THE RELATIONSHIP BETWEEN FORM AND ROLE AND STUDY OF THE PERFORMANCE OF STEEL TOOLS IN HOW TO BUILD AND DECORATE GUILDS OF THE GAJAR PERIOD Текст научной статьи по специальности «Языкознание и литературоведение»

УДК 745/749

Neda Ghaffari

Azerbaijan State Academy of Arts Post graduate student DOI: 10.24412/2520-6990-2023-15174-16-23

THE RELATIONSHIP BETWEEN FORM AND ROLE AND STUDY OF THE PERFORMANCE OF STEEL TOOLS IN HOW TO BUILD AND DECORATE GUILDS OF THE GAJAR PERIOD

Неда Гаффари

Диссертант Азербайджанской Государственной

Академии Художеств

ВЗАИМОСВЯЗЬ МЕЖДУ ФОРМОЙ И РОЛЬЮ И ИЗУЧЕНИЕ ООБЕННОСТЕЙ СТАЛЬНЫХ

ИЗДЕЛИЙ ПЕРИОДА КАДЖАРОВ

Abstract.

Although the flourishing of the art of steelmaking dates back to the Safavid period; But the Gajar period can be considered the peak of the use of steel in applied fields, especially in the field of tools. These tools are divided into two groups of manufacturing guilds. And the consumer, have used. The variety and multiplicity of tools show the dramatic changes in the form andfunction of these tools in the period. One of the characteristics ofsteelmaking in this period was the artists' attention to form and decoration of objects, so that form by itself was a form of decoration; The decoration also served the form. In this regard, the question arises that what is the relationship between form and role, form and function and how to build and decorate? The purpose of the first stage was to identify and introduce the steel tools of this period and in the next stage, to show the relationship between form and performance in this tool. Therefore, the authors have studied and classified the steel tools of the Gajar period guilds by descriptive-analytical method and one-way evaluation, relying on library resources and field studies (Iranian museums). The results of the study show that excessive interest in decoration along with naturalism and the use of animal forms with emphasis on the purity of form, special attention to the relationship between form and performance and empiricism by modeling European tools are the main characteristics of steel tools ofguilds in the Gajar period.

Аннотация.

Хотя расцвет сталелитейного производства восходит к периоду Сефевидов, но период Каджаров можно считать пиком использования стали в прикладных областях, особенно в области музыкальных инструментов. Эти инструменты делятся на две группы производства. Разнообразие инструментов показывают резкие изменения формы и функций этих инструментов в этот период. Одной из особенностей производства стали в период Каджаров было то, что внимание художников уделялось к форме и украшению предметов, так что форма сама по себе служила украшением. В связи с этим возникает вопрос, какова связь между формой и ролью, формой и функцией и как создавать и украшать? Целью первого этапа было определить и представить стальные инструменты этого периода, а на следующем этапе показать взаимосвязь между формой и особенностями этого инструмента. Поэтому мы изучили и классифицировали стальные инструменты периода Каджаров описательно-аналитическим методом и односторонней оценкой, опираясь на библиотечные ресурсы и полевые исследования (Иранские музеи). Результаты исследования показывают, что чрезмерный интерес к декорированию наряду с натурализмом и использованием анималистических форм с упором на чистоту формы, особое внимание к взаимосвязи формы и исполнения и эмпиризм при моделировании европейских инструментов являются основными характеристиками стальных инструментов периода Каджаров.

Keywords: Gajar period, steel tools, guilds, form, function, decoration.

Ключевые слова: период Каджаров, стальные изделия, форма, функция, украшение

Introduction. The most important feature of steel decoration. These decorations include inscriptions, Isis its strength and durability. Hardened steel is harder lamic and Khatai motifs, animal motifs, geometric mo-and stronger than iron; On the one hand, this makes it tifs and sometimes human motifs. The use of steel in durable, and on the other hand, it makes any object or military and religious fields reached its peak during the tool in which strength is desired, made of steel. Hence, Safavid period, which is considered a turning point in most steel works are functional. Steel decoration is Iranian steelmaking. After Safavid period, the produc-more difficult than other metals. However, gilding, sil- tion of steel works continued and steel entered the field ver stamping, lattice, engraving and engraving tech- of applications. The multiplicity of steel works of the niques have been used many times in Iranian's steel Gajar period shows the increasing importance of this

metal. Padlocks and locks, religious objects, tools of war 1, practical tools of guilds, scientific tools, amulets, cosmetics, decorative objects and home appliances are several examples of steel works of this period. The most prominent features of these works are: hardness and strength, unique forms, practical nature, semantic embellishments, abundance and multiplicity . Gajar period steel tools, due to their use and performance, were necessary to have sufficient strength and durability. The form of the tools is unique because it follows the function and has abstract, geometric, plant and animal types. Although these tools are decorated in some cases, but the purity of form is quite visible in them. Guilds related to steel tools of this period are divided into two groups: one is the guilds of producers and the other is the guilds of consumers. Manufacturing guilds have been active in various professions such as: scales, scissors and flint; And carpenters, leather makers, goldsmiths. Among the consumer guilds have been markets. Variety and multiplicity of tools such as: all kinds of hammers, clamps, gas cutters, saws, firecrackers, leather cutlery (scoop), flag, notebook, butcher's knife, scales, Scissors, pens, pens and compasses show that in this period, significant changes in the production of their face has taken .The important questions of this research are in the field of visual characteristics of form and role, the relationship between form and function and how to make and decorate tools in the Gajar period. Due to the deep relationship between form, decoration and function in a tool, the most appropriate method for study and review is applied study and analysis of form and decoration of tools. Classification based on application also helps to identify and decipher numerous and scattered steel works in museums and private collections; Which is one of the main objectives of this article. In addition, the main necessity of studying applied tools can be pursued in recording the technical knowledge of manufacturing and producing tools and helping new design patterns.

The history of research. In some books of the history of Iranian industrial arts, the Gajar period is considered the period of decline of steelmaking. Arthur Pope (2008), in his book "traveling in Iranian Art" considers the steelmaking of the Gajar period in terms of quality at a lower level than previous periods. He said that the expansion of trade and import of industrial products from the west caused damage to the steel industry of the Gajar period. He also points to the lack of good knowledge of craftsmen on how to adapt the array to the working materials, and believes that the decorative themes in Gajar metalwork are nothing but loose dumps from the linear designs of previous periods. Mohammad Taghi Ehsani (2003) Has completed a thousand years of metalworking art in Iran "with the Safavid era. Willem Floor (2014) points to the impact of imports of European items and considers the real influx of these items in the 1830s and especially the 1840s; When the increasing consumption of European items had a reducing effect on the production of Iranian industries .Also Kenneth Dogobino 1388, has made observations about the copying of imported European items and objects. The most important and most significant book on Iranian steelmaking by James Allen and

Brian Gilmour( 2001) which has been published by the University of Oxford and more on the collection Parviz Tanavoli relies on steel objects.Allen (2002) In another book, "The Art of Steelmaking in Iran", which has been translated into Persian, provides examples of tools from the collection of Parviz Tanavoli, but does not pay much attention to the details of performance and form. Tanavoli (2008) in "Scales and Stones" has introduced examples of scales, Qapan and scales from the Gajar period. Pope (2008) in "A Journey in Iranian Art", along with steel works of different periods of Iran, has provided examples of Gajar steel tools. The mentioned books are from the visual sources used in this research. Museums in Iran and around the world contain a significant number of steel works from the Gajar period; Including: Reza Abbasi, Malek, Golestan Palace, Metropolitan, Harvard, Hermitage and Ashmoline museums; The number of tools in them is less than other steel works. However, several writers and researchers in some cases have written a brief description of the tools of the Gajar period guilds and have also provided their size and dimensions; However, the study and study of the set of applied steel tools of this period is something that has not been dealt with separately so far. This research intends to examine and classify tools based on application, to pay attention to the visual characteristics of form and role, the relationship between form and function, and how to make and decorate tools in the Gajar period .

The research method. Descriptive - is an analysis that using library resources and surviving images of steel works of the Gajar period, first to classify the steel tools of this period and after classification, to describe the form and function of objects - which is selected by non-probability method, it pays to . In fact, this description first examines the form and shape of objects and measures the relationship of shapes to their function.

Gajar period steelmaking: (Gajar rule) 12091794 AH / 1343-1925. AD (began in 1208 AH with the coronation of Agha Mohammad Khan. Art and craft in the Gajar period, although it was a continuation of the past; But over time, due to its relationship with the West, it underwent changes that led to the creation of a combination of works of Iranian and Western art.Ac-cordingly, "the art of the Gajar period showed three fundamental features and characteristics: the growing separation of Iranian culture from the great Islamic tradition, the introduction of elements of folk and folk art, growing dependence on Western influences ... The art of this period, although in low level It was more than the art of previous eras and could not be compared to it in terms of splendor, but it displayed a completely independent and refined feature and identity. (Scarcia, 2005: 35) The Safavid period is the beginning of the serious presence of steel to create works of steel in traditional Iranian arts. After Safavid times, the tradition of steelmaking continued and the use of steel permeated all aspects of daily life. Reports and letters of the Gajar period show that various industries related to iron and steel were active in different cities of Iran and exported some of their products to different parts of the country. Fraser writes about Azerbaijan: "Tabriz is the most im-

portant city in the province, but other cities such as Ar-dabil, Maragheh, Khoy, Marand, Yerevan and Na-khchivan all have a share in exports, but I did not see a significant difference in their specialized or export products (Fraser quoted by Allen, 2002: 9) . In other cities of Iran, especially in areas where iron mines were exploited; For example: Shiraz, Isfahan, Kerman, Ma-zandaran, Mashhad and Zanjan, the traditional production process, almost 80% of iron and steel works, has continued. Mir Hossein Khan Tahvildar, the author of "Geography of Isfahan" introduces the population of Isfahan as craftsmen, merchants and small businessmen, handicraftsmen and small urban strata. Describes the number of guilds and professions in Isfahan in 1876-7 about 199 guilds and professions that the most important guilds related to steelmaking are: blacksmiths, engravers, locksmiths, steelmakers, flint makers, sword makers and gunsmiths (Warham, 1385: 197) The thirteenth century AH is a busy period for Iranian steelmakers.The types of steel works of this period include a wide variety; Cosmetics such as kohlrabi, which often resembles paisley scarfs (derived from Kashmir and Kerman's scarfs), and kohlrabi with extremely well-cut handles. Also, all kinds of scientific tools, such as rulers and pen pens, paper scissors -enough to fit in a pen - and inkjet spoons, and other popular tools such as sugar crushers. Production of everyday steel objects such as pliers and household appliances such as spatulas, sunscreens and pelvis has also been common (Allen, 2002: 14). The steelmakers performed all the steps individually in their traditional workshops, representing the full potential of an artisan in the pre-industrial society. For example, the Gajar craftsman made and assembled all the parts of a product on his own. This important difference has already been realized by Mir Hossein Khan Tahvildar and he writes that each of the flint makers in Europe makes a different part of the flint, while in Iran, all the flint parts are made by one person (Tahvildar, 1342: 108).Dogobino states: "Iranian industrial workers are always a worthy, intelligent and hardworking people ... A worker who makes a clock in a Swiss watch factory is unable to make a cogwheel and is only skilled in making hands and It has agility. But in Iran, there is no principle of specialization in this way, and the result is that the Iranian worker can not work as quickly as the European worker and produce a large amount of artifacts.But instead he enjoys more than the European worker. Because doing something, especially throughout his life, has not destroyed his talent. The industrial worker of Iran always happily works with new joy and enthusiasm for new jobs and industries that he has not welcomed so far, and very soon he understands the intention of the employer and does the work according to his desire.(Dogobino, 1388: 36) Techniques and methods of producing steel works have always been with adherence to past traditions and the blacksmith's work was based on techniques such as: pulling, casting, flattening, rounding, cutting and drilling. Blacksmiths distinguished between wrought iron and steel, and when steel was melted, they called it dry steel or hydrated steel. Among the steelmaking professions of this period, we can mention

nail-making, horseshoe-making, knife-making, scissors-making, razor-making, rifle-making, balance-making and lock-making (Wolf, 2005: 51-47). The remarkable report of René Dalmani (1335), a French tourist who traveled to Iran in the early years of the twentieth / fourteenth century, is noteworthy and admirable. This tourist artist has introduced the types and varieties of steel works and while pointing to different methods and techniques in terms of uniformity and production process, has also provided us with important information. He wrote about the method of obtaining steel: "In the past, operations were carried out in Iran to obtain good and juicy steel. For example, after a special object was once forged, it was placed in hot water for six to seven days, making sure that the temperature was always the same and did not change, and becsuse of not changing the temprature They burned muck under the cauldron and after seven days, they took it out of the cauldron and polished it as soon as it cooled. To polish the steel, a special mineral was dissolved in water and rubbed on the steel with a warm cloth, and after performing the necessary operations, it was washed with water. (Dalmani, 1335: 377.) To melt the blades of knives, knives, swords, etc., and the techniques of making and decorating, he states: They swallow, then give them a gentle heat again and polish them ... The blade leads to the hands which are decorated with patterns. The handle is sometimes cylindrical and sometimes It is embowed . The back of the handle, which is located between two pieces of bone, is often carved with special care, and in some of them, the craftsman has drawn pictures of gold and silver and shows a tiger or a lion hunting a gazelle or a deer. Or shows animals running in the forest. There are also knives that have engraved words on the blade and their handle and have asked God for happiness and help for its owner ... Most of these knives have a conical tip so that their blade does not hit the obstacle. "These ornaments can only be seen on luxury cards decorated with rubies and diamonds." ) Same: 382-380. He also introduces the types of borrowers as follows: "Iranian borrowers are lightweight and winning and are made in different types. The borrowers used by tailors and straw growers are larger than other types and have wide loops. The borrowings made for the pen are very delicate and thin, and in order to fit in the pen, the rings are made in such a way that they sink together. "Some also have folding handles." (Ibid: 384) Looking at the variety of decorative techniques of steel works of the Gajar period, we find that the hardness of steel did not limit its decoration and the variety of these methods had created specializations in various sectors of production. The main techniques of decorating steel In the Gajar period are:

1. Decorating with gold and silver : It is known as Damascus work and is one of the important decorative techniques of this period; Small sculptures "Animals stabbed or stabbed animals, knives, daggers, swords, shields and helmets, and all kinds of steel tools." "It is laid and fixed with a pen and a hammer." (Allen, 2002: 11)

2. Meshwork: This technique was used on shiny steel plates to make signs, door knockings, calligraphic inscriptions with Islamic and Khatai motifs, in various

parts of objects and practical tools. Mesh work is especially common among scissors makers and is done with a bow drill and several razors.

3.Acidification (melting) or melting : This decorative method is for steel, which has a thick and durable material, so it is mostly used in the manufacture of weapons, such as decorating various types of daggers, swords, spears and butchers.

4. etching : The stylus used for steel should be harder and have better quality than the steel itself, such as hardened (dry) steel, so that both the brushing work is easier and the pen is durable against hammer blows.

5.Scraping: In this method, silver powder is mixed with water and rubbed on the surface with a brush, and after heating, silver is mixed on the metal surface. Kalateh Sadati, 2005: 209) The contents of Table 1 contain decorative techniques used in steel tools of the Gajar period.

Steel tools of Gajar period guild. Based on the reports and documents of tourists, the texts and the large volume of relics, we find that the guilds of this period were widely active in the field of industrial arts.It is obvious that one of the reasons for the continuity of the form and role of steel works and the preservation of production methods has been the tradition of

Decorative techniques of ste

maintaining professions among family members. "Entering professions was not easy and usually jobs between families of any class and hereditary group, so that the blacksmith accepted his sons and worked in his shop from the age of 7 to learn the father's profession. Thus, the tradition of continuing a business or an industry spread in some families, and this became more common when an artisan could afford to buy. He did not have the new tools and equipment to use his child in professions other than his own. By Looking at the report of Mir Hossein Khan Tahvildar from the guilds related to Gajar period steelmaking in Isfahan, it can be said that the guilds related to tools are divided into two groups: one is the guilds producing and the other is the guilds consuming these tools (Table 2). The variety of steel tools shows that the era of form evolution in tools is related to this period. Some tools do not have much history in the past or in terms of form are not very dependent on the past art of Iran, such as pliers, clamps and multi-purpose tools; But others have gone through the evolution of the past. Tools such as: hammer, anvil, flag, scissors, notebook, firecracker, scales, sledgehammer, etc., the multiplicity of which is a testament to the flourishing and continuity of the art of steelmaking in this period.

Table 1.

tools of Qajar period guilds

Type of tools

Saftml. woodworking damp, gas cutter, pen. porcetan vwdc scissors, porceian «not sosscrs. metal cutting scissors pen Decorated vntfi gold and silver I

Pitcher, Needle Pliers, Scale Falcon, Pen Scissors, Ink Spoon Lattice work 3

Butcher's knife, arsonist working with aad 3

Firefighter, cloth scissors, metal cutting scissors Etching *

Table 2

Guilds producing and consuming guilds of steel tools of Qajar period _

Consumer guilds Producer guilds

Carpet weavers, leather makers, engravers Scissors makers (notebook, scissors neede. (lag. engraving pan)

Calligraphers, painters, religious Penner Makers

Goldsmiths, gunsmiths, locksmiths, soence makers Flint makers

Sellers of various goods and items Scale makers (falcon, qapan, weight)

Swordsmen, goldsmiths locksmiths, armor makers Rubber makers

Carpenters. caiigraphers. instrument makers, buttfiers Knife makers (knives, pens, saws, plows, knives)

Gotd&mrtJTS, gunsmiths, scientists, todomrths. armor makers Craeengere i lammer. dm. ocnptu tnerg. damp, gaa pMrs. icmtanvar)

Observing the principles of aesthetics of functional objects is a trivial matter for the craftsmen and artists who make these tools in this period of time . The Iranian way has long been that they not only made their tools to fit their practical purposes, but also made them as beautiful and luxurious as possible. They never let the decoration of the efficiency and profitability of a tool Therefore, the artists tried to make the most of the metal features and shape requirements of each tool. The best and most beautiful practical tools of the Gajar period guilds can be seen in the wooden tool box and the trigger papier of this period. Although the construction of such boxes is derived from European toolboxes; But the form of the tools and their arrangement have a

unique pattern. The two main uses of these boxes are: scale box and tool box of different classes. Of course, in most of them, the number of tools is very small, but when the unique example is the government toolbox; Contains a large number of different tools, which are kept in the Ashmoulin Museum (Figure 1) (a variety of tools such as compasses, clamps, saws, hammers, scales, knives, razors, scissors, flags and gas masks are embedded in this box. The multiplicity of tools in this box makes it difficult to apply it to a specific class. Although in other fields besides industrial arts such as surgery, toolboxes for vehicles may have been common, as Arthur Pope introduced this toolbox for surgery (Pope, 1387: 1392 and 1391) However, it seems that it

is not only related to medical affairs and contains the tools of different guilds.Beautiful examples of these boxes are also available in the Reza Abbasi Museum and Golestan Palace. Many tools have a pleasant beauty despite their harsh consumption. The extraordinary skill of the craftsman in recognizing the form and his ability to shape it through the imagination, without ever forgetting the consuming aspect, is an important and thought-provoking point in such tools. For example, a mouse hook inspired by a carpenter's clamp, and a jewelry hammer in Figures 2, 3 and 4, respectively. Animal designed and built. In practical tools, the point of attention is the relationship between beauty and consumption. For example, tools such as gold-plated flags (Figures 5 and 6) are tools that, despite their practical nature, They are decorated as if they were more decorative than functional. Love and interest to beautiful and well-formed tools can be found in the tastes of the guilds that consume tools. Since the craftsmen and artists of these classes, the creators themselves, probably applied works of art during the formation of their form and the role of their tools, and tended to create beauty; Also, the influence and influence of the form of European imported tools, which had an increasing variety during the developments of the Industrial Revolution, should be added.The hegemonic experience through modeling European tools is one of the effective factors in the formation of new tools of the Gajar period. Regarding the copying of imported objects by Dogobino handicraft workers, he writes in his travelogues: "One of the things that Iranian workers love to do is to make artifacts from European works of art ... They are English knives and they are so skilled in making these knives that one is amazed, especially since the word "London" is also engraved on the blade of a silver knife. Elsewhere, a locksmith made a table, and although he had just started in the industry, his tables were no less than European tables, and "Instead, it was a third the price of European tables." (Dogobino, 1388: 36) Guilds such as carpenters, leather makers, goldsmiths and weavers, including artists and craftsmen of the Gajar period, some of their main and specialized tools such as wood saws, saws, jewelry molds and bookcases, respectively, Figures 8 and 9, 7, 6 were made of steel. Also, some other tools such as screwdriver (Figure 10,) pliers and pliers (Figure 11 (and gas pliers) (Figures 12 and 13)) can be considered as tools related to various guilds, However, they have been used more in some professions. Gajar burners are glorious examples of steel tools that are superfluous in terms of shape; Although it is not easy to comment on the origin of their form, because "India is sometimes mentioned as the source, but it has not been established. When matches and lighters were not yet invented, lighting a fire was often done using a lighter. In his travels to Iranian handicrafts, Kulg (1976), quoting an English book published in 1832, wrote: "There are fewer men or women in the house who can light a fire in less than three minutes, and this result The average was thousands of experiments. But in England and in Iran, the same equipment was used: a firebox, a piece of flint and a piece of fire steel. To light a fire, the steel was held firmly and the

flint was placed diagonally on it, causing hot steel particles to ignite the igniter. Flammable steel parts were needed by everyone, and there were many types, from simple and rough to well-groomed and high quality. The simplicity and smoothness of the igniter surfaces is important due to their contact with flint. However, some of them have plant and animal motifs using acid-cutting and engraving techniques (Figures 14 and 15). Butchers are their swords. This versatile tool was sometimes decorated in such a way that one should doubt its usefulness, and the butcher shop may not be a good place to sell it. Two examples of butcher sats from the late Gajar period illustrate this point (Figures 16 and 17). It engages in theatrical-ritual movements using sports poles Are traditional in Iran (Allen, 11: 1381). In the inscription of its edge in Nastaliq script, a poem engraved by Mehdi Beg Shaghaghi, one of the poets of Azerbaijan (Zaka, 1345: 9) Due to the lack of space for the verse, the last word is omitted from the first syllable (sharper). Of course, it is also possible that the designer and builder cleverly put the word sharper on the function of the sword itself, that is, the sharp edge! The eyebrows also indicate the curvature of the width of the blade. This inscription is an example of poems that have been written and engraved on them using literary arrays such as ambiguity, allegory and metaphor, themes describing important objects and tools of industrial arts or their owners.A rare and beautiful sharpener or knife from the Gajar period has completed the tools of this class, at the end of which a hinged appendage decorated with a lattice of Islamic motifs has made its final form unique (Figure 18). The main weighing tool was for the guilds of the Gajar period. Shahin and Qa-pan Fooladi are also examples of tools in which the form has a strong position and follows the performance. Of course, weights should be excluded from this rule because their performance has nothing to do with form and therefore, they have a great variety of forms (Figures 19 and 20). From the Gajar period, many scales and scales have been left, which are mainly figures. "They are and the names of weighing masters such as Taghi, Hashem, Mirzababa, Ali Akbar and Ahmad can be seen on the scales and weights of this period." The form of the qapan (Figure 21,) is similar to a handle with a handle, the handle of the wand is the same as the qapan and the head of the wand is the weight of the qa-pan. It is a tool for weighing light loads such as silk. In the middle of the falcon was a narrow tongue called the tongue or house. "In equilibrium, two identical tongues were placed parallel to the gate and both cups were weighed." The same: 15 (,) Figure 22.) Another type of practical tools of this period are scientific tools. Pens, compasses, sharpeners, trimming pens, ink spoons, scissors, etc. were tools that were used scientifically in the Gajar period. Calligraphers and painters were active before the arrival of the printing industry in Iran. Traditional art activists are craftsmen rather than artists, so the term artist is more specific to calligraphy and painting activists who have a special social status. Instruments related to other sciences such as astronomy were also very popular in this period, but they were made of other metals such as brass and bronze. Calligraphers adjusted the angle of the tip of the pen with a tool called

a sharpener. A device whose construction is itself a delicate technique. There are two models of engravers: folding and integrated. The folding pen (Fig. 23) has a hinge between the handle and the blade, and also has a slot at the bottom of the handle, so that the blade can be inserted after it is retracted. But in the integrated pen (Figure 24,) the handle and the blade were made connected to each other in a fixed way. In fact, it was a small knife. These knives had hard steel blades whose size and shape depended on the type of sharpener. The shape of the blades with various curves has been an arena for creativity in design. The blade was attached to a handle made of ivory, wood or shell with a strap. In Gajar writing and painting, paper cuts were usually done with steel scissors, so a type of scissors known as pen scissors or pen scissors became common, which was smaller in size than other scissors (Figure 25). The ink was also a steel device that was used to remove and pour the ink into the pen (Figure 26). Gajar pens were generally made of paper and wood They were made of steel and were decorated in two types: simple and inlaid Been . Metal pens, of which a small number are left, mostly (Figures 27, 28 and 29). .^In some pens, a steel chamber called a compound was installed to hold the compound with a hinged valve.An example of a steel compound in Figure 30 is a paper pulp pen kept in the Ashmulin Museum. One of the most important tools and tools of designers and painters is the trailing pen and compass. The springy nature of steel is perhaps one of the most important factors in the construction of triangles from this metal, as it is necessary for the two tongues to be placed at a short distance from each other. The remnants of this period have a great variety in terms of handle form. Plant lattice ornaments in the middle and end of the handle and rhythmic knotted forms are the features of these tools (Figure 31). This course has a lot of variety in terms of category form. Plant lattice ornaments in the middle and end of the handle and rhythmic knotted forms are the features These are the tools (Figure 31.) Gajar compasses are of two types and have different uses: drawing compass and splitting compass (Figures 32 and 33) which are the main difference in their tip. Dividing compasses have two steel tips for drawing geometric divisions on metal, Wood and plaster were used, but for writing, painting and drawing on paper and cardboard, a pen tip was made in the shape of a pen so that it could be impregnated with ink.

It is noteworthy that in these tools less decorations are used and more emphasis is placed on the purity of the form. The relationship between form and function can be the best evaluated in compasses. Compass is an example of scientific tools of the Gajar period that is without decoration and in its design and construction, the main emphasis is on the purity of form. Compass components include two bases, rails and hinge screws. Each base has a tip in the shape of an Islamic design that can be replaced and reinstalled and fastened in place with two screws. The screws are designed to fit the overall shape and are involved in completing the final form of the compass. Another screw helps to keep the bases fixed at desired distances by applying pressure to the curved rail. Its curved rail is designed in a

curved way so that the moving base of the compass can be easily opened and closed. Although it is not necessary to use rails in this work, but the manufacturer has installed it in order to increase the accuracy of the compass and prevent it from changing the size of the compass. Another creativity used in this work that is not necessarily related is the beautiful curved tips that are rooted in circles and It has the curves of Islamic motifs and the beauty and elegance of this compass is due to them. In terms of form and application, scissors are one of the most diverse tools of the Gajar period, which was made for different guilds with different uses. Two scissors with different uses, both of which belong to the thirteenth century AH, are good examples to illustrate the point that form follows function. The shape of the blades of porcelain scissors and the spring between them, in order to be able to open and close them, is often different from the shape of the handle of scissoring scissors. Also, the width of the blades of fabric scissors is considered to be thinner than that of porcelain scissors. Different types of scissors with different uses such as: metal cutting, cloth cutting, porcelain wool and porcelain wick can be seen in pictures 34, 35, 36 and 37, respectively. The inscriptions on the two samples of Chinese wick scissors and Chinese wool show the importance of expressing doctrinal themes and concepts through writing on objects. Content themes of Persian inscriptions in metalwork including poems of Persian poets, idioms, short stature and sculpting of craftsmen and artists, from the Safavid period in Iran became more popular and many examples of it have been left in the inscriptions of steel works of the Gajar period. The Chinese wick inscription with gold-plated ornaments contains the phrase "servant of Shah Abbas province" -the title of Hazrat Ali (AS) - the text of Shah Abbas Safavid seal and was also used in the Gajar period. The phrase "in fact he is the original owner of God, we have this trust for a few days." Performance is actually a part of the 3D design professions such as architecture, industrial design and handicrafts. In steel works, due to their practical nature, the relationship between form and function is very important. The function of some forms is clear, the saw has a mechanical application for chopping wood. "The slogan 'form follows function' implies that the visual appearance of form must first serve to convey its function." (Bowers, 1387: 12) Analysis of a sample of metal cutting scissors in Figure 38 helps us in morphology to explain the relationship between form and function in practical tools .This metal cutting scissors belong to the thirteenth century AH and is designed and made in the shape of a crow. The two blades of the blade are made in the form of a long beak and are connected by a pin in the place of the bird's eye. One of the handles forms the trunk of the bird and by the legs along with the bird's tail, the scissors are placed on a flat surface. A finger ring is installed under the handle. The other handle forms the bird's wing, and the two rings on it are where the upper finger ring is placed, which normally fits inside the first ring, but comes out when used .The blades are also hollow on the outer surface of the blades, the upper surface of the handle that forms the bird's wings and the bird's trunk is decorated with silver work, as well as the bird's eyes are brass-

plated. The designs on this scissors, which cover the entire surface of the blades, the trunk and the upper handle, are dense, and the contrast between the dark color of the metal and the light color of the silver makes it doubly beautiful. These scissors were used to cut metal.

Flat handles to be firmly placed on the floo r; The other category is a mold that is lifted after the cutting operation is done to cut the metal easily. The hollowness of the blades also ensures their durability.

Figure 33. Taksim compass, 13th century AH, dimensions of the widest case 27.4 * 18.3 cm, base length 25.39 cm, tip length 5.66 cm, radius rail 15.79 (Madison and Savage Smith, 2008:301)

Picture 35. Scissors, 13th century AH 370: (2001, Alan & Gilmour)

Picture 34. Metal-cutting scissors, 13th century AH (Allan & Gilmour, 2001:370)

Picture 37. Porcelain wool scissors, 13th century AH, dimensions 4*3/11 Cm) Madison and Savage Smith, 1387: 298)

Picture 36. China wick, 13th century AH Dimensions (298:1387 Smith, Savage and Madison) 17 *2/5

Figure 38. Metal cutting scissors, 13th century AH, dimensions 18x6 cm, blade length 11.01 cm

(Madison and Savage Smith, 1387:297)

Conclusion. Applied tools have been an important part in the steel works of the Gajar period. The guilds related to the tools of this period are of two groups: one is the guilds of production and the other is the guilds of consumers. The constant need of guilds consuming tools such as carpenters, leather makers and goldsmiths

caused the increasing activity of guilds producing in various professions such as: scales, scissors, flint and the like, and tools such as: hammers, saws, sawmills, leather knives. (Shafreh), Darfash, Daftin, Satour Ghasabi, Shahin Tarazo, Scissors, Pens, Clamps, Gas

Cutters, Pens and Cutters show that in this period, significant changes have taken place in their produc-tion.Love and interest in beautiful and well-formed tools can be found in the tastes of the guilds that consume tools. Since the artisans and artists of these classes were the creators of works of art themselves and tended to create beauty, they probably exercised taste in the formation of their form and the role of their tools. Naturalism and the use of animal forms and the proper use of decorative techniques such as engraving and engraving, latticework, gilding and silversmithing; One of the appearance features of Gajar period tools. Paying special attention to the relationship between form and performance in tools and emphasizing the purity of form, as well as the extraordinary skill of the craftsman in recognizing form without ever forgetting the consumer aspect, is a sign of the ability and technical knowledge of tool makers of this period. However, in some examples, empiricism through the modeling of European tools should not be forgotten. Footnote: 1. Part of the products of challengers that are used as door and window fittings is called "emerald". In other words, "sanding" is a profession in which metal and traditional door and window attachments are made. "Zumudgar" means painter and map designer, and Dehkhoda has defined Zumudgar means to draw and paint. (Dictionary of Dehkhoda, under "Zumudan".) In the art of Zumudgar, the most used metal is iron. Various objects including percussion, stud, heel and hinge, fastening, handle, cock, sequin, Rocklides, etc., have been made by emeralds with very various and beautiful designs and designs, which have been formed from the total use of them on wooden and old doors of emerald art.

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