درخت حوزه‌های تخصصی

It has been nearly 86 years since the Egyptian bronze ram-headed statuette, known as Harsaphes, was found outside the Treasury in the Garrison Street of Persepolis during the archaeological excavations by the Oriental Institute of the University of Chicago. The iconographic features of this little-known statuette is associated it with an Egyptian deity, which makes its genre unique in the heartland of the Persian Empire. It should be noted that the four ram-headed deities: Heryshef, Khnum, Amun, and Banebdjedet, sometimes bear a striking resemblance in the formal Egyptian art. This paper re-opens the discussion on the statuette’s identity, and offers a detailed comparison between this statuette and other Egyptian ram-headed deities. The results from a comparative analysis are critical to the supposed attribution of Harsaphes to the statuette, and examine the likelihood of being all four ram-headed gods.

The artistic background of the Good Shepherd motif can be traced to ancient eras of the East and the West. This motif later gained prominence in early Christian art. The ram-bearer (carrying a sacrificial or an offering animal) first appeared in Near Eastern art and later became an important motif in Greco-Roman art to represent certain roles of the god Hermes. This motif was considered by Christian converts as a symbol of Jesus Christ, as they represented him in the figure of a young shepherd caring for his flock. This theme can also be seen on some Sasanian seals, which can be considered as the Good Shepherd motif. In this article, the authors introduce the aforementioned motif depicted on these seals and examine their possible connection with the Christian communities. The motif of the Good Shepherd, as seen on the seals, demonstrates modifications in the original iconography. These changes can be observed in the longer dress of the ram-bearer or the engraving of celestial symbols. These modifications are probably a sign of the localization process of an imported motif in the Sasanian Empire.

This paper deals with an old Judeo-Persian letter called Dandān-Uiliq II (Abbreviated as DU II); which probably dates back to 9th century CE and further to its contents, has some important linguistic features, often without existence in later Persian texts written in Arabic script, for instance, the use of the adverb bē = but (as in Qur’an-e Qods translation), use of the conjunction kū, the use of the verb h- (to be) and ancient subjunctive mood. This paper also presents a new translation of the letter and its ancient linguistic features discussed in comparison to Early Persian texts (in Perso-Arabic script) and some early Persian translations of Qur’an, especially Qur’an-e Quds (probably written in Sistan in 12th CE). These features represent language transmission from Middle Persian to Neo-Persian (Dari). The given translation is not the same as previous English and Chinese versions and reflects my understanding of its syntax and morphology.

The ability to recognize and compare shapes and understand the concept of proportions is one of the first human findings from environmental geometric data. And certainly the formation of geometry as a science of recognizing the arrangement of lines, shapes and levels and proportions leads to the definition of golden proportions in the mathematical sciences as a new way of organizing shapes and forms. Golden and geometric proportions are effective as a determining element in the scale of spatial forms, and the formation of spatial forms by not using or misuse of geometric proportions is due to functional and psychological interactions on human perception and cognition. Which causes the construction and formation of scales and proportions of the environment and the emergence of psychological effects due to human activities in the environment. And then the abnormal effects and environmental dysfunction on the saccade system of the human eye and as a result the feeling of fear and lack of belonging to the place interacts. On the other hand, nature as the raw material of creation, and the principle and mother of man, which causes him to model the proportions in nature. Understanding the laws governing the relationships between elements and spatial shapes leads to the formation of geometric and golden proportions in the spending of space. Because knowing the symbol of shapes, proportions and scales in the world of meaning and kingdom is reminiscent of the divine order in all dimensions of the world (even in astronomy). Therefore, evaluating the values ​​of spatial proportions in nature as the bedrock of human life and the pattern of psychological perceptions, leads to the adoption of human activities. Also, the study of human needs on a mental and psychological scale from the perception of the environment causes the recognition of scales and dimensions by human visual senses, which leads to the perception of the correct golden and geometric proportions through Sakadi eye movements and psychophysical sciences. . Certain ratios can also be observed in the creation and design of various shapes in nature. These relations are those geometric relations that have immaterial roots and follow the spiritual and supernatural principles, believing that their subject is sacred, and have a symbolic language and spiritual characteristics. In the traditional world, geometry was inseparable from the other four Pythagorean sciences, namely arithmetic, music, and astronomy. And traditional geometry is also associated with the symbolic composition and shapes of space. To this end, the study of the effect of golden and geometric proportions on human visual perception of the architectural environment based on the sense of belonging to the place, causes visual quality to increase the sensory richness of the place and achieve human values ​​and criteria in the sense of belonging to the place and human needs. To be considered by the architect. In this research, with the perspective of this identity and the interaction of geometric and golden proportions and the sense of belonging to the place, the criteria and indicators of the research have been studied and the results have been presented in the form of tables and diagrams.

The final goal of this research is to investigate the design of Qajar women's clothing in different periods. In the first step, the question arises whether the cover can be a language. Then this research seeks an answer to the question of what messages in the form of language mean. Therefore, in the current research, the above issue has been analyzed by a case study of Qajar women's clothing and using a descriptive-analytical qualitative research method. Findings: This study shows that the clothing of Qajar women can be considered a single language of signs. In deciphering this language, concepts such as women's attention to religious foundations, gender inequality, and patriarchal view in society, the value of wearing Iran's old traditions, as well as the desire to move towards westernization and fashionism of Europeans can be inferred. The results of this research show the importance of the role, color, code, sign, symbol, and finally language in the field of women's clothing in the Qajar period.