Asian Culture and Art Studies (Motaleat-e Farhang va Honare Asiya)

Abstract The subject of migration, as a global phenomenon, not only has economic and social dimensions but also encompasses profound cultural and identity-related aspects. Afghan migrants in Iran, with shared experiences of war, migration, and life in the host country, have formed a collective identity influenced by migration policies, social discrimination, and cultural resistance strategies. This research examines the role of collective memory in shaping the identity of migrants, the impact of government policies, and their cultural resistance strategies. The research methodology is qualitative with an ethnographic approach, utilizing techniques such as participant observation and in-depth interviews with 22 migrants (16 men and 6 women) in the Ghaem neighborhood of Qom. The findings indicate that the collective memory of migrants, as a dynamic process, is shaped by factors such as shared experiences, Iran's migration policies, and socio-economic discrimination. Restrictions on residence, employment, and education directly affect their collective memory and identity. Moreover, migrants employ strategies such as preserving language, celebrating traditional festivals, preparing traditional foods, and transmitting personal narratives to resist cultural assimilation and safeguard their identity. The results suggest that reforming migration policies can help create an environment where migrants are able to maintain their identity and achieve better integration. This approach not only improves their social and cultural conditions but also strengthens intercultural interactions.

Abstract Considering the names of the Oriental hand-wovens, Arabic words were highly used in the Iberian Peninsula (Portugal and Spain). This paper used the historical research method to explore the old Spanish and Portuguese documents and also the quality and state of emergence of Oriental hand-wovens in these lands. In this method, the etymology of those Arabic words was considered too. The results of the paper revealed that in the Iberian Peninsula, at least, from the 14^th century, the Oriental carpets were a typical and symbol of furniture which were known as alcatifa, a popular name for them. The word alcatifa must be derived from Qatif port at the coast of the Persian Gulf. Most of these carpets traveled from India to the Iberian Peninsula by trade. The Persian carpets were too expensive, so there are a few signs of them in the Portuguese and Spanish decorations during that time.

Abstract Although the history of writing and the application of writing in the present geographic boundaries of Iran comes back to almost five thousand years ago, our culture has more oral aspects and is relied on the customs of variety of live  rituals, and transfers unwritten ancient heritage. The fact is that ancient Persian inscriptions date back almost to two thousand and five hundred years ago, and the writings of Elamite are several millennia older than that. Despite such ancientness in our writing tradition, we have to appeal to Sumerian and Akkadian writings in western Iran, in order to understand the ritual tradition, such as Nowruz

Abstract Abstract
This article has been done with the purpose of "identifying the representative symbols of Talesh ethnic culture". The method used in this article is a qualitative approach, an interview method with an inductive qualitative content analysis bot technique. The field of research in this article includes all researchers in the field of Talesh ethnic culture, 16 researchers were selected by snowball sampling method for individual semi-structured interviews, face-to-face, and face-to-face with a duration of 30 to 60 minutes. The data collected from the interviews were analyzed using three-stage coding (open, central, and selective). The obtained findings showed; Native architecture, Taleshi language, handicrafts, local clothing, household tools, food culture, popular culture, economy, land, population, cultural authenticity, customs, women's value, land type, music, historical appearance, can be symbols that can be used to create culture. Talesh people should be given formal and informal education to the children of the new generation and people from other ethnic groups, to preserve Talesh culture and peaceful communication with other ethnic groups.

Abstract The surviving works of the Fatimids and Buyids show that the Fatimids had some negligence about using Shiite themes in their art works, while Buyids used many of these themes and a variety of them in their works. Present study has been performed in historical and descriptive-analytical method and aimed at recognizing the reasons for the difference in the type of reflection of Shiite themes in the art of the Fatimids of Egypt and Buyids, and answers the question that what is the difference between the use of Shiite themes in the works of art of the Fatimids and the Buyids? The results show that different attitudes of Fatimids and Buyids towards art have led to differences in their use of Shiite themes; the Fatimids viewed works of art as a commodity for trade and gaining income, while Buyids had a propagandistic view toward it and saw works of art as a means of propagating ideas as well as gaining religious legitimacy.

Abstract Before the advent of modernism, religions were known as the theoretical sources of gardening. Chinese Gardening is one of the most important legacies in Asian culture and art. It seems that landscape design in China is somewhat influenced by the tendency toward nature in Buddhist, Taoist, and Confucian ideas. The research method in this paper is a case study and analytical-descriptive research. Information is gathered through documentary and library studies and the logical deduction of data. The data are measured by a review of Chinese garden plans.
Further, by analyzing the elements and generalities of the Chinese garden, it is referred to how the thoughts are influenced by the formation of symbols and the form of the garden. Studies have shown that China's landscape is the concrete embodiment of Taoist, Confucian, and Buddhist thoughts, which have shown itself in the form of elements, orders, relationships, and locations between the components.

Abstract The sultans of Qutb Shahi ruled in Deccan from 1518 to 1687. Its founder was Sultan Mohammad Qoli qutb Shah. After the establishment of the Safavid state in Iran, they officially declared themselves Shiites, and Sultan Mohammad removed the sermon in the name of the caliphs and recited the sermon in the name of Ismail, the founder of the Safavid dynasty. Qutb Shahi has always been on their official agenda. And this helped a lot in the development of Shiite culture, which also created a great influence on the Iranian language, literature, culture and architecture. It is on the day of Tasua and Ashura. For this purpose, places called Ashurakhaneh were built, and in this article has been introduced the oldest and largest one in Hyderabad, which was built by Qutb Shahian, . It should be noted that most of the contents of this article are the result of the author's observations and for this reason little resources have been used.



 

Abstract The geography of Caucasus is the name of an exclusive manuscript that Martiros Daudkhanov, the Russian language teacher of Dar-ol-fonun and the translator of Governmental publications, finished its translation from Russian to Persian in Jumada Al-Awwal 1287 AH. This manuscript includes not only a detailed yearbook of Caucasus, but also a description of social conditions of Tbilisi, the causes of Ague in that region and also a description of natural geography of Tbilisi and some other cities and villages in Caucasus in the second half of the nineteenth century. The contents of this manuscript consists of three chapters and a prologue containing intriguing and different subjects written about the natural and human geography, population, religious conditions, the ministry of education, road conditions and etc of Caucasus. Thus it is an important source of understanding the history and geography of Caucasus.

Abstract In the mystical view of Islamic arts, letters hold a unique place and have various semantic aspects. "Vav" originates from the system of mystical and Sufic symbols and has consequently been represented as a motif in artworks from different cultures, at various levels of semantic significance. Among the works of Turkish-Islamic culture, the Vav letter has been extensively portrayed since the 12th century AH. This is largely due to the dominance of Sufic and mystic discourse at the time in Anatolian cultural geography. Through applying Pierce's semiotic method to this historical-analytical investigation and using a purposeful sampling procedure, semantic meanings of the letter Vav motif have been categorized. In addition, several samples of art from different fields have been used to demonstrate its prevalence and multiplicity. Thus, as well as studying the semiotic aspects of the iconic, indexical, and symbolic levels of the letter Vav, the roots and reasons for its popularity in Turkish-Islamic culture are also examined. Based on the results of this study, this calligraphic motif of the letter Vav in Turkish-Islamic cultural contexts has polysemic meanings and contains various meanings related to the mystical and Sufi ideas of Islamic calligraphy.

Abstract Iran has hosted the largest population of refugees, mostly from Afghanistan and Iraq, for the last few years. Now, after Pakistan, is the second host country of Afghan refugees. History of the presence of Afghan refugees in Iran for more than three decades has necessitated the study of different aspects of their lives. Analyzing the daily economic strategies of immigrants can help policy makers in the field of refugee status, especially in the economic field. Iran's urgent need for sustainable rural development can provide a good basis for the presence of immigrants in the agricultural and livestock sectors of the country. In order to achieve this, policies should be developed in the fields of rural and small town development, large-scale employment, rural poverty reduction, more humanistic rural planning, irrigation and agricultural development, rural industrialization. Also promoting the economic value process and changing unequal rural and urban proportions in economy, and last but not least providing sufficient capital for rural revitalization and spatial reconstruction should be consider as solutions in policy making. The data of this research have been obtained through profound anthropological interviews and participatory observation in the field of research, “Shahrak-e Qaem” in Qom city.

Abstract The aura of holy light has become an eternal tradition among artists throughout history due to its penetration into the culture of nations. This rule, as a frequent artistic motif, refers to something sacred in the context of traditional arts. Its most modern appearance is in the paintings of the art of Pardeh khani. Of course, in other arts such as miniature, mosaic art, bas-relief, painting, etc., her identity becomes more apparent. Among some of the works of art throughout history, The icons of elders are marked with a halo of light, which refers to the sacred place and superhuman personality and the relationship of a person with God. But the shape of this motif consists of what forms, what analysis and interpretations it has, and what path can be considered for it, are the questions of this research. Based on this, an attempt has been made to look at other arts from Pardeh khani in the direction of morphology in order to find their various examples, types and meanings throughout history. The results show that the aura of holy light is a manifestation of the affinity between the sacred and traditional art and it refers to the high position of people wearing a halo. This research was done in a descriptive-analytical way and based on library sources.

Abstract The relationship between cinema and politics is one of the central axes of reflection in contemporary thought—particularly when art is conceived not merely as a representation of reality, but as a space for the cultivation of political ideas and the emergence of new emancipatory subjectivities. Japanese cinema, especially in the latter half of the twentieth century, represents a tradition in which this theoretical dimension has received significant attention. Among the prominent filmmakers of this tradition, Kenji Mizoguchi has addressed the issue of liberation from structural oppression through various cinematic strategies. Sanshō the Bailiff stands out as a key example, portraying the vital role of human morality in confronting injustice and envisioning another possible world.

This study, employing an interpretive-analytical method and drawing upon the concepts of “biopolitics,” “constituent power,” “multitude,” and “the common” in the political philosophy of Antonio Negri, seeks to analyze the film not merely as a depiction of suffering, but as a site for the emergence of resistance and the formation of political subjectivity. Here, resistance does not appear as heroic revolt, but rather through sacrifice, silence, and collective memory. Accordingly, the study asks: what narrative of alternative resistance does Sanshō the Bailiff offer? The findings suggest that the film’s core elements of resistance align with Negri’s thought—particularly in the creation of the common and the formation of subjectivity within conditions of shared suffering.

Abstract Literature has always provided a platform for understanding various intellectual, cultural, and social aspects of civilizations and the underlying layers of thought in different nations. Comparative literature is an effective tool to compare and contrast literary works, such as stories, epic works, poems, etc. from different nations. Investigating Persian and Chinese literary works leads us to works that, despite some structural differences, bear many similarities, especially in their lower layers. The stories of the meetings between Shams and Rumi and between Boya and Zhong Ziqi are an example. In this research, with an analytical-comparative method, while comparing the story of the meeting between Shams and Rumi and Boya and Zhong Ziqi based on Jung's archetypal theory, we have investigated the similarities and differences of these two stories in Iranian and Chinese cultures based on Sufi thought and Eastern wisdom. And in the light of such an approach, why and how the beginning, continuation and end of these two stories have been analyzed. The research shows that both stories are very similar in terms of the framework or the main line, like the archetype of the wise old man and the archetype of death and rebirth. but at the end of the two stories, after the separation of two lovers or two close friend different mystical foundations of these Two stories are considered as their basic distinguishing components.

Abstract This article examines the transformation of cultural taste and identity politics among Afghan immigrants in Iran, focusing on changes in dress. As a result of migration and prolonged exposure to Iranian culture, Afghan immigrants experience significant shifts in clothing styles, reflecting broader processes of cultural adaptation and identity negotiation. These changes are influenced by various factors, including social and cultural pressures, generational differences, age, education, employment, and media exposure. Younger generations (second and third) are more influenced by Iranian fashion trends and tend to adopt modern clothing, while older generations (first) generally strive to preserve traditional Afghan attire. However, many immigrants blend traditional and contemporary clothing as a strategy to maintain cultural identity while adapting to the host society. The study employs an ethnographic approach, using participant observation and in-depth interviews with 16 Afghan immigrants residing in Shahrak-e Qaem, Qom. Findings reveal that clothing is not only a personal or aesthetic choice but also a symbolic representation of identity, power, and belonging. Changes in dress reflect complex interactions between native and host cultures and illustrate how immigrants navigate between cultural preservation and social integration. The research highlights the role of generational differences, media influence, and socio-cultural contexts in shaping the evolving dress preferences of Afghan immigrants in Iran.

Abstract The aim of the present research is to study the future ways of developing cultural tourism in Iran in order to provide a suitable cognitive and scientific basis for planners and policymakers, relying on the opinions of the elites. In terms of its applied purpose, the present research has been conducted at an exploratory level in terms of survey method and based on the futures research approach. Given the nature of this research, first a number of specialists and experts were selected and then the Delphi method and documentary studies were used to determine the key drivers. The number of participants in the Delphi who were identified and participated in the research consisted of 15 experts in the field of tourism management and the Planning and Budget Organization. In order to validate and reach a consensus on the important drivers, fuzzy Delphi analysis was used. In the second stage, by applying the interaction analysis method using the MIKMAC software, a structural analysis of the drivers identified in the first stage was carried out. The research findings showed that the potential of cultural diversity and the existence of world heritage sites and places related to cultural myths, especially the diversity of religions and sects, can play a key role in the development of cultural tourism in future planning.

Abstract **Abstract**

The vibrant world of music and painting, despite its aesthetic allure, conceals psychological challenges for artists. These unrecognized disparities underscore the need for research to understand their mental health. This study aimed to compare the intensity of anxiety, coping styles, and resilience among professional musicians and painters in Tehran. Employing a descriptive-comparative design, the study population consisted of artists with at least three years of professional experience in 2025. A convenience sample of 100 participants (50 musicians and 50 painters) was selected. Data were collected using the Beck Anxiety Inventory (BAI), Lazarus and Folkman’s Ways of Coping Questionnaire (WOCQ), and Connor-Davidson Resilience Scale (CD-RISC), and analyzed via multivariate analysis of variance (MANOVA). Findings revealed that musicians exhibited higher anxiety and emotion-focused coping, while painters demonstrated greater problem-focused coping and resilience. No significant difference was found in avoidant coping. These results align with prior studies and highlight the impact of artistic practice on mental health. It is recommended that psychological interventions, such as stress management workshops, be designed to support musicians and enhance their resilience. Future research could explore the effects of social support and educational interventions.