International Journal Of Architecture and Urban Development 61 Qamar Ul Islam Ul Qamar 4 E-ISSN 2345-2331 © 2019 IAU © 2019 2345-2331 E-ISSN tribes. Such reverence reflects the humans’ perceptionof the the doctrine reject Islam including religions universe. Divine of worshipping nature or trees. They argue that nature reflects the power of God and guide us to his essence. In fact, with the not have nature with associated elements the of Islam, advent from Iranian arts, but their conceptualization been eliminated culture has gone through changes from "sacred in pre-Islamic to symbolic in the Islamic era" (Mansouri, 2005, 58). has been of Among the plants, for Iranians, the cypress tree and has frequently times ancient the since importance great This element arts and architecture. in various literary appeared different far So period. each of people the of thoughts the reflects tify the frequency of this tree in to jus tudies have attempted s tudies have drawn no s However, arts and architecture. Iranian has how this element to examine principles thetic upon the aes Ahmad Sanusi Hassan, 3 Ges talt theory University - Rajouri India. (J&K) Recieved 08.12.2018; Accepted 07.10.2019 Accepted 07.10.2019 Recieved 08.12.2018; Mina Safizadeh, 2 The impetus behind this s tudy is to discover the aes theticThetudy and impetus semantic is to discover patterns behind the aes this the of s cypress he s tudy of Cypress appearance in the in the Cypress appearance of tudy s he Department of Architecture, Kerman Branch, Islamic Azad University, Kerman, . Cypress tree, comparison, carpet, Persian miniature, fabric textile. [email protected] 1* School of Housing Building and Planning, Universiti Sains Malaysia, Penang, Malaysia. School of Housing Building and Planning, Universiti Sains Malaysia, Penang, Malaysia. Fatemeh Khozaei, 2 4 1* T and architecture in the light of light of in the architecture art and Persian Department of Electrical Engineering, School of Engineering & Technology, Baba Ghulam Shah Badshah 3 treeand show this how elementhas beention thistant employed of by Iranian research ts. The ques iscons a how artis cypresselement (the hasbeentree) transfigured differentin Iranian Four categoriesarts. of miniature, carpet, textile and architecture decoration. The presentresearch is qualitative in nature and is descriptive-analytic and mainly uses the available published data. Data were analyzed inductively Exploratoryand resultsinterpreted reveal that the incypress tant theelementas a incons lightIranian talt of arttheory. Ges has been transfigureddifferent differently arts. in With talt the laws, aid of the Ges visual appearanceof the cypress tree was tinguishinganalyzed tudy.was insamples It the found cypressthem a fewthe that of are disdifferent presented element has been in the s made: by highlighting the role of the cypress and reducing the visual significance proximity, figure,of as such thelaws ground,and talt fieldsimilarity, whilecypress.visualthe differentemphasis Applicationincreasing of ges of the continuitytly makes in Persian the cypress carpet at the mos center attention of and reduces the visual importance theof other elements. In some the of other designs, this element has semantictrial and extraterres concepts and sits is in the center Mehrabi (eg. carpets. In the miniature and fabric textiles, cypress tree has not received the urgent priority and often been on the margins the of image. Keywords: ABS TRACT: International Journal of Architecture and Urban Development and Urban Architecture of Journal International 2019 Autumn 61-66. 9, No.4. P Vol.

*Corresponding Author Email: Trees as the main components of the landscape have been components of the landscape as the main Trees the focus of different scholars. Unlike humans in the modern nature. with contact physical the in more were world, people The close association with nature has always been the source of inspiration, fantasy, and tic reflection about the mys beings have human tory, Through the course of his world. features with heavenly the trees and vegetation associated and supernatural powers. Such beliefs were also common human and natural, of death, fear The times. toric prehis in of necessity the reinforced humans to realize ters have disas extraordinary trial or forces. extraterres The influence of this overwhelming need has been so much so that humans have tory shows tray in the worship of nature. Human his gone as by various revered been have and trees plants some that INTRODUCTION been transfigured in different Iranian arts. The present s‌tudy paisleys which are the rouge figures of Iranian carpets come in emphasizes the role of the cypress in understanding‌ the fixed different sizes and colors "(Nasiri Khorram, 2016, 85). Many elements in different arts. By addressing the above ques‌tions, believe that the conversion of the cypress to paisley occurred the application of Persian motifs in different arts will be when Islam entered Iran. revealed. Various artworks such as carpet, , cloth, and Iranian miniatures are the symbol of the outside world and can be used to shed light on the topic under discussion the expression of the mental and symbolic concepts that the

Vol.9, No.4 Autumn 2019 Autumn No.4 Vol.9, because they reflect Iranian identity. For this purpose, available Iranian artis‌t adopt to illustrate‌ the book texts. Later, this databases were searched to find the related research to cypress art was recognized as an independent art. The integrity of in Iranian art, and the results were presented in detail. components in Persian art is about expressing a concept, a s‌tory. Landscaping and nature are only inseparable element of Literature review mos‌t of Iran's . Naturalism and the integrity of man The his‌tory of cypress from ancient times to now with nature, which is rooted in the ancient beliefs of the people Among the trees, cypress has received wide attention in the of Iran, has always been the essential element of aesthetics‌ beliefs, arts, and literature of Iranians for its special features in miniaturis‌ts" (Javadi, 2004). In fact, "Green spaces and such as being tall, evergreen, and adaptable to the warm and Iranian gardens have played key roles in developing many dry climate of Iran (Jahan Pour, 2016). It is said that every tree Iranian his‌torical miniatures"(Najafi & Afshari, 2011, 82). goes through perfection, or falls into gradual decline. Unlike Not surprisingly, various species of trees and plants are often International Journal of Architecture and Urban Development Urban and Architecture of Journal International any other tree, the cypress is always green. On this ground, observed in Iranian paintings. Comparing the s‌tate of the trees the word cypress is used to describe free-minded people"(Al in the Ilkhani School with the Safavid miniatures shows some Ibrahim Dehkordi, 2016,107). Through the course of Persian changes. While trees in the Ilkhani miniatures were withered, his‌tory, the word cypress has been used to refer to different in the Safavid miniatures were vibrant and exaggeratedly things. The meanings of cypress represent its mythological twis‌ted. Until the Ilkhani periods, the trees were drawn very

and symbolic dimensions." In the Achaemenid and Sasanian close to each other. In subsequent periods, they occupied less periods, the cypress tree was known as the tree of life. The space compared to the other elements in the entire image, and craved reliefs of this tree in Persepolis underscore their their size started‌ to diminish. Even sometimes they appeared importance as symbolic objects (Farbod & Tavousi, 2002). In as a single tree. In all periods, especially in the Ilkhani and ancient times, some researchers referred to the cypress as an Jalayerian periods, the features of trees used to be defined in the immortality symbol. With the advent of Islam, the symbolic proportion of animals and rocks. Even in the various schools, world went through some changes. After Islam, the art field the trees were used to guide the eyes to move through the of wisdom and philosophy in Iran was inspired by some form entire picture or to a particular direction. The drawn trees were of ancient thoughts and beliefs. This arena along with its own in harmony with other parts of the image. In the miniatures, arts and worldview promoted a value through which Iran two main types of the tree are generally considered to be of was recognized as the pioneer of wisdom and art” (Farbod & mythological nature. Evergreen and everlasting‌ tree, like the Tavousi, 2002). cypress, refers to immortality, and the other trees such as plantains and the blooming trees signify youth and rejuvenation Cypress in various arts in spring "(Qasemieh et al., 2016). When miniature art was not The earliest‌ his‌tory of Persian carpet dates back to the recognized as an independent art, it was at the service of poetry. Achaemenid period. The components of national identity It was used to portray the pictures of poetry books. This tree are presented in three forms using three symbols: vegetation has long been used for the decoration of Iranian cloth. In the motifs (garden, plant, trees), animal motifs, ancient and his‌toric majority of Iranian cloth, the motif of Paisley is much more monuments (Afrough 2011). In the Persian rugs, the vegetation prominent than other designs. According to many scholars, motifs include trees such as willow, cedar, pomegranate, vine, paisley that is commonly used in embroidery and calico and animals consist‌ of peacocks, lions, deer, fish, partridge, printing artworks are the simplified form of the cypress tree. and (Chitsazian, 2009). Among different plants, the This tree has always been linked to Iranian religious culture cypress has received much attention in Iranian carpets. "The and belief. The garden scenery and shade trees such as cypress cypress trees in their abstract‌ forms are sometimes presented and sycamore were the common images printed on the cloth of as a simple triangle attached to the stem,‌ and sometimes they this period (Tavassoli, 2008). Even in pre-Islamic times, due are in the form of the candle flames with a flower in the middle. to its high resistance‌ to unfavorable weather conditions, the This image is used either separately or in combination with a cypress was known as the tree of life symbolizing persis‌tence flower pot and the birds are on the flower branches. Sometimes and life and joy. On the Sassanid cloth, this tree was a symbol like the carpets in the Fars region, the image is accompanied (Zaboli Nezhad, 2011). In addition, s‌tudying the existing‌ with two birds on its sides (Azarpad & Heshmati, 2004, samples from the Achaemenid period and the Parthian periods 123). This tree is also frequently seen by mountains. This show that the cypress tree was not used for the decorative pattern is dominant in the oldest‌ Persian carpets. (Abeddoos‌t purpose and the artist‌ used the trees symmetrically facing & Kazimpur, 2011). "The abs‌tract forms of cypress trees or each other and in combination with animal; the cypress was

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International Journal Of Architecture and Urban Development 63 MATERIALS AND METHODS MATERIALS The research in nature. The present research is qualitative were analyzed and data is descriptive-analytic, method tudies is based on available s The main part of the inductively. this purpose, the concept of the cypress was To published data. and cloth in some samples of the carpets, miniatures, examined cypress element analysis of the thetic aes The artworks. tile and organization law of the perceptual out through the was carried of talt. the tep tThe Ges in s firs s tudy the of aes thetics the aspects in Persian carpets and painting was the to determine of examination After a careful scope of the research. exact the we found that environment, samples in the research the trates demons repetition This abundant. cypress was more the symbolic significance of the element amongtep was to select the scope of the research the Persian The next s artworks. and the samples. Since tudy the attempted s to of the cypress concepts, Persian carpet and painting examples find various selected The period. time specific a to limited not were samples tics. characteris common for their compared were samples talt, the array patterns of laws of the ges Using the perceptual samples and Persian carpet in miniature the cypress element grasp was to The purpose of this comparison were examined. the to contributed implicitly has been law that perceptual the significance of the cypress element. In other words, the results cypress element of the thetics aes with the deal of this section to The present research attempts in Persian art and carpet. in Persian of the cypress element aspect thetic discover the aes patterns why the tify to jus than artworks and carpets rather the tudy does not intend to generalize This s are as they are. number limited a in carpets drawings and Persian to all results tudy seeks to discover new aspects in The present s of images. basis as a serve and miniatures and carpets Persian to relation Good talt, Ges Common Fate, Law of Symmetry/ Focal Parallelism, regions, Common connectedness, Uniform Balance, the connection addresses Figure-ground principle points. “The positive being the spaces, the and negative between positive This around it. referring to the space the negative object and the separate to eye the for tendency the describes principle figures from their background in order for the viewer to know et al., 2019, 10). what is being seen” (Safizadeh, the idea that objects which are located Proximity describes are as a group that will be perceived close to one another also called principle, “Similarity other. to each related visual or similar same with the things that tates s “Invariance”, orientation texture, shape, size, such as color, tics characteris the in together belong they as if tood unders be will or value human mind” (Safizadeh, et al., 2019,11). one along eye begins to track human that when the tates Continuity law s until it meets it will continue following that direction element, the that are in the elements Accordingly, another element. Encloser law addresses related. are perceived direction similar a to complete as the mind is expected continuity “perceptual form or pattern even when some parts are missing” (Safizadeh et al 2019, 14). Ges talt Laws Ges talt taltism psychology or is Ges Ges the name of a school of used been has psychology talt Ges 20th. the in founded thought, to attempts This psychology tudy of perception. s modern for the of rule out how a sensible perception human is able to maintain have not does talt Ges word “The him. around world chaotic the an exact equivalent in English but it defines the way an object or a thing is put together or placed” (Safizadeh et al., 2019,7). Wertheimer Max by developed originally are principles talt Ges t but they tro-Hungarian-born psychologis Aus (1880-1943), an were improved later by Wolfgang Köhler, Kurt Koffka , and Wolfgang Metzger. According to talt Ges psychology, whole is different from the the sum of its elements. Based on this ts talt developed belief, psychologis a Ges set of principles to are objects smaller or how organization perceptual explain These principles are often ones. tered and form larger clus The organization". perceptual to as the "laws of the referred talt laws have been introduced as follows: Figure-ground, Ges t Experience, Closure, Pas Continuity, Similarity, Proximity, used for its ethereal feature, that is, eternal life and endurance endurance and life eternal is, that feature, ethereal its for used from the samples cloth The 2010). Ayatollahi, (Mousavi & Samanid motifs period such show as that flowering life also or the tree of plants and cypress trees and leafy al., et. Abadi (Hakam frames in geometric were presented of art the in extensively was used motif cypress The 2015). in miniatures was revived Al-Bouyeh, and later Sassanids and & Moghaddam (Khalilzadeh period Safavid in the and cloth On the Qajar cloth, the motif 2011). Sadeghpour Firouzabad, calico Isfahani For example, cypress tree was prevalent. of the cypress trees motifs such as the artworks with plant printing woolen colors. Kermani handmade were produced in various cones. plant and trees cypress for the famous also shawls were in popular which was cloth of type Another 1999). (Shadkam, cloth This valuable era was cashmere. the Safavid and Qajar The motifs used on cashmere dowry. in girls’ used extensively The 2010). (Koohzad, trees curved and plants were artworks of Kerman, image of the cypress were used in the embroidery or Pateh (in Persian) along with other flower designs, paisley, motifs the t, pas the In shapes. geometric and lines, broken pottery artworks. of plant were very common on and The motifs were of different types used in combination with objects, human beings or animals. to t important were mos and pottery Plant motifs on tiles and the source of human nutrition plants were The humans. such as wheat plants the Probably, by them. were cultivated times, Islamic in Later blessing. of sake the for drawn were drawing the plants, and among them, the ts continued the artis on tiles cypress trees The important. was quite cypress tree with human or in combination were used either and pottery animals. In t the case, firs the image of the cypresssymbolize and tatus tree was s spiritual signify humans to to drawn next such as with animals In combination tability. and s freedom the cypress was used birds, a symbol of freedom and liberation, to present sanctity (Koohzad, 2010). for larger research. audience by darkening the background of the battle of Rostam‌ This s‌tudy is an attempt to know whether the shared elements and demon and using the white color for the demon, which in diverse arts are transfigured differently. Because the cypress contras‌ts with the dark field. The background of the battlefield is has always been of special importance among Iranian people cleverly composed of small plants and trees with similar colors. since ancient times, this study‌ is an attempt to inves‌tigate this Applying the similarity rule to the objects similar in terms of element in different forms of arts including miniature, carpet, color, size and texture makes the audience perceive them of the

Vol.9, No.4 Autumn 2019 Autumn No.4 Vol.9, tile, and texture from an aes‌thetic perspective. The rationale same visual value. This value of the elements of the ground for conducting this research is that in the contemporary period, draws the audience's attention towards the location of Rustam.‌ the use and reproduction of the decorations and designs of an While the cypress tree is more visual in comparison to other art are highly recommended in other artworks. The present trees, the role of the elements in the image is complementary research attempts to show that such an issue is not observed than essential. Table 1 shows Selected samples of painting, in Iranian arts and even the fixed elements are not used in the carpet, cloth, and tile. same way either aesthetically‌ or semantically. The cypress is often featured in Iranian rugs. The main However, this research does not intend to generalize the results difference between carpet and painting in terms of aesthetics‌ is to all Iranian arts, because of the limited number of samples the domination of the cypress element in the carpet. It is rare it used in qualitative research. The main purpose of this research is not happening in Iran, it is rare. In general, distinguishing‌ the is to hypothesize that the fixed elements in Iranian arts are not cypress element has been made in two ways: By highlighting International Journal of Architecture and Urban Development Urban and Architecture of Journal International used in the same way. The present research also does not seek the role of the cypress and reducing the visual significance of to explore the reason beyond this assumption in various Iranian the field while increasing the visual emphasis of the cypress. arts. "The why ques‌tion is to study‌ the his‌tory in its context and Figure 2 shows the design of a Kermani rug where the cypress beliefs of the tribes producing the artwork" (Mansouri 2017:5). tree is in the center. The designer has used similarity law for Therefore, future research is needed to investigate‌ the reasons a visual emphasis on the cypress. Highlighting the difference

from the aesthetic‌ perspective. between the cypress with other elements of the carpet in size, color, contrasting‌ the cypress with the adjacent field and having RESULT AND DISCUSSION an equal emphasis on the visual value of the field show that the The cypress element is portrayed in different types of arts such artis‌ts have used the laws of the figure-ground, and similarity. as miniature, carpet, texture, and tile. A total of 4 artworks Next to them, two peacocks are symmetrically placed next were analyzed and the features of the cypress element in to the cypress tree and oriented toward it. This has increased different artworks were compared in the light of the law of the the visual acuity on the cypress. Based on the proximity law, perceptual organization of the Ges‌talt. The following images peacocks are perceived to be related to each other. The edges show the samples analyzed in this study.‌ of the carpet reflect the integrity rule. According to this rule, Figure 1 shows the part of the battle of Rustam‌ with the devil the viewer perceives different parts of the entire image related from Baysunqur’s . The Iranian artis‌t consciously to each other. The margin is one of the main features of Persian has used the law of figure and ground in order to dis‌tinguish carpets. It is like the Persian Garden, which is always enclosed, Ros‌tam and the cypress tree from the background. Based on no matter what is the climate like (Mansouri, 2005). It is the law of figure and ground, the human brain tends to perceive disconnected from the outside world is related to the interior some of the elements of an image as the focal point and the world, it offers the infinite landscape in a limited area as if the res‌t as its background. The artist‌ draws the attention of the landscape has been framed in the margin of the Iranian carpet.

Table 1: Selected samples of painting, carpet, cloth, and tile

Fig 1: Part of the Battle of Rus- Fig 2:Kerman Rug with a tree de- Fig 3: A Sample of the Safavid Fig 4: The entrance of the Noria ‌tam with the white demon, sign, Source: Joleh, 2002,49( cloth (Source: Khalil Zadeh and hospital in Kerman (Source: Au- Source: Baysunqur’s Shahn- Sadeghzadeh, 2011) thors) ameh1971,101)

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International Journal Of Architecture and Urban Development 65 tam in a contras ting colored background) colored ting Rus- (by placing of Figure-ground law The a contras in tam makes as the ob- tam the viewer Rus perceive jects of focus. The symmetry used in the carpet design and of center cypress the of the placement the ts have skill- symmetry shows how the artis symmetry law. talt fully used the law of Ges Fig 6 Fig 5 not used for decoration and each implies wonderful concepts. and each implies not used for decoration patterns in the textures and backgrounds of Persian "Woven are elements language visual of roles The symbolic. are carpets to decoration because Iranian weavers, besides the not limited decorative features of symbolic designs, reflect on the Iranian The tors. ances of its beliefs and motifs these in soul embodied the beliefs, to preserve and introduce Iran weavers attempt of subjects or the identity of their elements and the ideals, Iranian identity through the weaving and try to The of its carpet" (Afrough 2011). and the margin the textures fixthem in and is cypress turns into the main composition of the carpet two animals of life, tree the representing center, the at placed woven at the two sides of carpet are pillars of the altar and concepts. Unlike and religious with architecture are associated ts in the and exis is real the carpets, the cypress in a miniature of cypress was used in motif the era, Qajar world. In the real In Seni'-al-Mulk's paintings, window. behind the miniature the known as one hundred and thirty days, the cypress is drawn on the inner walls and in the background and has a decorative tly drawn in the form function. On cloths, the cypress is mos of a paisley or flowering The bush. paisley is a curved cypress are there which on cloths The bush. flowering with blended tree it wherever but real more looks cypress the figures, human-like does not it and serves as a motif, concept tract presents an abs The law of similarity in color and size give the in color and size give The law of similarity they are of the same viewer this impression that visual value. The dis tinguished color and size of the cypress of the color and size tinguished dis The high- carpet of the components other the from light the law of Figure-ground. Table 2: Cypress element in various arts from aes thetics perspective from aes element in various arts 2: Cypress Table

The law of Figure-ground The law of Figure-ground Rus- helps the viewer identify from Cypress tree the and tam the background. The use of the similarity law similarity use of the The the draws carpet of field the in the viewer to of the attention cypress

a tree tree a

the design of of design the

l Battle of Rus tam and Devi and tam Rus of Battle

carpet with with carpet Kerman Kerman Figure 3, shows sample of the Safavid cloth. Using a cypress, and the elements, repeating the colors for ting contras the applied has designer shows the cloth the of background the law of figureand tinguish ground the to cypress dis from the symmetrically are which two Peacocks, Moreover, background. on both sides, are much closer to the cypress than the placed viewer the proximity, law of the on Based elements. of the t res The ter. each cypress and two peacocks as a clus would perceive other (e.g. color and form) of the elements with each similarity also makes the viewer perceive them as a group. Kerman in hospital of Nooriyeh transom 4 shows the Figure with tile works, which date back to the Qajar era. Using the law of figure-ground, the cypresses, along with the figure between tinguished dis can be easily of the hospital and the name them cypresses The background. or the elements of the t res from the t between are more visible to the viewers because of the contras the However, background. shapes and sizes with the their the between t contras trong s very a and points of focal law on which the name of the hospital written, and the inscription field draw the attention of the The viewer. symmetrical shape 2 shows Cypress Table a visual balance. of the transom creates thetics perspective. element in various arts from aes As above, this tree has been often featured in various mentioned The motifs used in carpet, in other Iranian handicrafts, are arts. look real anymore. On the other hand, the cypress is seen in the way. It mus‌t be noted that the study‌ doesn’t mean to generalize caves of various buildings such as Shah Nematollah and the the findings due to the limited number of case tudies,s‌ it rather Prince Mahan Garden, on the tile or . Since the cypress attempted to shed light on an important aspect of Iranian art is connected to the minaret, it is drawn on the minaret. design.

CONCLUSION REFERENCES Vol.9, No.4 Autumn 2019 Autumn No.4 Vol.9, The result of this s‌tudy shows that the fixed elements in Iranian Abeddoos‌t, H., Kazempour, Z. (2011). The Survival of the symbolism arts are not used in the same way. In miniatures, the cypress of mountain and tree in the art of ancient Iranian art and its effect on is mainly used in the background and looks more real. It is contemporary Iranian carpets. Negareh Quarterly, (20), 31_21 characterized by the images that fill the background and the Afrough, M. (2011). Patterns of hand-made Persian carpet: Elements cypress look bigger than other trees. In the Persian miniatures, and symbols of national identity, Quarterly National S‌tudies, 12 (4), the cypress element is abundantly used. It is part of the landscape 141-172. and is used in combination with the mountains, rivers, trees, Al-Ibrahim Dehkordi, S. (2016). The role of the cypress tree and its and buildings and this makes the active scene of the landscape symbolic meanings in the drawings of the Tahmazabi Shahnameh, more different. In the images, the other elements of the scene Bagh-e-Nazar (45) 13, 114-105. are not oriented toward the cypress tree, and the cypress is not Azarpad, H., Heshmati Razavi, F. (2004). The Book of Iranian Carpet. the mos‌t significant element of the artwork. The human beings Tehran: The Institute‌ of Humanities and Cultural Studies.‌ International Journal of Architecture and Urban Development Urban and Architecture of Journal International are visually emphasized in a variety of ways. Sometimes the Chitsazian A. H. (2009). Recognition of Pardis using the Symbolist‌ attention of all figures in a miniature are drawn to others, and features of and Carpet.Goljam (12), 122-99. occasionally the status‌ of trees and clouds in the miniature Farbod, F., Tavousi, M. (2002). A Comparative Study‌ of the Symbolic guide the eyes towards the main characters of the story.‌ In other Concept of the Tree in Iran (an emphasis on some of the literary and words, in Iranian miniatures, there is a combination of human mys‌tical texts of ancient Iran and Islamic Iran).Modares-e- Honar.(2)

figures, plants, and trees, and the cypress is an element of this 1, 54-43. landscape. However, in the carpet, the cypress is its central Hakam Abadi, A, Khazaee, M., Ahmad Panah, S. A. (2015). element, and the arrays of visual elements draw all attention Examination of Samani cloth.Quarterly Journal of the Great to the cypress. Perhaps the most‌ important difference between Khorasan,6(20), 74- 57. the aesthetics‌ of the cypress element in Iranian miniature and Jahan Pour.F (2016). The idea of cypress in the Iranian imagination. carpet lies in their positions; being in the text or the margin Pazand Quarterly, 15, (44): 26-5 of artworks. In the designs of a Persian carpet, the cypress Javadi, Sh. (2004). Landscaping in Persian Painting, Bagh-e-Nazar, gets an urgent priority. The great difference in the sizes of the 1 (1), 25_37. color shades makes the cypress the most‌ significant element in Khalilzadeh Moghaddam , M. & Sadeghpour Firouzabad, A. (2011). some Iranian carpet designs and let the designer communicate A Comparative s‌tudy of Safavid and Gurkani cloth motifs, Negareh with the audience without any explanation. The main aesthetic‌ Quarterly, (21), 21_37. similarity shared by Iranian miniatures and carpets is the Koohzad, N.(2010). The honor of the Cypress Role in Iranian Art. Bi- high frequency of the cypress element in comparison to other annual Journal of Naghsh Mayeh ,3(5): 16-7. plants. Compared to Iranian carpets, the dominance of this Mousavi, B., Ayatollahali, H. (2010). The study‌ of textile designs element is not quite tangible in the miniatures at firs‌t glance. during the Achaemenid, Ashkani and Sassanid Periods, Negareh It is because the human element is absent there. Nonetheless, Quarterly, (17): 57- 47. the fact is that cypress as the most‌ important visual element is Najafi, M. , & Afshari, M.(2011). The visual features of trees in s‌till at the center of attention, and the Iranian designer, with Iranian Painting.Book of Moon art, 162: 85-82. a deep unders‌tanding of the law of perceptual organization, Nasiri Khorram, Sh. (2016). An Investigation‌ of the Relationship es‌tablishes a deep connection with the audience and sends between Iranian Carpet Designs and . New his message. In the Persian carpet, the removal of the cypress Research in the Humanities, 3(9),90-77. element can affect the entire design. Despite the differences in Qasemieh, S., Bomanian, M. R., Nasehi, A. (2016). Exploring the the Iranian miniature and the carpet, they as the constituents‌ Common Language of Persian Garden and Painting: An Emphasis of Iranian identity hold an identical attitude towards nature. on the Significance of Cypress Tree. Bi-annual Journal of Art Nature is a creature and is at the service of man. It is manifested‌ Research,6(11),85-75. by God’s signs. In tiling, nature is associated with architecture Shadkam, M. (1999). Qajar Textiles.Ketab e Mah e Honar , 17: 89-89. and symbolizes the ascension and appears on the . Tavassoli, R. (2008) A Comparative Study‌ of Safavid and Ottoman On the cloths, it often turns into a paisley. It is to say that an Textile. Islamic Arts S‌tudies, 8, 87-106. element such as the cypress has been transfigured in different Zaboli Nezhad, H. (2011). The Sasanian and Qajar periodic book ways or fixed elements of Iranian arts are not used in the same designs.Moon Art, vol. 161: 108-96

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