مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 6 20 2025 05 22 A Study of Manual Illustration Techniques in the Posters of the Second Generation of Iranian Graphic Design (Case Study: Works of Farshid Mesghali and Ghobad Shiva) مطالعه شیوه های تصویرسازی دستی در پوسترهای نسل دوم گرافیک ایران (نمونه موردی: آثار فرشیدمثقالی و قبادشیوا) 714356 10.30508/fhja.2024.2002464.1160 FA احمد کاشکی موسسه آموزش عالی فردوس مشهد Journal Article 2024 02 20 Kashki, Ahmad, Master’s Graduate, Ferdows Institute of Higher Education, Mashhad, Iran. Problem Statement: Human life is fundamentally shaped by communication, and various forms of illustration have been displayed since the beginning of human civilization on walls, objects, and handmade artifacts. With the advent of books, illustration was employed to beautify texts and convey concepts more effectively. From the very beginning of illustrated posters, born from the fusion of painting and printmaking, illustration has played a significant role in graphic works. Today, poster design, like other branches of graphic design, has been greatly influenced by the advancement of technology, especially digital technologies. This development has enabled the production of graphic works, particularly posters, to be faster and in greater volume. However, despite the advantages offered by digital tools, the genuine and human impact of poster design has diminished. Due to technological progress and the increasing use of computers and photography, the role of manual illustration has been marginalized. Consequently, many poster designers have become captivated by the convenience and speed of computer techniques and tend not to use manual illustration in poster design. On the other hand, Farshid Mesghali and Ghobad Shiva lived during the peak of the Polish School of Graphic Design—a movement heavily rooted in illustration. As such, they were notably influenced by this school. Artists such as Morteza Momayez, Kambiz Derambakhsh, and Farshid Mesghali even migrated to Eastern Europe to pursue specialized illustration training. Therefore, the influence of Eastern European and, particularly, Polish graphic traditions is evident in their work. Their strong design skills are among the key reasons behind the powerful illustrative qualities in their posters, this strength being rooted in their mastery of manual techniques and their creative minds. Research Objective: The main aim of this study is to identify the characteristics of manual illustration and assess the process of creating tangible graphic works. Research Questions: The main research questions are as follows: What methods and manual illustration techniques has Ghobad Shiva used in his poster designs? What methods and manual illustration techniques has Farshid Mesghali used in his poster designs? Methodology: This study is conducted through a combination of descriptive and analytical approaches. The research population includes hand-drawn posters by Farshid Mesghali and Ghobad Shiva. The sampling method is descriptive-analytical, and the collected data were analyzed qualitatively. The study examines 4 posters from Ghobad Shiva and 4 posters from Farshid Mesghali. Following a review of the subject matter, the initial sketching phase began. Based on the collective visual language of handmade posters, forms, and preexisting concepts were used in the design process. In order to establish a deep connection with the audience, a poster must effectively convey its concept, atmosphere, tone, qualities, and emotions. Therefore, beginning with abstract elements that construct the meaning, the study proceeds through the layers of the poster, linking texture, color, and execution techniques with the subject, imagery, and ideas to the foundational elements. Conclusion: In the past, despite limited tools and materials, illustrators managed to create unique visual expressions through diverse painting techniques. However, what is important here is the role of illustration in posters. Regardless of its form or definition, illustration is an essential component in poster design. The analysis of the posters by Ghobad Shiva and Farshid Mesghali yields the following results: In examining Ghobad Shiva's works, it becomes evident that they are recognized for their beautiful lines, artistic forms, effective use of color, and attention to detail. Use of aesthetic lines and shapes: Shiva uses fine and beautiful lines and forms in his poster designs, which enhance their artistic appeal. Attractive color compositions: Like Mesghali, he employs pleasant and appealing color schemes to capture attention and create diverse visual effects. Focus on detail: Shiva places great emphasis on detail in his posters, which contributes to their depth and visual richness. Use of contemporary symbols and signs: He incorporates modern symbols and signs into his poster designs, which creates a stronger and more engaging message. In Farshid Mesghali's works, the use of traditional Iranian motifs and symbols, attractive color combinations, and the integration of text and imagery are of particular significance. Incorporation of traditional motifs and symbols: Mesghali employs traditional Iranian motifs in his poster designs, such as carpet patterns, traditional architecture, and artistic ornamentation, thereby establishing a cultural connection with the viewer. Use of appealing and diverse colors: He applies attractive and diverse color compositions to attract attention and add cultural context to his visuals. Careful integration of text and image: Mesghali carefully blends text and imagery in his poster designs to convey messages clearly and compellingly. Overall, the works of Farshid Mesghali and Ghobad Shiva combine traditional and modern elements to reflect their messages and contribute to the promotion of national culture and identity. Technological advancement has significantly affected the use of illustration in contemporary posters. The presence of computers and digital techniques in today's world has given rise to emerging designers who often lack specialized training. Increasing reliance on computers has led to a decline in posters that are the result of the artist’s manual work, thereby threatening the survival of hand-drawn techniques. These new tools, with their multifaceted capabilities, have often become substitutes for the artist’s creative mind. As a result, fewer graphic designers today engage in manual illustration within poster design. Keywords: Illustration, Creative Poster, Graphic Design, Handcrafted Posters. چکیده بیان مسئله: شیوه‌های تصویرسازی در طراحی پوسترهای گرافیکی یک موضوع مهم و جذاب در حوزه هنر و طراحی است. در این روش‌ها، استفاده از عناصر گرافیکی، رنگ، نوع فونت، تراز بندی، نقاشی دستی و طراحی با قلم به‌منظور ارائه پیام‌های مؤثر و جذاب در پوسترهای گرافیکی، مورداستفاده قرار می‌گیرد. شیوه‌های تصویرسازی شامل استفاده از نمادهایی هستند که به‌صورت بصری، مفهوم یا پیامی را به‌طرف مخاطب منتقل می‌کنند. همچنین، استفاده از نقشه‌برداری و الگوهای ایرانی، تولید پوسترهایی با تم محلی و فرهنگی را ممکن می‌کند. از دیگر شیوه‌های تصویرسازی در طراحی پوسترهای گرافیکی، استفاده از تراز بندی، تعیین فاصله بین متن و عکس و ترکیب آن‌ها در قالب طرح است. در نهایت، استفاده از شیوه‌های تصویرسازی در طراحی پوسترهای گرافیکی، برای جلب‌توجه بیشتر مخاطبان و ارائه پیام‌های مؤثر و مفهومی، بسیار حائز اهمیت است. اهداف پژوهش: هدف اصلی پژوهش حاضر، استخراج ویژگی‌های کار با دست و ارزیابی فرآیند خلق آثار گرافیکی ملموس بوده است. سوالات پژوهش پرسش‌های اصلی تحقیق عبارت‌اند از: قباد شیوا در پوستر‌های خود از چه شیوه‌ها و تکنیک‌های تصویرسازی دستی استفاده کرده است؟ - فرشید مثقالی در پوستر‌های خود از چه شیوه‌ها و تکنیک‌های تصویرسازی دستی استفاده کرده است؟ روش تحقیق: پژوهش کاربردی حاضر از منظر داده‌های تحقیق، بر اساس روش کلی توصیفی، تحلیلی، روش تحقیق و شیوه‌های دستیابی به اطلاعات، ابزارهای گردآوری و روش تجزیه‌وتحلیل به‌دست‌آمده است. در نمونه‌های مورد مطالعه به 7 مورد از فرشید مثقالی و 7 مورد از قباد شیوا پرداخته‌شده است. نتیجه‌گیری: ازآنجاکه نقش تصویرسازی روشن کردن، واضح کردن و توضیح دادن یک متن است می‌تواند تکنیک مناسبی برای طراحی یک پوستر باشد زیرا تصویرسازی امکاناتی در اختیار طراح قرار می‌دهد که طراح به کمک آن می‌تواند پیام خود را واضح و سریع به مخاطب خود انتقال دهد. تصویرساز لازم است در برخورد با تصویر که قرار است در یک پوستر مورداستفاده قرار گیرد بیش از آن‌که از نگاهی نقاشی گونه برخوردار باشد، باید به‌عنوان یک طرح گرافیک به آن بپردازد؛ یعنی تصویر را طوری طراحی نماید و یا ایده‌ای برای جذاب کردن آن داشته باشد که در راستای اهداف پوستر باشد و از اصول و قواعدی باید پیروی نماید.

https://www.fhja.ir/article_714356_2d50ce5b6157b99bda94cb9ef34d33eb.pdf

مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 6 20 2025 05 22 A Comparative Study of the Visual Presence of Rakhsh in the Narratives of the Shahnameh (Case Study: 1267 AH Lithographic Edition) مطالعۀ تطبیقیِ حضور بصری رخش در روایات شاهنامه (مطالعه موردی: نسخه چاپ سنگی 1267ق) 715294 10.30508/fhja.2024.2020827.1177 FA سمانه جانتن گروه تصویرسازی، موسسه آموزش عالی فردوس، مشهد، ایران مصطفی لعل شاطری استادیار، گروه باستان‌شناسی و تاریخ، دانشکده ادبیات و علوم انسانی، دانشگاه دولتی نیشابور، ایران Journal Article 2025 01 31 <span style="mso-ascii-font-family: 'Times New Roman'; mso-ascii-theme-font: major-bidi; mso-hansi-font-family: 'Times New Roman'; mso-hansi-theme-font: major-bidi; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: major-bidi; mso-bidi-language: FA;"> Problem Statement The Shahnameh , as a literary and cultural monument that reflects Iran’s national identity, has captivated scholars, artists, and the general public for centuries. It has been transcribed and illustrated in numerous versions throughout Persian history, each reflecting the visual and cultural aesthetics of its time. Particularly in the Qajar era, with the introduction of lithographic printing, a new era of image-text relationships emerged in Iran. At the beginning of lithographic printing, illustrations were sparse. However, within a short span of time—roughly a decade—the incorporation of visual imagery into lithographic books became widespread, leading to the creation of a substantial number of illustrated publications on various literary and historical topics. Among the earliest illustrated lithographic editions of the Shahnameh , the version published in Bombay in 1262 AH stands out. It was the first to merge Ferdowsi’s epic with images in lithographic format. Five years later, the first Iranian lithographic Shahnameh —illustrated by Mirza Ali-Qoli Khouei—was published, which not only marked a milestone in Iranian book illustration but also established a distinct visual tradition. Although Khouei was evidently influenced by the earlier Bombay edition, his unique artistic vision and visual style earned him a prominent place in the history of Persian lithography. His use of composition, character expression, and symbolic elements distinguish his work from mere replication and place it firmly within the tradition of Persian miniature painting with a modern lithographic twist. In order to provide a focused and detailed investigation, this research narrows its scope to examine the visual representation of Rakhsh, the legendary horse of Rostam. This approach allows for a precise analysis of both visual and literary elements and their interaction in one of the most iconic motifs of the Shahnameh . Through a case study of the 1267 AH lithographic edition illustrated by Khouei, this research aims to explore the structural and compositional portrayal of Rakhsh, focusing on how closely the visual elements align with the epic's verses. In doing so, it sheds light on the relationship between visual storytelling and literary narrative in Qajar-era Iran. Research Objective The edition published in 1267 AH (housed in the Astan Quds Razavi Library, under registration number 43431), illustrated by Mirza Ali-Qoli Khouei—whose active years spanned 1263–1272 AH—is one of the most elaborate and visually refined examples of Shahnameh illustration in the lithographic tradition. The primary objective of this study is to analyze the visual presence of Rakhsh within this edition, and examine how the illustrations interact with and interpret the literary depiction of Rakhsh in Ferdowsi's verses. By focusing on this single character—a legendary horse whose symbolism extends beyond the literal—this research intends to explore questions of visual symbolism, emotional expression, and intertextual fidelity. Through this lens, it offers insights into the broader artistic strategies employed by Khouei and the ways in which visual elements served to reinforce or reimagine the narrative structure of the Shahnameh in lithographic form. Research Question This research poses several interconnected questions: What are the stylistic and symbolic features of Rakhsh’s illustrations in the 1267 AH lithographic edition of the Shahnameh ? How does the relationship between Ferdowsi’s poetic descriptions and the visual depictions manifest? In what ways are the physical, emotional, and psychological dimensions of Rakhsh rendered in the illustrations? To what extent does Khouei’s representation of Rakhsh reflect traditional aesthetics, and how does it innovate within the lithographic medium? Research Method The study employs a descriptive-analytical methodology. Data were gathered from a combination of library archives and visual documentation. The core corpus consists of nine illustrations from the 1267 AH edition in which Rakhsh is present. These images were selected based on the presence of the horse in key narrative moments, including scenes of battle, loyalty, sorrow, and death. A comparative visual-literary analysis was conducted, cross-referencing the textual descriptions with their corresponding visual renderings. In addition, the illustrations from the 1262 AH Bombay edition were studied to understand the visual influence it may have exerted on Khouei’s works. The comparative analysis enabled the researcher to trace patterns of continuity and divergence between the two editions. Findings A review of the visual compositions shows that Khouei maintained a strong adherence to the textual source material while also infusing his illustrations with symbolic ornamentation and emotional expression. Rakhsh, in Persian mythology and especially in Ferdowsi’s Shahnameh , is not merely a battle horse but a figure endowed with mystical attributes and heroic agency. He is portrayed in the verses as a supernatural steed with features such as iron hooves, fiery presence, swiftness equal to the wind, and a radiant appearance likened to saffron and roses. Khouei captures these traits with meticulous visual cues. For instance, Rakhsh is often shown adorned with decorative headgear, neck rings, elaborately patterned saddles, and flowing manes—all of which enhance his noble and mythical image. In certain scenes, especially those of heightened emotion or tragedy, Khouei skillfully modifies Rakhsh’s posture, eye expression, and body language to align with the narrative tone. For example, in the battle against Sohrab, Rakhsh is drawn with a sorrowful gaze, mirroring Rostam’s emotional turmoil. In contrast, during the encounter with Sorkheh, his eyes are wide and intense, conveying a thirst for vengeance. The emotional range represented in these images indicates that Khouei went beyond literal representation and sought to personify Rakhsh, assigning him psychological depth. His ears, teeth, eyes, and general stance are carefully adjusted to reflect the narrative moment—whether in battle, in moments of danger, or during acts of loyalty and sacrifice. Particularly striking is the final illustration, where both Rostam and Rakhsh are buried together, symbolizing their eternal unity. Khouei’s depiction of this scene powerfully reinforces the theme of existential interdependence between the hero and his horse. Furthermore, while Khouei drew inspiration from the earlier Bombay edition—especially in terms of compositional structure and physical posture of Rakhsh—he expanded upon those models with additional decorative details and deeper emotional expressiveness. Khouei's illustrations often push the boundaries of the Bombay templates by integrating traditional Persian motifs with personal artistic flair. In conclusion, the findings of this study demonstrate that Khouei’s visual narrative of Rakhsh in the 1267 AH lithographic Shahnameh is both faithful to Ferdowsi’s literary text and uniquely expressive in its own right. The illustrations offer a multi-dimensional portrayal of Rakhsh, highlighting not only his physical form but also his emotional and symbolic significance within the Persian epic tradition. <span lang="AR-SA" style="font-size: 13.0pt; line-height: 115%; font-family: 'B Nazanin'; mso-ascii-font-family: Tahoma; mso-hansi-font-family: Tahoma; color: black; mso-color-alt: windowtext; background: white;">بیان مسئله:<span lang="AR-SA" style="font-size: 13.0pt; line-height: 115%; font-family: 'B Nazanin'; mso-ascii-font-family: Tahoma; mso-hansi-font-family: Tahoma; color: black; mso-color-alt: windowtext; background: white;"> بخش عمده‌ای از روایات حماسی و پهلوانی شاهنامه، با اسب قرین است. اغلب اسب‌های اساطیری، شخصیت مستقلی دارند، ازجمله مهم‌ترین آنها، رخش، مرکب و یاور رستم است.<span lang="AR-SA" style="font-size: 13.0pt; line-height: 115%; font-family: 'B Nazanin'; mso-ascii-font-family: Tahoma; mso-hansi-font-family: Tahoma; color: black; mso-color-alt: windowtext; background: white; mso-bidi-language: FA;"> <span lang="FA" style="font-size: 13.0pt; line-height: 115%; font-family: 'B Nazanin'; mso-ascii-font-family: Tahoma; mso-hansi-font-family: Tahoma; color: black; mso-color-alt: windowtext; background: white; mso-bidi-language: FA;">علاوه بر جنبۀ ادبی، موضوع حائز اهمیت، توجه به نمایش بصری رخش در میان روایت‌های گوناگون است. <span lang="FA" style="font-size: 13.0pt; line-height: 115%; font-family: 'B Nazanin'; mso-ascii-font-family: Tahoma; mso-hansi-font-family: Tahoma; color: black; mso-color-alt: windowtext; background: white; mso-bidi-language: FA;">هدف پژوهش: <span lang="FA" style="font-size: 13.0pt; line-height: 115%; font-family: 'B Nazanin'; mso-ascii-font-family: Tahoma; mso-hansi-font-family: Tahoma; color: black; mso-color-alt: windowtext; background: white; mso-bidi-language: FA;">نسخه 1267 ق (محفوظ در کتابخانه آستان قدس رضوی به شماره ثبت ۴۳۴۳۱) برخوردار از تصویرسازی‌های میرزاعلیقلی خویی (دوره فعالیت 1272-1263 ق)، نمونه‌ای شاخصِ از تصویرسازی‌های روایت‌های شاهنامه در کتاب‌های چاپ سنگی دوره قاجار محسوب می‌شود. هدف از این پژوهش، تطبیق حضور بصری رخش با روایت‌های شاهنامه است. <span lang="FA" style="font-size: 13.0pt; line-height: 115%; font-family: 'B Nazanin'; mso-ascii-font-family: Tahoma; mso-hansi-font-family: Tahoma; color: black; mso-color-alt: windowtext; background: white; mso-bidi-language: FA;">سؤال پژوهش: <span lang="FA" style="font-size: 13.0pt; line-height: 115%; font-family: 'B Nazanin'; mso-ascii-font-family: Tahoma; mso-hansi-font-family: Tahoma; color: black; mso-color-alt: windowtext; background: white; mso-bidi-language: FA;">این پژوهش، بر پاسخ به پرسشی چندوجهی استوار است مبنی بر این‌که ویژگیهای تصویرسازی رخش در شاهنامه 1267 ق چگونه و چه نسبتی بین اشعار با تصویرسازی رخش وجود دارد و نیز حالتهای جسمی، روحی و روانی رخش به چه نحوی ترسیم شده است؟ روش پژوهش:<span lang="AR-SA" style="font-size: 13.0pt; line-height: 115%; font-family: 'B Nazanin'; mso-ascii-font-family: Tahoma; mso-hansi-font-family: Tahoma; color: black; mso-color-alt: windowtext; background: white; mso-bidi-language: FA;"> پژوهش حاضر با تکیه‌بر ساختار مطالعات بینا رشته‌ای (ادبیات-تصویرسازی)، روش توصیفی-تحلیلی و با رویکرد کیفی تدوین‌یافته است. یافته‌های پژوهش: در روایت‌های بصریِ نه‌گانۀ شاهنامه 1267 ق که رخش در آن حضور دارد، از سوی میرزاعلی‌قلی خویی، دقت لازم در بازنمایی حالات و پیکر رخش به کار گرفته‌شده و در بازتابِ صحنههای موردبررسی تا حد گسترده‌ای مرتبط با متن اشعار، تصویرسازی صورت پذیرفته است، چنانکه با پرداخت به‌جزییات، سعی در بازنمایی دقیق حالات و رفتارها و ویژگی‌های رخش گردیده، چنانکه حالات فیزیکی و روحی همچون خشم و حضور در صحنههای نبرد و لحظه جان دادن به‌خوبی به بیننده انتقال داده‌شده است، اما تصویرساز همچنان به اصول سنتی پایبند است. دراین‌بین، ازجمله موضوعات مشهود، توجه تصویرسازی به شاهنامۀ 1262 ق، بمبئی بوده که گویا در ترسیم جزییات رخش به آن توجه داشته است.

https://www.fhja.ir/article_715294_1efb1f750430b9c7bd31bf1f5e2b2a3a.pdf

مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 6 20 2025 05 22 An Investigation into Environmental Factors Affecting Health in the Interior Architecture of Architecture Schools (Case Studies: University of Florida, Singapore University of Technology and Design, and Universidad de Los Andes) بررسی مؤلفه‌های محیطی مؤثر بر سلامت در معماری داخلی دانشکدۀ معماری (نمونۀ موردی: دانشگاه فلوریدا، دانشگاه فناوری و طراحی سنگاپور، و دانشگاه لوس آندس) 719364 10.30508/fhja.2024.2040197.1189 FA فهیمه تفکری دانشجوی کارشناسی ارشد معماری داخلی، موسسه آموزش عالی فردوس، مشهد، ایران. سیده مریم مجتبوی استادیار گروه معماری، موسسه آموزش عالی فردوس، مشهد، ایران Journal Article 2024 09 02 Problem Statement Educational environments constitute an inseparable part of human life, encompassing a significant portion of individuals’ time from early childhood through adolescence, young adulthood, and even into middle age. Universities, in particular, serve as crucial environments for learning, instruction, research, and development. These settings play a key role in shaping personal identity and fostering individual growth. Within university campuses, a wide range of interactions between students and faculty members take place, which significantly impacts the educational and social experiences of learners<span dir="RTL" lang="FA" style="font-size: 13.0pt; font-family: 'Times New Roman',serif; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-bidi-language: FA;">. However, the continuous expansion of universities and the increasing population of students—without proper attention to environmental design criteria—have led to a decline in the quality of educational spaces. This deterioration has resulted in reduced opportunities for social interaction, as well as increased psychological stress among students. Moreover, the considerable gap between academic education and professional practice has caused challenges for students, particularly in practice-based disciplines such as architecture, where collaboration and social engagement are essential<span dir="RTL" lang="FA" style="font-size: 13.0pt; font-family: 'Times New Roman',serif; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-bidi-language: FA;">. Architecture and art are critical and influential disciplines in society due to their strong connection to everyday human life. These fields hold a central role in promoting the physical, mental, and social well-being of individuals. Architecture students, who typically spend extended hours on campus, are even more influenced by the university environment compared to students in other disciplines. Therefore, environmental factors can exert subtle and indirect influences on the bodies and minds of these students, ultimately affecting their overall health<span dir="RTL" lang="FA" style="font-size: 13.0pt; font-family: 'Times New Roman',serif; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-bidi-language: FA;">. These environmental factors can be classified into three main categories: biological, physical, and social. Failure to address the components of each category can lead to serious health-related issues and crises for students. Health, as defined by the World Health Organization (WHO), is a state of complete physical, mental, and social well-being, not merely the absence of disease or infirmity<span dir="RTL" lang="FA" style="font-size: 13.0pt; font-family: 'Times New Roman',serif; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-bidi-language: FA;">. Given that many health issues begin to emerge before the age of 24, it is especially important to consider and monitor the health conditions of university students. As problems related to physical, mental, and social health become increasingly evident in university environments, academic institutions must take proactive steps toward enhancing the quality and healthiness of educational spaces<span dir="RTL" lang="FA" style="font-size: 13.0pt; font-family: 'Times New Roman',serif; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-bidi-language: FA;">. Research Objective The main objective of this study is to identify and analyze environmental factors that influence health within the interior architecture of architecture schools. The secondary objective is to evaluate how each of these factors impacts the health of students in the selected case studies: the University of Florida, the Singapore University of Technology and Design, and Universidad de Los Andes<span dir="RTL" lang="FA" style="font-size: 13.0pt; font-family: 'Times New Roman',serif; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-bidi-language: FA;">. Research Questions In order to achieve the stated objectives, the following questions have been formulated<span dir="RTL" lang="FA" style="font-size: 13.0pt; font-family: 'Times New Roman',serif; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-bidi-language: FA;">: <span dir="RTL" lang="FA" style="font-size: 13.0pt; font-family: 'Times New Roman',serif; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-bidi-language: FA;">1. What are the specific effects of environmental factors on students' health<span dir="RTL" lang="FA" style="font-size: 13.0pt; font-family: 'Times New Roman',serif; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-bidi-language: FA;">? <span dir="RTL" lang="FA" style="font-size: 13.0pt; font-family: 'Times New Roman',serif; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-bidi-language: FA;">2. How do environmental health-related factors perform and manifest within the case study environments<span dir="RTL" lang="FA" style="font-size: 13.0pt; font-family: 'Times New Roman',serif; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-bidi-language: FA;">? Research Methodology Given the objectives of the study, the research adopts a qualitative and applied approach. Initially, environmental components and dimensions of health were extracted through library and document-based studies, leading to the formulation of a conceptual model. Subsequently, this model was applied to analyze the selected case studies, and the findings were systematically presented in tabular form<span dir="RTL" lang="FA" style="font-size: 13.0pt; font-family: 'Times New Roman',serif; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-bidi-language: FA;">. Conclusion Education plays a fundamental role in personal and societal development, ensuring the continuity and vitality of communities. The interior environments of educational spaces must meet the needs of their users in ways that enhance performance and efficiency. The findings of this research lead to a defined model of environmental components that influence health within architecture schools<span dir="RTL" lang="FA" style="font-size: 13.0pt; font-family: 'Times New Roman',serif; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-bidi-language: FA;">. The conceptual model identifies twelve environmental factors that significantly impact students' well-being: color, lighting, temperature, noise, scent and plants, materials, furniture, spatial proportions and scale, participation and interaction, safety, territoriality and personal space, and spatial cohesion and integration. Various studies have confirmed the direct effects of these factors on physical, mental, and social health<span dir="RTL" lang="FA" style="font-size: 13.0pt; font-family: 'Times New Roman',serif; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-bidi-language: FA;">. The second part of this study, involving case analysis, reveals that the use of transparent surfaces and access to natural light across all projects improved students' focus, reduced anxiety, and enhanced performance. Furthermore, appropriate temperature regulation and the use of ventilation systems—including fans and linear diffusers—positively influenced students’ social interactions, moods, and safety perceptions<span dir="RTL" lang="FA" style="font-size: 13.0pt; font-family: 'Times New Roman',serif; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-bidi-language: FA;">. Across all case studies, the use of soundproof materials for walls and floors effectively minimized noise pollution, improved environmental quality, increased concentration, and reduced fatigue. Additionally, the presence of indoor and outdoor vegetation contributed to a sense of calm, improved green aesthetics, and enhanced students’ immune systems<span dir="RTL" lang="FA" style="font-size: 13.0pt; font-family: 'Times New Roman',serif; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-bidi-language: FA;">. In the University of Florida, green space is concentrated outdoors, whereas in the Singapore and Los Andes campuses, greenery has been incorporated into interior spaces, leading to improved comfort and quality of life. The use of warm colors such as orange and yellow in the Florida and Los Andes campuses stimulated creativity and emotional engagement, while the application of green in the Singapore University of Technology and Design fostered feelings of vitality and refreshment<span dir="RTL" lang="FA" style="font-size: 13.0pt; font-family: 'Times New Roman',serif; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-bidi-language: FA;">. Flexible, ergonomic, and standardized furniture used across all three case studies increased student satisfaction and academic performance. Proportional and appropriately scaled spaces—including terraces, courtyards, stepped seating areas, and central gathering zones—enhanced participation, interaction, cohesion, and spatial integrity. All three campuses also addressed the need for privacy and personal space, offering well-designed areas for both individual and group work<span dir="RTL" lang="FA" style="font-size: 13.0pt; font-family: 'Times New Roman',serif; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-bidi-language: FA;">. Notably, the Singapore campus demonstrated a strong emphasis on safety, utilizing transparent partitions, security cameras, and personalized lockers, all of which contributed to a heightened sense of comfort and trust<span dir="RTL" lang="FA" style="font-size: 13.0pt; font-family: 'Times New Roman',serif; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-bidi-language: FA;">. In conclusion, the study affirms that thoughtful and health-oriented interior architectural design in educational settings can foster environments conducive to learning, growth, and student interaction. Such environments not only promote physical and mental well-being but also enhance the overall educational experience and academic performance of architecture students<span dir="RTL" lang="FA" style="font-size: 13.0pt; font-family: 'Times New Roman',serif; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-bidi-language: FA;">. Keywords: university, school of architecture, interior architecture, environment, health چکیده: بیان مسئله:<span lang="AR-SA" style="font-size: 13.0pt; font-family: 'Cambria',serif; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: Cambria;"> در سال‌های اخیر، بسیاری از فضاهای دانشگاهی به‌ویژه دانشکده‌ها، بدون توجه کافی به نیازهای فردی و اجتماعی دانشجویان، طراحی‌ شده‌اند که این امر بر کیفیت محیط و درنتیجه سلامت روانی، جسمی و اجتماعی دانشجویان تأثیر منفی گذاشته است. در دانشکده‌های معماری، با توجه به زمان طولانی حضور دانشجویان، محیط بیشتر بر آن‌ها تأثیر می‌گذارد. به همین دلیل، طراحی مناسب محیط‌های دانشگاهی می‌تواند به فضایی برای رشد، یادگیری و تعامل تبدیل شود و سلامت دانشجویان را تقویت کند. در این راستا ضروری است که معماران و طراحان فضاهای دانشگاهی، مؤلفه‌های محیطی مؤثر بر سلامت دانشجویان را بشناسند و با استانداردهای جهانی مقایسه کنند تا طراحی بر پایه سلامت را در این فضاها به‌کار گیرند. هدف پژوهش: هدف اصلی پژوهش، شناسایی و تحلیل مؤلفه‌های محیطی مؤثر بر سلامت در معماری داخلی دانشکده‌های معماری است و هدف فرعی پژوهش، بررسی تأثیر هر یک از این مؤلفه‌ها بر سلامت دانشجویان در نمونه‌های موردی (دانشگاه فلوریدا، دانشگاه فناوری و طراحی سنگاپور و دانشگاه لوس آندس) است. سؤال پژوهش: جهت دستیابی به این اهداف سؤالات زیر مطرح می‌شوند: هر یک از مؤلفه‌های محیطی چه تأثیری بر سلامت می‌گذارند؟ نحوۀ عملکرد مؤلفه‌های محیطی مؤثر بر سلامت، در نمونه‌های موردی به چه صورت است؟ روش پژوهش: با توجه به هدف تحقیق، این پژوهش از نوع کیفی و کاربردی است. در ابتدا، با استفاده از روش مطالعات کتابخانه‌ای- اسنادی، مؤلفه‌های محیطی و ابعاد سلامت استخراج و مدل مفهومی ارائه‌شده است. سپس، نتایج به‌دست‌آمده در نمونه‌های موردی تحلیل و نتایج آن در قالب جدول ارائه گردیده است. نتایج پژوهش: نتایج پژوهش نشان می‌دهد که 12 مؤلفه محیطی شامل: نور، دما، سروصدا، بو، گیاه، رنگ، مبلمان، تناسبات و مقیاس، مشارکت و تعامل، امنیت، حریم و قلمرو و انسجام و یکپارچگی تأثیرات قابل‌توجهی بر سلامت جسمی، روانی و اجتماعی دانشجویان دارند.

https://www.fhja.ir/article_719364_4da84faa19a92c880ba8bbbabb2ebc92.pdf

مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 6 20 2025 05 22 The Study of Contemporary Tabriz Carpets through the Introduction and Analysis of Carpet Designers' Works (Case Study: Master Heydollah Hamidzadeh Salarí) مطالعه قالی معاصر تبریز با معرفی و بررسی آثار طراحان بنام (مطالعه موردی: استاد هدایت‌الله حمیدزاده سالاری ) 720067 10.30508/fhja.2025.2043321.1193 FA مریم متفکرآزاد دانشجوی دکتری هنر اسلامی، عضو هیات علمی دانشگاه هنر اسلامی تبریز میلاد عقلی دیزجی دانشجوی کارشناسی ارشد فرش دانشگاه هنر اسلامی تبریز Journal Article 2024 10 13 Problem Statement: Tabriz carpet is recognized as one of the most renowned Persian carpets, distinguished by its aesthetic elements represented through design and color. From the past to the present, the Tabriz carpet has been notable for its diversity of patterns and the application of various abstract and naturalistic motifs. In contemporary times, the feature of modernity has been added to the traditional characteristics of Tabriz carpets. Contemporary Tabriz carpets have manifested a dual perspective of traditionalism within a modern context, and their preservation and revival require constant updating and innovation. Therefore, a renewed interpretation of the Tabriz carpet is essential to reveal the convergence between traditional and contemporary elements. Consequently, the design and motifs of Tabriz carpets form a crucial basis for transforming traditional views into contemporary perspectives. This transformational characteristic has resulted from the combined influence of various production factors. Among these, the role of carpet designers is particularly significant. Due to the multiplicity of tastes among contemporary designers, the variety of preferences has notably influenced the design and motifs of carpets. The correlation between the diversity of designers' tastes and the transformation of Tabriz carpet motifs is now a prominent feature of Tabriz carpets in the modern era. Master designers of Tabriz, historically celebrated for their contributions, continue to innovate today by introducing new designs infused with artistic creativity, leading to significant evolution in contemporary Tabriz carpets. Renowned Tabriz designers have developed their styles, creating diversity in the application of designs and colors by combining traditional motifs with naturalistic elements. Thus, recognizing the styles and structural characteristics of prominent masters' works is essential to further understanding the diversity of Tabriz carpet designs and, simultaneously, appreciating their vital role in defining the identity of contemporary Tabriz carpets. Among these designers, Master Salari, with his distinct individual style, has introduced a wide range of carpets in terms of design and color to the Tabriz carpet market. Therefore, understanding Salari's design approach is instrumental in comprehending the structure and transformation of contemporary Tabriz carpets. Research Objective: The objective of this research is to study and analyze the role of renowned Tabriz designers in the structure of contemporary Tabriz carpets by introducing and identifying the key elements of their works. Among these masters, the stylistic features of Master Salari’s works have been selected and presented due to their remarkable diversity in design and motifs. Research Question: This paper seeks to answer the following question: What are the principal structural elements of design and motifs in contemporary Tabriz carpets based on the works of Master Salari? Research Methodology: This research has been conducted using a descriptive-analytical method and is based on both library and field studies. Data collection and analysis have been carried out by studying books and articles related to the elements of Persian carpets, including Tabriz carpets, as well as through direct visits, interviews, and photographic documentation. Additionally, archival images of Master Salari’s designs were utilized . The statistical population of this research comprises the carpet designs by Master Salari. The study samples have been selected from among his various works, based on the quality and diversity of their design and color. Contemporary Tabriz carpets have emerged through the convergence of traditional and modern aesthetic elements. Accordingly, this research, by studying selected works of Master Salari, has identified key elements influencing contemporary Tabriz carpets, emphasizing the significant role of designers. The prominent status of Tabriz carpets owes much to the artistic creativity of celebrated Tabriz designers, who continually pursue innovation and the flourishing of Tabriz carpet art in the contemporary period . Given that designers act as the principal agents in the production system of Tabriz carpets, each renowned designer possesses an individual style characterized primarily by artistic creativity. Thus, the creative role of designers is highly prominent in the diversity and evolution of designs and colors in Tabriz carpets. Recognizing the contemporary Tabriz carpet, therefore, necessitates understanding the individual styles of Tabriz carpet designers, particularly regarding their design techniques and color schemes. In this study, the stylistic features of Master Salari’s works have been introduced and examined. Based on library studies and analysis of various aspects of his designs, Master Salari’s works can be categorized within the framework of contemporary urban Tabriz carpets, known as the "Salari Design." In his works, the use of diverse motifs, including traditional patterns alongside naturalistic elements, forms a defining feature. This characteristic also reflects the general style of contemporary Tabriz carpet designers. A study of Salari’s wide-ranging works shows the incorporation of traditional motifs, such as boteh (paisley) with historical background, alongside naturalistic elements like Golrang (natural flowers), illustrating innovation while maintaining adherence to traditional principles in both design and coloring techniques. Notably, Salari’s works feature a fusion of motifs — for instance, combining eslimi (arabesque) with khatai (stylized floral patterns), khatai with Golrang, Golrang with eslimi, and incorporating animalistic, human, and other decorative elements within a diverse composition. Distinct characteristics of Salari’s designs include large corner (latchak) designs passing through the central red point, oversized medallions (toranj) extending beyond half the width of the carpet, the extensive use of naturalistic floral motifs (Golrang), the division of the carpet’s field into two parts (so-called "double fields"), the improper rotation of spiral scrolls due to the oversized corner and medallion designs, and inconsistencies in border patterns resulting in separate motif designs at corner junctions. Moreover, his designs feature extensive use of shading in the drawing and coloring of motifs. Beyond these noted qualities, which vividly showcase the coexistence of traditional and contemporary aesthetics, some of Salari’s works present hybrid motifs that surpass the traditional norms of Tabriz carpet designers. Therefore, Master Salari’s style reflects a beautiful combination of structure and innovation, manifesting the essential convergence of tradition and modernity in contemporary Tabriz carpet design. Keywords: Contemporary Tabriz Carpet, Design and Motif, Designers, Salari Design بیان مسئله قالی معاصر یکی از برجسته‌ترین قالی‌های ایرانی شناخته می‌شود که ازنظر زیبایی‌شناسی با استفاده از طرح و رنگ معرفی می‌گردد و همواره با مؤلفه تنوع و تحول شناخته‌شده است.این قالی از گذشته تا به امروز به دلیل تنوع در طرح و به‌کارگیری نقش‌مایه‌های مختلف تجریدی و طبیعت‌گرا شناخته‌شده است. امروزه علاوه بر ویژگی‌های سنتی، مؤلفه معاصر بودن نیز به قالی تبریز افزوده شده است. درواقع، قالی معاصر تبریز در دو دیدگاه سنتی و معاصر شکل گرفته و برای حفظ و احیای آن نیاز به به‌روزرسانی و نوآوری دارد. بنابراین، لازم است که بازخوانی جدیدی از قالی تبریز صورت گیرد تا همگرایی میان عناصر سنتی و معاصر به‌خوبی نمایان شود هدف پژوهش: از پژوهش حاضر مطالعه و تحلیل نقش طراحان بنام تبریزی در ساختار قالی معاصر تبریز است که با معرفی و شناخت مؤلفه‌های آثار این اساتید میسر است. از میان اساتید بنام قالی تبریز، سبک آثار استاد سالاری به دلیل برخورداری از تنوع طرح و نقش انتخاب و معرفی گردیده است. سؤال پژوهش: این مقاله در پی پاسخ به این سؤال است که مؤلفه اصلی ساختار طرح و نقش قالی معاصر تبریز برمبنای آثار استاد سالاری کدام موارد هستند؟ روش پژوهش: این پژوهش به شیوه توصیفی- تحلیلی به مطالعه و معرفی و بررسی قال معاصر تبریز و آثار طراحان قالی پرداخته است و در این راستا با روش کتابخانهای و میدانی جمعآوری اطلاعات و اسناد تصویری صورت پذیرفته است. نتیجه‌گیری: بررسی‌های انجام‌یافته نشان می‌دهد در سیر تحول قالی معاصر تبریز طراحان به‌عنوان عاملان اصلی ایفای نقش می‌نمایند. لذا مؤلفه‌های هنری قالی معاصر تبریز تحت تأثیر نقش هنرمندان بزرگ طراح با شکل‌گیری سبک فردی مشخص می‌گردد. در میان اساتید طراح تبریزی، استاد سالاری به‌عنوان نسل معاصر طراحان تبریزی با ایجاد سبک فردی در طراحی قالی معاصر تبریز شناخته‌شده است. همگرایی میان طرح و رنگ به‌عنوان مؤلفه بارز قالی معاصر تبریز در سبک طرح سالاری با کاربرد انواع طرح در رنگ‌بندی‌های متنوع مشهود است. در آثار استاد مؤلفه‌های ساختاری و محتوایی قالی تبریز که بازنمود پایبندی به سنت‌ها به همراه تحول بر اساس مؤلفه‌های معاصر بوده، مشهود است. به‌نحوی‌که با کاربرد نقش‌مایه‌های تجریدی به همراه تنوعی از نقش‌مایه‌های طبیعت‌گرا در رنگ‌بندی‌های مختلف نمایان است.

https://www.fhja.ir/article_720067_2c38aa177250c011044628d934436bd2.pdf

مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 6 20 2025 05 22 Strategic Management of Coworking Spaces to Facilitate Interactive Learning and Innovation in Academic Environments مدیریت استراتژیک فضای کار اشتراکی جهت تسهیل یادگیری تعاملی و نوآوری در فضاهای دانشگاهی 725113 10.30508/fhja.2025.2062757.1211 FA حمیدرضا شیوائیان استاد مدعو، گروه معماری، موسسه آموزش عالی فردوس، مشهد، ایران. 0009-0009-3307-3488 Journal Article 2025 06 04 Problem Statement Shared workspaces have increasingly gained prominence in the business world as flexible environments that foster collaboration and the exchange of ideas among individuals with diverse areas of expertise. These spaces are no longer mere gathering points; rather, they have evolved into dynamic platforms for the emergence of innovation and the growth of entrepreneurship. In recent years, this model has entered the academic arena and captured the attention of higher education policymakers due to its potential to facilitate scientific interactions and foster interdisciplinary innovations<span dir="RTL" lang="FA" style="font-size: 13.0pt; font-family: 'B Nazanin'; mso-ascii-font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-language: FA;">. In academic settings, shared workspaces offer an opportunity to rethink traditional teaching and research approaches through features such as spatial flexibility, access to shared resources, and an emphasis on collaborative learning. Aimed at supporting entrepreneurial activities and enhancing academic cooperation, these spaces have emerged in many universities as a new model of interaction-based learning. By leveraging modern technologies, they provide a suitable platform for scientific advancement and professional networking. Despite their potential, the effective utilization of shared workspaces in universities faces several challenges, including the lack of synergy, weak interpersonal communication, and cultural differences, which can negatively impact the quality of academic and research interactions. Therefore, the success of such spaces depends on careful consideration of managerial, cultural, and social dimensions<span dir="RTL" lang="FA" style="font-size: 13.0pt; font-family: 'B Nazanin'; mso-ascii-font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-language: FA;">. Purpose of the Study This research aims to identify successful governance models for shared workspaces and to analyze the challenges and opportunities associated with their implementation in academic environments. The ultimate goal is to propose a practical framework for the effective utilization of shared workspaces to enhance interactive learning and foster scientific and research-driven innovations. Research Questions This study seeks to address the following questions: How can shared workspaces enhance interactive learning in universities? What managerial requirements are necessary for the effective design, implementation, and operation of these spaces? In what ways do these workspaces contribute to the advancement of scientific and research innovation? What are the key challenges and opportunities associated with the implementation of such spaces in academic institutions? Research Methodology This study adopts a qualitative research approach and employs thematic analysis. This method enables a deeper examination of the experiences, perceptions, and insights of individuals engaged with shared workspaces in academic environments, offering a comprehensive understanding of the various dimensions of this phenomenon. Thematic analysis allows the researcher to identify, categorize, and interpret meaningful patterns within qualitative data, thereby constructing a conceptual structure from the findings. Findings and Conclusion This research was conducted with the aim of exploring the role of shared workspaces in promoting interactive learning and innovation within universities. The findings reveal that such spaces can serve as effective platforms for enhancing the quality of education and research through fostering interdisciplinary collaboration, facilitating teamwork, and cultivating diverse professional networks. With their collaborative and flexible nature, these environments support the exchange of ideas, co-creation of knowledge, and development of critical and creative thinking. When designed and managed with clear objectives, shared workspaces can effectively transition traditional educational practices into interactive, problem-based, and interdisciplinary learning. However, leveraging the full potential of shared workspaces cannot rely solely on physical infrastructure or technological tools. Rather, it requires a deep understanding of the operational logic of these environments and the development of mechanisms that institutionalize this logic within the academic context. The findings indicate that the absence of integrated management frameworks, unstructured resource allocation, and lack of coordination among academic units can undermine the effectiveness of these spaces. Conversely, when managed in a problem-driven, participatory, and data-informed manner, shared workspaces can create valuable opportunities for educational and research innovation. Practical Recommendations To achieve this goal, the study proposes a set of practical strategies for university administrators, higher education policymakers, and shared workspace designers: 1. Develop Governance Frameworks Aligned with Interdisciplinary and Interactive Learning Goals Instead of traditional models, a flexible governance structure should be defined for shared workspaces. This structure must integrate educational, research, and entrepreneurial missions simultaneously, delegate operational decisions to facility managers, facilitate the involvement of students and faculty, and ensure two-way alignment with institutional policies. 2. Establish an "Interdisciplinary Learning and Innovation Unit" to Oversee Shared Workspaces A specialized interdisciplinary unit should be created to oversee the strategic use of shared workspaces in universities. This unit can continuously analyze user experiences, identify actual needs, and evaluate the effectiveness of activities, thereby supporting improved policies, stronger academic collaboration, and innovative support programs. Such a structure enhances strategic integration between education, research, and entrepreneurship in complex academic settings. 3. Allocate Financial and Human Resources Strategically as Investments in Innovation Shared workspaces should not be perceived as overhead expenses but rather as investments in the future of human and intellectual capital. Independent and competitive budgets should be allocated to develop these spaces, recruit interdisciplinary facilitators, and support collaborative innovation projects. 4. Build Educational Capacities and Empower Users The success of shared workspaces depends on users’ abilities in teamwork, design thinking, innovation, and interdisciplinary communication. Organizing capacity-building programs, coaching workshops, and shared learning circles can significantly improve productivity in these spaces. 5. Integrate Physical and Digital Design Based on Interaction and Flexibility Principles Architectural design should emphasize flexibility, information flow, and group mobility. Merging physical workspaces with digital platforms can further enhance the effectiveness of shared spaces. Limitations and Suggestions for Future Research Despite the practical solutions offered, this study faces certain limitations. The research sample was restricted to universities in Tehran and relied primarily on qualitative analysis, which may limit the generalizability of the findings. Furthermore, the study focused more on understanding qualitative experiences rather than quantitatively evaluating the performance of shared workspaces. Future research can expand upon this study by: Conducting comparative analyses among different Iranian and international universities; Combining quantitative and qualitative methods to measure the impact of shared workspaces on academic success, research output, and entrepreneurial skills; Investigating the role of national policies and governmental agencies in promoting and supporting academic shared workspaces. Final Thought Ultimately, the findings of this study suggest that shared workspaces, when grounded in a clear understanding of interactive learning and strategic, problem-driven management, can become engines of educational transformation and research innovation in universities. The future of higher education demands environments that are not merely classrooms but vibrant ecosystems for experimentation, collaboration, and innovation. <span lang="FA" style="font-size: 13.0pt; font-family: 'B Nazanin'; mso-ascii-font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-language: FA;">چکیده <span lang="FA" style="font-size: 13.0pt; font-family: 'B Nazanin'; mso-ascii-font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-language: FA;">بیان مسئله:<span lang="FA" style="font-size: 13.0pt; font-family: 'B Nazanin'; mso-ascii-font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-language: FA;"> با توجه به نقش محوری دانشگاه‌ها در پیشبرد نوآوری و کارآفرینی و نیاز روزافزون آن‌ها به فضاهایی که تعامل علمی و یادگیری گروهی را تسهیل کنند، این پژوهش به بررسی کارکرد فضای کار اشتراکی در تقویت یادگیری تعاملی و نوآوری علمی در محیط‌های دانشگاهی پرداخته است. هدف پژوهش: پژوهش حاضر در پی آن است تا الگوهای موفق راهبری این فضاها را استخراج کرده و چالش‌ها و فرصت‌های مرتبط با پیاده‌سازی آن‌ها را در محیط‌های دانشگاهی تحلیل کند. هدف نهایی، ارائه چارچوبی کاربردی برای بهره‌برداری اثربخش از فضاهای کار اشتراکی در راستای تقویت یادگیری تعاملی و توسعه نوآوری‌های علمی و پژوهشی است. <span lang="FA" style="font-size: 13.0pt; font-family: 'B Nazanin'; mso-ascii-font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-language: FA;">سؤالات پژوهش:<span lang="FA" style="font-size: 13.0pt; font-family: 'B Nazanin'; mso-ascii-font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-language: FA;"> پژوهش به دنبال پاسخ به این پرسش‌هاست: فضای کار اشتراکی چگونه می‌تواند یادگیری تعاملی را در دانشگاه‌ها تقویت کند؟ چه الزامات مدیریتی برای طراحی، پیاده‌سازی و بهره‌برداری مؤثر از این فضاها ضروری است؟ این فضاها چگونه به تقویت نوآوری علمی و پژوهشی کمک می‌کنند؟ و چه چالش‌ها و فرصت‌هایی در مسیر اجرای آن‌ها وجود دارد؟ <span lang="FA" style="font-size: 13.0pt; font-family: 'B Nazanin'; mso-ascii-font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-language: FA;">روش پژوهش:<span lang="FA" style="font-size: 13.0pt; font-family: 'B Nazanin'; mso-ascii-font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-language: FA;"> پژوهش با رویکردی کیفی و با بهره‌گیری از روش تحلیل مضمون بر پایه داده‌های به‌دست‌آمده از مصاحبه‌ها انجام‌شده است. <span lang="FA" style="font-size: 13.0pt; font-family: 'B Nazanin'; mso-ascii-font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-language: FA;">نتیجه‌گیری:<span lang="FA" style="font-size: 13.0pt; font-family: 'B Nazanin'; mso-ascii-font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-language: FA;"> یافته‌ها نشان می‌دهند که فضاهای کار اشتراکی، با ایجاد امکان تعامل میان‌رشته‌ای، تسهیل همکاری‌های علمی و گسترش شبکه‌سازی، می‌توانند به شکل مؤثری به ارتقای یادگیری تعاملی و تقویت نوآوری در دانشگاه‌ها کمک کنند. بااین‌حال، تحقق این پتانسیل‌ها به‌شدت وابسته به مدیریت استراتژیک، تأمین منابع کافی و رفع چالش‌هایی مانند کمبود بودجه و ناهماهنگی بین واحدهای مختلف دانشگاهی است.<span style="font-size: 13.0pt; font-family: 'B Nazanin'; mso-ascii-font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-language: FA;"> درنهایت، این پژوهش با ارائه مجموعه‌ای از راهکارهای مدیریتی، تلاش دارد مسیر بهره‌برداری مؤثر از فضاهای کار اشتراکی را برای مدیران دانشگاهی هموار سازد و امکان استفاده حداکثری از ظرفیت این فضاها در راستای ارتقای یادگیری و نوآوری علمی را فراهم آورد. <span lang="FA" style="font-size: 13.0pt; font-family: 'B Nazanin'; mso-ascii-font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-language: FA;">کلمات کلیدی: <span lang="FA" style="font-size: 13.0pt; font-family: 'B Nazanin'; mso-ascii-font-family: 'Times New Roman'; mso-fareast-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-language: FA;">فضای کار اشتراکی، یادگیری تعاملی، نوآوری علمی، مدیریت استراتژیک، همکاری میان‌رشته‌ای

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مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 6 20 2025 05 22 An Analytical Study of the Warriors’ Attire in the Painting of “Shiruyeh and the Colonel” at the Sarbineh of Mehdi-Qoli Beyk Bathhouse in Mashhad واکاوی پوشاک جنگاوران در نقاشی شیرویه و سرهنگ سربینه حمام مهدی‌قلی‌بیگ مشهد 727552 10.30508/fhja.2025.2052172.1204 FA نفیسه زمانی مربی/ گروه هنر/ دانشگاه ملی مهارت تهران/ ایران 0000-0002-4485-7175 مهلا فارغ کارشناس/ هنر/ دانشگاه ملی مهارت تهران/ ایران زهرا براتی هنر/ دانشگاه ملی کهارت تهران/ ایران Journal Article 2025 01 31 Problem Statement Throughout the political history of states, the warrior class has consistently played a crucial role in the maintenance and protection of governments due to their strength and military prowess. In many instances, insubordination or rebellion by warriors has led directly to the weakening or collapse of ruling powers. The evolution of military weaponry has historically transformed the nature of combat; close-quarters melee battles gradually gave way to large-scale battlefield engagements fought from greater distances. As the dynamics of warfare shifted, so too did the design and functionality of military attire. During the Qajar period, political transitions brought about substantial cultural transformations, which were reflected in the changing structure of military uniforms. The depiction of battle scenes within the visual arts of the Qajar era—just as in prior historical periods—remained a favored subject. One specific genre that emerged with renewed vigor during this period was coffeehouse painting (naqqashi-ye qahveh-khaneh), a unique form of narrative painting that brought heroic tales and moral allegories into public spaces. This art form, developing especially after the Constitutional Revolution (1906), served as a bridge between fine art and popular culture. Public venues such as coffeehouses and bathhouses became ideal platforms for showcasing these works. Coffeehouse paintings often depicted stories of epic heroes drawn from religious, national, or regional folklore that deeply resonated with the collective consciousness of the common people. The Mehdi-Qoli Beyk bathhouse in Mashhad is one such location where narrative wall paintings in the coffeehouse style can be found. Among these artworks, the painting titled "Shiruyeh and the Colonel in the Sarbineh" illustrates a popular folktale from Azerbaijan. It portrays Shiruyeh, the heroic protagonist, in combat with two rivals. The military attire of the characters, along with the depicted combat style, notably diverges from the typical martial aesthetics of the Qajar era. This discrepancy indicates that the artist was not merely imitating the fashions of his contemporary world but was influenced by other historical and artistic factors in the creation of this work. Research Objective: This study aims to analyze the extent to which historical context has influenced the depiction of warriors’ attire in the painting of Shiruyeh and the Colonel at the Sarbineh of Mehdi-Qoli Beyk Bathhouse in Mashhad. The research seeks to explore how the artist’s engagement with the historical roots of the tale shaped his design of the figures' battle garments. Research Question: To what extent do the battle costumes in the painting of Shiruyeh and the Colonel reflect the historical context of the narrative, rather than merely conforming to the prevalent military fashion of the Qajar period? It is hypothesized that instead of defaulting to the dominant Qajar military attire of his time, the artist deliberately illustrated combat uniforms inspired by the historical setting of the Shiruyeh narrative—possibly influenced by Safavid military aesthetics—in order to achieve greater narrative fidelity. Research Methodology: This study is classified as both fundamental and applied research in nature. The data collection methods employed include both library-based investigation and fieldwork involving direct visual and contextual analysis of the painting within its architectural setting. Conclusion: The warrior class has consistently functioned as both the strength and the vulnerability of ruling systems throughout history. Their profession demanded specialized clothing designed to offer protection against enemy strikes. In addition to functionality, this attire served as a visual symbol of military identity, distinguishing combatants from other social classes. Consequently, military garb assumed a symbolic structure, and artists often employed such costumes to visually signify warrior figures within pictorial compositions. Among visual art forms, coffeehouse painting—originating during the Qajar period—is particularly rich in figurative imagery and is well-suited for investigating the connection between martial dress and the broader structure of warfare. Although this genre emerged prominently in Qajar times, its roots stretch back to the Safavid era, particularly to the religious and commercial paintings seen in Armenian merchant districts such as New Julfa in Isfahan. Over time, this genre evolved into a distinct and recognizable strand of Iranian visual culture. During the Qajar period, socio-political and cultural exchanges between the Iranian middle class and Western societies facilitated the rise of the Constitutional Movement. This socio-political awakening simultaneously provided the necessary cultural backdrop for the formal emergence of coffeehouse painting. Although born in coffeehouses, this genre also found expression in other communal venues such as bathhouses, where the public regularly gathered. The thematic focus of coffeehouse painting encompasses religious epics, heroic legends, and popular folk stories. The popular segment of this genre derives from local subcultures and regional oral traditions across Iran. One such example is the folk tale of Shiruyeh and the Colonel from Azerbaijan, which was rendered visually in the Sarbineh of the Mehdi-Qoli Beyk bathhouse by a master of the coffeehouse painting tradition. The research findings demonstrate a significant divergence between the military attire depicted in Shiruyeh and the Colonel and that of Qajar-era soldiers. This contrast is not coincidental; rather, it reflects the artist’s deliberate choice to reflect a different historical context. Given that the story has roots in the Safavid period, it can be inferred that the artist, fully aware of this historical backdrop, opted to depict Safavid-style military uniforms to enhance the authenticity and dramatic impact of the narrative. This contrasts with most historical visual art, in which artists typically draw upon contemporary fashion trends when designing human figures. In this case, however, the painter consciously moved beyond the sartorial norms of his era. Influenced by the conventions of narrative painting, he dressed his heroic figures in Safavid battle attire, thereby intensifying the viewer's engagement with the epic and emphasizing the historical resonance of the story. Thus, it can be concluded that in designing the battle costumes for Shiruyeh and the Colonel, the artist intentionally selected Safavid-style clothing as a historically grounded narrative tool. His decision not only enriched the visual representation but also deepened the audience’s emotional and cultural connection with the heroic themes of the story. Furthermore, the findings of this study suggest that clothing in historical art serves not only as a symbolic marker of social identity but also functions as a practical narrative device. In this painting, the characters’ battle attire symbolizes martial identity; for instance, Shiruyeh’s ornate golden armor conveys his elevated heroic status, while the simpler four-mirror armor (char-ayneh) of the Colonel subtly indicates his inferior rank and power. Simultaneously, the historical costumes act as artistic tools that anchor the narrative in a particular temporal and cultural milieu. <span dir="RTL" lang="FA" style="font-size: 12.0pt; font-family: 'Times New Roman',serif; mso-ascii-theme-font: major-bidi; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-bidi-language: FA;"> Keywords: Qajar, Coffeehouse Painting, Mehdi-Qoli Beyk Bathhouse (Mashhad), Shiruyeh and the Colonel, Battle Attire چکیده: بیان مسئله:در سیر شکل‌گیری حکومت‌ها، همواره طبقه جنگاور، یکی از ستون‌های مهم کشورداریبرشمرده می‌شود. در هر دوره‌ای با توجه به نوع بینش سیاسی و فرهنگ پوشش مردمان و همچنین شیوه نبردها، نوعی از پوشش نبرد برای جنگاوران شکل می‌گیرد و به‌عنوان یک نماد بصری در جهت شناسایی طبقه مزبور شناخته می‌شود؛ ازآنجاکه جنگاوران با رشادت‌های خودقهرمانان ملی می‌باشندموردتوجه هنرمندان برای خلق آثار هنری قرار می‌گیرند. هنر نقاشی قهوه‌خانه‌اینیز که در دوره مشروطه و در جهت تغییر دیدگاه عامه مردم ظهور می‌کنددر کنار موضوعات دیگر به موضوع جنگاوران و نمایش قهرمانان ملی می‌پردازد. سربینه حمام مهدی قلی بیکنیز نقاشی قهوه‌خانه‌ای با نام شیرویه و سرهنگ دارد که صحنه‌ای از قصه‌ عامیانه‌ای از آذربایجان را نشان می‌دهد. . هدف پژوهش: هدف از پژوهش حاضر واکاوی تأثیر تاریخ موضوع در طراحی لباس جنگاوران در نقاشی شیرویه و سرهنگ سربینه حمام مهدی قلی بیک مشهد است. سؤالپژوهش: لباس‌های نبرد در نقاشی شیرویه و سرهنگ سربینه‌ی حمام مهدی قلی بیک تا چه میزان تحت تأثیر ریشه‌ی تاریخی موضوع نقاشی مزبور بوده است؟ فرض بر آن است که هنرمند به‌جای بسنده کردن به مد رایج پوشاک نظامیان عصر خویش تحت تأثیر ریشه‌ی تاریخی موضوع داستان شیرویه و سرهنگ، لباس رزم پیکره‌ها را ترسیم کرده است روشپژوهش: پژوهش پیش‌رو از حیث ماهیت، بنیادی-کاربردی وروش گردآوری اطلاعات، کتابخانه‌ای- میدانی است. نتیجه‌گیری: نتایج تحقیق بر این نکته اشاره دارد که هنرمند نقاش قهوه‌خانه‌ای با توجه به ریشه‌ی داستان شیرویه و سرهنگ به نمایش لباس نیرد در سربینه حمام مهدی قلی بیک پرداخته است. کلیدواژه‌ها: قاجار، نقاشی قهوه‌خانه‌ای، حمام مهدی قلی بیک مشهد، شیرویه و سرهنگ، لباس نبرد.

https://www.fhja.ir/article_727552_c4e0a1af88a5c1e8a244ecce3ab71539.pdf