men hold jarideh, which have square-shaped bases. It appears these two individuals may be priests or religious dignitaries. Dating of the Bronze BeltBased on Godard's (Godard,1998: 73-77) proposed chronology for Luristan pins and plaques (with religious themes), we are dealing with two categories of objects. The first category dates from the second half of the 2nd millennium BCE to the beginning of the 9th century BCE, where the artifacts show influence from the Elamite art of the Untash-Huban period. The second category dates from the 9th century BCE to the beginning of the Achaemenid period, where the artifacts were influenced by Assyrian art (from the time of Ashurnasirpal II onward). The presence of Assyrian motifs such as palmettes, the barsom, winged creatures, etc., on Luristan pins indicates imitation of Assyrian art, whether by Assyrian artisans themselves or by local craftsmen trained under their influence (ibid., 72). These influences are observable in the motifs of the belt.       Moorey (1967:92) notes that the influence of certain motifs first appeared on Babylonian and Elamite seals and later on Luristan bronzes, indicating the adoption of these motifs by the bronze workers of the Luristan region in the early 1st millennium BCE. Regarding the Luristan bronzes, Herzfeld considered them to be the work of local artisans in the Iranian region who had accepted influences from neighboring cultures (Hojebri and Sabzi, 2011:169). Dolati and Molazadeh (2018: 89), through their study of the creators' identity at the Surkh Dom Lori temple site, attribute the bronze artifacts from this location to the Ellipi kingdom and associate them with the Kassite people in the 9th century BCE.       Linguistic data indicate that the inhabitants of the Luristan region were the Kassites, who were present in the area from the mid-3rd millennium BCE. These peoples laid the necessary groundwork for the establishment of the Ellipi kingdom in the 1st millennium BCE. The earliest reference to Ellipi pertains to a short inscription from the 18th year of the reign of Ashurnasirpal II, in 866 BCE, which records the first documented encounter between Assyria and Ellipi. It can be confidently asserted that the formative stages of this kingdom date back to an even earlier period (Molazadeh and Gudarzi,2016:85). In a report by Sennacherib from 703 BCE, reference is made to the rule of Ellipi and Kassite names, with linguistic studies indicating that the majority of the inhabitants of the Ellipi kingdom were Kassite speakers (Zadok, 2002:127). According to linguistic data, the Kassite people were among the indigenous groups of the region who continued to live in the land of the Kassites even after the collapse of the Ellipi kingdom.       In addition to animal husbandry and agriculture, the Kassites were also engaged in metallurgy. The historical and geographical distribution of the discovered bronzes coincides with the geographical extent of the Ellipi kingdom, supporting the theory that a major portion of the Luristan bronzes was the product of Ellipi metalworkers (Molazadeh and Gudarzi,2016:95).Based on this, the bronze belt, with its similarities to artifacts from the Luristan region, is attributed to local artisans who accepted influences from neighboring cultures. A probable dating for the belt, relying on Muscarella's (Muscarella, 1988:201) proposed dating for a quiver cover, is the late 8th to early 7th century BCE. ConclusionLuristan bronzes hold a distinguished place in archaeological and art historical studies as one of the most prominent artistic and cultural achievements of ancient Iranian civilizations. These artifacts, dating from the early 3rd millennium to the 1st millennium BCE, represent the technical skill, artistic creativity, and mythological beliefs and ritual practices of the peoples of western Iran.The bronze belt from the Dafineh Museum Campus, discovered through unscientific excavations, is a unique specimen among other known belts in Iran due to its complete state and exceptional decorations. The belt features repetitive animal motifs and three mythological scenes.In terms of its motifs and execution style, the bronze belt shows similarities with votive plaques, dagger sheaths, and pinheads attributed to sites in Luristan, particularly the Surkh Dom Lori site. The strongest parallels are with a quiver cover discovered in Luristan, now housed in the Metropolitan Museum of Art, whose three main scenes correspond directly to those on the belt. The mythological scenes are connected to the Gilgamesh epic, a detailed analysis of which falls outside the scope of this article       Consequently, the belt's origin can be attributed to the Luristan region. Based on comparisons with the aforementioned artifacts, its dating is proposed to be the 1st millennium BCE. This period coincides with the rule of the Ellipi kingdom over the Luristan territory, indicating that the belt's creators were the indigenous inhabitants of Luristan. This claim is supported by sites such as Surkh Dom Lori and Sangtarashan, which provide substantial evidence of professional and specialized metalworking activities.[1] - A long, leafless branch of a palm tree is called - Dehkhoda Dictionary