Journal of Visual and Applied Arts

Original Article Visual & Applied Arts

Analysis and Classification of Couple Portraits of the First Half of the Qajar Era

ameneh mafitabar

Volume 18, Issue 47 , April 2025

https://doi.org/10.30480/vaa.2022.3980.1684

Abstract

Royal figurative painting is the painting style of the first half of the Qajar era that actually dawned in the late Safavid era and lasted up to the reign of Mohammad Shah, although its culmination was during the reign of Fath ali Shah. The present study aims to analyze and examine royal figurative paintings ... Read More Royal figurative painting is the painting style of the first half of the Qajar era that actually dawned in the late Safavid era and lasted up to the reign of Mohammad Shah, although its culmination was during the reign of Fath ali Shah. The present study aims to analyze and examine royal figurative paintings depicting two individuals as couples. Thus, the research question is : How is it possible to classify the couple portraits of the first half of the Qajar era from the perspective of content? Results of the present comparative- analytical study of 18 samples collected through stratified probability sampling indicate that in most remaining examples, couple portraits demonstrate a man and a woman in superior and commensurate positions, embracing each other while sitting, standing, or lying. There may be times when one is standing while the other is sitting; nonetheless, the plan, along with the other details such as their clothes and ornaments on their clothes, indicate their equal social status. Others, which are fewer in number, show two women of equal status, such as a princess or a musician, in a way that all the elements of the image are symmetrical and at their service. In this respect, there have been few equal men. In other numerous accounts, which can be classified as a prince/ princess and a servant, in some cases, a princess is accompanied with a female servant and in other cases with a steward.The composition of the portraits and details such as the clothing and accessories of the individuals reveal that many of the works that have been interpreted to be portraits of lovers are in fact portraits of princesses accompanied by a male servant. The other noteworthy point is that although princesses have been portrayed to have both male and female crew, the servants of princes have been illustrated to be exclusively male, and no maidens are thus portrayed accompanying princes. Besides, a young son in the arms of his mother or by his father's side are among the other themes depicted in this type of royal figurative paintings, albeit in fewer quantities. Therefore the couple portraits of the first half of the Qajar era can be classified into portraits of sweethearts, companions, princes / processes, and their servants, and of course, parents and children. Yet, it is rare to see a relationship between mother and child or two women. Moreover, little can be stated about the embodiment of a father and child (son) relationship and the company of two men; the latter may be discussed with more skepticism. There has not been a record of an illustration with a prince and a female servant, or a father/ mother and a daughter.

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Original Article Visual & Applied Arts

Study Interaction of Positive and Negative Space in Noma bar's Works based on Figure and Ground principle in Gestalt theory

zeinab saedzade; Soodabeh Salehi

Volume 18, Issue 47 , April 2025

https://doi.org/10.30480/vaa.2022.4020.1695

Abstract

The content of high visual volume in front of humans makes paying attention to information to convey messages become one of the main problems of graphic designers. One of the solutions that designers face in order to create creativity and attract the audience's attention is to use games and create the ... Read More The content of high visual volume in front of humans makes paying attention to information to convey messages become one of the main problems of graphic designers. One of the solutions that designers face in order to create creativity and attract the audience's attention is to use games and create the Interaction between positive and negative spaces in design. In fact, in these works, the use of creativity and efficiency from a negative space is discussed, which in addition to turning it into a positive form and creating proper coordination between positive and negative spaces, Trying to use principled negative space in presenting concepts.Therefore, the purpose of this study was to determine how to use the interaction of positive and negative spaces by identifying the main principles of Gestalt theory and the law of role and context and its impact on visual perception. This research is applied in terms of purpose and qualitative and case study in terms of research method. The sample population of this research was the posters designed by the contemporary designer Noma Bar, which were purposefully selected. The study tools were observations and tables designed by researchers. In the present study, after in-depth observation of 38 prototypes, they were visually described and then the descriptions were coded. Then, by developing a sample evaluation table based on a review of Gestalt laws and reaching the results of coding, 14 samples were selected and discussed in the main part of the research from the perspective of the relationship between figure and ground. Also, the volume of prototypes in this section is sufficiently determined; This means that whenever the results of the sample analysis are repeated, further examination of the samples is avoided.In the composition of visual works in general and consequently in the composition of posters in particular, it is expected that the image surface will always be divided into two independent parts, namely positive space and negative space or figure and ground, but the results This study indicates that in the studied samples, the positive and negative space in Noma Bar posters usually have a two-way function; In designing his posters, Noma bar has avoided creating a 100% distinction between these two spaces as much as possible and has always tried to create a close and inseparable connection between them in his works so that through this technique he can present his concepts with a new visual and creative perspective; So that either all the space around the positive figure or part of this space has become a new figure that despite the borderless connection to the background, they present themselves as a figure or the positive space. In fact, this positive use of the background negative space of the work has been done so well that in some cases, the shape created in the poster background is more in line with the rules of a shape in the theory of figure and Gestalt ground than and the positive space They mostly engage the audience.

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Original Article Visual & Applied Arts

Psychoanalytic and Archetypal Analysis of the Clothing of Lawful Men in Iranian Society: The Role of the Apollo Archetype in Styling Clothing Patterns

SORAYA RADAMIN; zohre radamin

Volume 18, Issue 47 , April 2025

https://doi.org/10.30480/vaa.2025.5677.1970

Abstract

This article provides a comprehensive analysis of the influence of the Apollo archetype on the clothing and identity of law-abiding men in Iranian society. The Apollo archetype significantly impacts the behaviors and sartorial choices of this group of men. To achieve this objective, the study employs ... Read More

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Original Article Visual & Applied Arts

The contribution of meaning and concept in product creation with regard to emotional design, a case study of Iranian products (from the industrial revolution to now)

Ramesh Taherian Ojaroud; Hossein Ardalani

Volume 18, Issue 47 , April 2025

https://doi.org/10.30480/vaa.2025.5658.1965

Abstract

Industrial developments began in the 18th century, parallel to the end of the Safavid period, the beginning of the Qajar period in the world and Iran. The purpose of this research is to investigate and analyze the meaning and concept in Iranian products from the industrial revolution until now and to ... Read More

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Original Article Visual & Applied Arts

Iconographic analysis of the ritual of "throwing felt around the neck" in mourning paintings and its relation with wearing of wool (Pashmina) in pastoral rituals based on two paintings of Shahnameh of Shah Tahmasab

مرضیه جعفرپور; zohreh tabatabaee jabali

Volume 18, Issue 47 , April 2025

https://doi.org/10.30480/vaa.2025.5554.1949

Abstract

The mourning rituals observed around the world share a common pattern rooted in the belief in the resurrection of fertility deities and the reliance of humans on these forces for sustenance. Hence, in ancient cultures, many commonalities can be identified between the rituals and performances related ... Read More The mourning rituals observed around the world share a common pattern rooted in the belief in the resurrection of fertility deities and the reliance of humans on these forces for sustenance. Hence, in ancient cultures, many commonalities can be identified between the rituals and performances related to land fertility and mourning ceremonies. One of the notable rituals mentioned numerous times in historical sources and visual documents is the "placing of the felt around the neck," which can be traced back to harvest-related performances, such as shepherding rituals.Accordingly, the current study aims to explore the origins of the "placing of the felt around the neck" in mourning practices within the context of the illustrations found in the Shahnameh of Shah Tahmasp. This research seeks to answer the following questions: What worldview and beliefs underpin the ritual of placing felt around the neck? What connection does it have with shepherding performances?This historical-comparative research employs purposeful sampling to analyze two illustrations from the Shahnameh of Shah Tahmasp, focusing on the mournings of Iraj and Farood. Furthermore, by adopting an iconographic approach, it analyzes related literary, historical, mythical texts, and also relevant visual styles.The study concludes that the act of hanging black felt from the neck is an imitation and interpretation of the garment worn by the fertility deity, who has taken the form of a shepherd. The correlation between shepherding rituals and the blessings they bring signals the arrival of spring, the end of winter, and the birthing of livestock. This connection illustrates the bond between the lives of Neolithic humans and the development of animal husbandry practices.The ancestors’ attempt to invoke these deities was motivated by a desire to seek their favor in bestowing blessings on agricultural products. By understanding these practices and their origins, one can appreciate the deep-rooted cultural significance of mourning rituals, connecting them to broader themes of life, death, and rebirth.Moreover, this research highlights the importance of agricultural cycles in shaping the religious and cultural landscape of ancient societies. The rites associated with mourning, fertility, and shepherding reflect a harmonious relationship between humans and nature, underscoring the reliance on divine forces for sustenance and prosperity.In conclusion, the intersections of these rituals provide insight into the complex tapestry of beliefs that define ancient civilizations. The study invites further exploration into how ritual practices evolve over time and how they maintain relevance in contemporary contexts, stressing the importance of preserving cultural heritage and understanding its significance in a modern world increasingly disconnected from its agrarian roots. The examination of such cultural artifacts illuminates not only the historical practices of mourning and observance but also the enduring legacy of these traditions as they adapt and transform in the face of changing societal values.

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Original Article Visual & Applied Arts

Narrative Analysis of Quranic Verses and the mentions (dhikr) Taken from Them in the Painting "The Insolvent Who Fell in Love with the King of Egypt" by Mantiq ul-Tayr, Metropolitan Museum of Art

Fatemeh Gholami Houjeghan; Hassan Bolkhari Ghehi; Mina Sadri

Volume 18, Issue 47 , April 2025

https://doi.org/10.30480/vaa.2025.5657.1964

Abstract

Mantiq-ul-Tayr, preserved in the Metropolitan Museum of New York, is one of the finest manuscripts of the Timurid period, which is important due to the participation and supervision of Kamal al-Din Behzad over some of its illustrations. The art of illustration in this version is of the highest quality, ... Read More

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Evaluation of the teaching model of the creative thinking process in design before and after training

Volume 16, Issue 41 , October 2023

https://doi.org/10.30480/vaa.2023.4638.1809

Abstract

Organization of creativity education and appropriate processes in design education, especially in the field of industrial design, helps students' potential creativity. Undoubtedly, education is one of the useful methods for improving people's creative performance. However, the field of educational technology ... Read More Organization of creativity education and appropriate processes in design education, especially in the field of industrial design, helps students' potential creativity. Undoubtedly, education is one of the useful methods for improving people's creative performance. However, the field of educational technology has not shown much interest or paid little attention to the importance of creativity in design education. Creativity is a skill that can be examined, measured, used, and taught. Therefore, measuring the efficiency of each educational content in designing and presenting the results of educational experiences can be effective in improving the quality of education. This research considers education based on creativity indicators (fluidity, expansion, originality, and flexibility) in industrial design courses. For this purpose, several educational models and creative teaching strategies in the field have been proposed while referring to the concept of design education with an analytical approach. Also, the teaching experience has been conducted with the aim of determining the effectiveness of teaching in the form of a creative education process on students' creativity in solving design problems. The research is practical in terms of its purpose, and the method is semi-experimental research of pre-test-post-test type with a control group. The statistical population is 20 third-year undergraduate students in the field of industrial design at Alzahra University, Tehran, in the academic year 2020-2021 who was selected by the available sampling method and divided into two groups of 10 people, test and control. In order to prevent the spread of the Covid-19 virus, the experimental group was trained in the creative education process model, and the control group did not receive any special training. At the end of the training courses, both groups were given a post-test. The measurement tools are Abedi's creativity test and Torrance's Form A questionnaire. To analyze the data, mean, standard deviation, and variance was used as descriptive statistical indicators, and an independent t-test was used for inferential statistics. To analyze the data, mean, standard deviation, and variance was used as descriptive statistical indicators, and an independent t-test was used for inferential statistics. The analysis's findings indicated a significant difference in the level of creativity between the trained students' group who used the creative process method and the control group, which did not receive this type of training. The analysis's findings indicated a significant difference in the level of creativity between the trained students' group who used the creative process method and the control group, which did not receive this type of training. This finding suggests that the creative process training approach fosters students' creativity. The results of the research show the importance and impact of teaching creativity in an educational environment, which helps professors to provide the basis for improving students' problem-solving skills by using its methods.

Analysis of the concept of political art as forms of "Dissensus" in Jacques Rancière's thought

Volume 14, Issue 34 , December 2021

https://doi.org/10.30480/vaa.2021.2765.1427

Abstract

What is political art and how can art be political? Dealing with political art has always been a contentious issue because the prevalent notions of these two areas have made it difficult to determine a specific relationship; studying such a situation requires rethinking of concepts; by rethinking Jacques ... Read More What is political art and how can art be political? Dealing with political art has always been a contentious issue because the prevalent notions of these two areas have made it difficult to determine a specific relationship; studying such a situation requires rethinking of concepts; by rethinking Jacques Rancière's thoughts, the concepts of “Politics” and “Aesthetic Art” will be reconsidered; this will help us open our way to answer what the political art is.Jacques Rancière's particular approach to both the arts and politics conqueror is the way for this research. Rancière considers the work of art to be a special distribution of time and space. In his view, the work of art has a complex connection with the common and the sensible. He believes that art and politics, as two separate but intertwined spaces, are shaping “the distribution of the sensible” and the common.In this article, by examining the concept of “Dissensus” in Jacques Rancière's thought, its redefines the concept of political art and shows that art is not political because it conveys a political message. A work of art by break from the usual experience, it forms a special function; a function that forms a form of “Dissensus”. The relationship between art and politics, as well as the relationship between art and society, must be understood in terms of “Dissensus” forms, not the political message or the subject that the work of art conveys. A work of art can release everything from previous status within the framework of “Dissensus” on its meaning or function. As a result, art is not political in that it is a direct protest or reaction to the events of society; on the contrary, the politics of art is in breaking down fixed contractual meanings and creating new meanings and relationships between things. Art and politics both represent forms of “Dissensus” Both of them, as two separate but intertwined spaces, are shaping the “distribution of the tangible” and the common; From this perspective, it is possible to reflect on the political intervention of artists, and what the arts offer to society is a change in physical positions and movements, theological functions, the division of visible and invisible things. A work of art can shape the space of society. Through a reshaping of the senses, the work of art affects everything that can be seen, heard, said, and even thought. In other words, artistic activities affect the way things are done, the forms of visibility, and the state of things in society. By redistributing the sensible the works of art influence the division of public space, the actions taken, and the type of participation in society. Through the work of art, the artist can deconstruct the superficial layers of social discourses and decipher them by revealing the state of things.

Analysis of the concept and application of feedforward in interactive design

Volume 13, Issue 29 , October 2020, , Pages 39-54

https://doi.org/10.30480/vaa.2020.2804.1436

Abstract

The term "feedforward" has been adopted from the control theory and it is less than two decades that has been introduced to the field of interactive design; but unfortunately, interactive product designers still lack the proper understanding of the term; and it can be clearly stated that the lack of ... Read More The term "feedforward" has been adopted from the control theory and it is less than two decades that has been introduced to the field of interactive design; but unfortunately, interactive product designers still lack the proper understanding of the term; and it can be clearly stated that the lack of clarity in contrasting with other concepts such as feedback and affordance, which have been introduced to the field of design in recent decades, has also made it less used in interactive design. however, the appropriate application of feedforward in this scope, can increase product usability, thus improves the user’s interaction with the product. Interactive design is the design of purposeful and two-way user-product relationship, which is mediated by the interface as well as the context; accordingly, the aforementioned items (user, product, interface and context) can be considered as structural components of interactive design. On the other hand, in an interaction, there are other components that enable purposeful, effective, and reciprocal communication between the user and the product, and are considered the principles governing the interactive relationships, or the executive components of an interaction. In the interactive design process, after studying the structural components and the design goals, three components of feedback, feedforward and affordance and their interdependence must be properly studied and analyzed in order to design a purposeful and mutual communication of user with the product. Based on the above, the purpose of the present study is to investigate and analyze the relevant concepts of the term feedforward, by analogy with the concepts of feedback and affordance, and providing practical examples to clarify its application in the field of interactive design; so while fully understanding the subject, designers can properly use it in designing interactive products. This study by purpose is both fundamental and applied, and is descriptive-analytical in method. Therefore, while introducing the background entry of the term "feedforward" into interactive design, aspects of its similarity and distinction with the concepts of feedback and affordance have been carefully analyzed and investigated with the application of analytical tables; also types of feedforward (including: Inherent, Augmented, Functional, Hidden, False, Nested, Sequential, …) are introduced with applied examples. In analytical tables, for each type of feedforward, the type of user communication skill to understand the feedforward, how it can be presented in the intended product, the usage and the type of information it transmits to the user, and some examples are summarized. This way, designers can gain a good understanding of the types of feedforwards and their applications by comparing and identifying aspects of similarity and differentiation to apply them correctly in the design of interfaces. At the end of the article, the most important requirements for the application of feedforward in the design process, are presented in the form of ten practical guidelines. It seems that after studying and understanding the concepts presented in this paper, the application of guidelines will play a significant role in the proper design of interactive products.

Visual Ornamentation of Tiles in the Architecture of Safavid and Qajari Mosques

Volume 5, Issue 10 , March 2013, , Pages 81-94

https://doi.org/10.30480/vaa.2013.268

Abstract

The Role of Intentionalism in Conservation-Restoration Interventions

Volume 9, Issue 18 , March 2017, , Pages 101-119

https://doi.org/10.30480/vaa.2017.584

Abstract

In the process of conservation and restoration of cultural and historical objects, it is necessary to ensure complete understanding of the objects. So it is necessary to identify, study and interpretation of the object. The role of "Hermeneutics" in this process is undeniable. Intentionalism is a way ... Read More

Original Article

A Critical Review of Arthur Pope's View of Persian Art Based on Meyer Schapiro and Ananda Coomaraswamy

Mitra Ghaffari; Amir Maziar; Nayer Tahoori

Articles in Press, Accepted Manuscript, Available Online from 15 November 2023

https://doi.org/10.30480/vaa.2023.4565.1797

Abstract

Among the orientalists who researched Persian |Art in the Pahlavi period, Arthur Pope has a prominent position. In the first years of the 20th century, he organized several exhibitions and congresses in order to introduce Persian art and published numerous books, articles, exhibition catalogs and review ... Read More Among the orientalists who researched Persian |Art in the Pahlavi period, Arthur Pope has a prominent position. In the first years of the 20th century, he organized several exhibitions and congresses in order to introduce Persian art and published numerous books, articles, exhibition catalogs and review texts. These activities of Pope were one of the most important factors that caused "Persian art" to be recognized as an independent branch of Islamic art. Although Pope's view of Persian art has been influenced by some previous approaches, including ethno-racial interpretations, it has completely distinct and unique characteristics that have not been accurately described and analyzed so far. In the shadow of a formalist approach that he adopted from the aesthetic theories of Roger Fry and Clive Bell, and by applying concepts such as pure form and the principle of loyalty to the purity of form, Pope achieved a novel perspective on Persian art. The special and remarkable features of Pope's point of view caused some of his most prominent contemporary art critics, including Meyer Schapiro and Ananda Coomaraswamy, to analyze and criticize it. The purpose of this research is to analyze and evaluate Pope's approach to the concept of "Persian art" by examining the criticisms raised on his theory of Persian art by Meyer Schapiro and Ananda Coomaraswamy. For this purpose, while introducing and analyzing Pope's view, Schapiro and Coomaraswamy's analysis and evaluation of it have also been analyzed. This research is a fundamental and theoretical research and the research method for this topic is descriptive-analytical. The method of collecting information in the present study was library research. The results obtained from this research indicate that the most important criticisms that Schapiro puts forward on Pope's point of view are the methodological problems in expressing the theory, considering this art to be superior without sufficient reasoning, the unjustified claim of clarity of Persian art, and the falsehood of the claim of the existence of decorative logic in this art. He also criticizes the formalistic view of the Pope and considers his racial tendencies to be incorrect. Coomaraswamy agrees with some of Schapiro's criticisms of Pope, including that Pope has tried to make Persian art appear beyond and more distinct from other arts without providing sufficient reasons. At the same time, he is completely against reducing the fundamental features of Persian art to the ancient style. On the other hand, Schapiro also believes that Pope replaced quality-based judgment with style-based interpretations and failed to connect art history with social history. Confirming Pope's view based on his own traditionalist approach, Coomaraswamy states that the "Persian spirit" has been the unifying factor of artistic approaches and aesthetic perception that has shaped the art of the people of this land beyond all historical periods; People who are natural decorators and artists, have achieved "pure form" in a non-historical way.

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Original Article

The Sacred Symbolism of the Icons of the Prophet (PBUH)'s Sandals

ALIREZA TAHERI

Articles in Press, Corrected Proof, Available Online from 12 March 2025

https://doi.org/10.30480/vaa.2023.4111.1716

Abstract

Throughout different periods, belief in the miracles of the prophets and the relics left by them has been very common. The sandals of the Prophet (PBUH) have also been noticed by Muslims. In their belief, their sandals could be used as a sacred object to help solve suffering or heal the sick. The image ... Read More Throughout different periods, belief in the miracles of the prophets and the relics left by them has been very common. The sandals of the Prophet (PBUH) have also been noticed by Muslims. In their belief, their sandals could be used as a sacred object to help solve suffering or heal the sick. The image of the Prophet’s sandals in Islamic works has been published and has appeared along with prayers, poems and descriptions of the virtues of the Prophet (PBUH). The questions are: How did the image of the Prophet (PBUH)'s sandals become sacred symbols? What are the visual features of these sandals? Many versions have been depicted in connection with the Prophet (PBUH)'s sandals, their repetition and reproduction over the centuries and their various miraculous functions have made them a sacred symbol. Certain concepts have been attributed to the image of the Prophet (PBUH)'s sandals: repelling calamities and sufferings, attracting charity and blessings, healing, worldly and otherworldly happiness, forgiveness of sins, etc., which confirm its sanctity and miracle. In appearance, we can also identify a sequential and evolutionary trend, from simple icons to complex and luxurious methods among them. The research method is descriptive-analytical and the method of collecting information is done through books. The books of Sira and Shamail, and the books of traditions, provide detailed information about the sandals that the Prophet (PBUH) wore. Belief in the sanctity of sandals is not only common among the general public, but some rulers have sought their support and assistance in times of crisis. In terms of iconograohy and appearance, it is possible to summarize and, based on the illustration of its types, a sequential and evolutionary process, from simple icons to complex and luxurious methods: simple linear design; Simple sidebar lines; wide side lines decorated with floral motifs or calligraphic inscriptions; with or without leather straps; the inner surface is covered with intricate plant ornaments and calligraphic inscriptions; use of abstract symbols of sacred objects or buildings such as: Kaaba, Prophet's Mosque, Ibrahim's mausoleum, pulpit of the Prophet (PBUH), etc. The feeling of the symbolic miraculous power of the Prophet's (PBUH) sandals, along with other sacred symbols such as: his robe, shoulder, rosary, shoes or sword, was more evident. In general, it can be said that sandals, as relics of the Prophet (PBUH), embody his constant presence. This is a deep spiritual connection between the believer and the Prophet (PBUH) to whom these sandals once belonged. Sandals are also sacred, a place for individual and collective memory, and a reminder of the memories they carried with them. Sacred objects are part of historical memory. The use of sacred relics by medieval Muslims focused the remembrance of the saints' memories on sacred objects, thus giving them a deep meaning and building respect for them. The outline of the role of the sandals is further summarized and serves as a sacred symbol of blessing and healing, and sometimes includes the role of amulets and calamities.

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Original Article

Musical Feature of Arthur Rackham's Illustrations from Wagner's Ring Cycle Opera

Neda Taheri Boshrooyeh; Behnam Kamrani

Articles in Press, Corrected Proof, Available Online from 31 May 2025

https://doi.org/10.30480/vaa.2023.4233.1737

Abstract

Music, as an unattainable auditory realm, which provides many opportunities for the flight of imagination, has always had an inherent attraction that has called many artists to conquer. Due to the absence of material in formation, music is interpreted as the art without place, which is fluid and flows ... Read More Music, as an unattainable auditory realm, which provides many opportunities for the flight of imagination, has always had an inherent attraction that has called many artists to conquer. Due to the absence of material in formation, music is interpreted as the art without place, which is fluid and flows in the mind. The proximity of the image to the music can leads the thought to a kind of objectification of the concepts behind the works of music. In the current research, we will study the influential elements of music that have been able to enter the image world, and play a similar role in the image as in the piece of music.Musical elements such as sound, color, rhythm and harmony, which can be analyzed in comparison with visual index elements such as line, color, rhythm and composition. In this research, eight images from the collection of Rackham's illustrations for Ring Opera have been selected and analyzed.In this paper, considering the characteristics of Wagner's music in Ring opera, and studying the characteristics of Rackham's illustrations, using a descriptive-analytical method in this mutual search, we try to understand the extent of Rackham's influence from musical space, and to establish a connection between these two fields.Studying the features of Rackham's illustration as an English illustrator of the Victorian era shows us the face of a person who uses different styles in his illustrations. He is best known for his detailed illustrations depicting the mystical world of fantasy and fairy tales.By studying Rackham's worksو we feel a suspension between the material and magical worlds. How to use line as rotating shapes influenced by Art Nouveau, Soft and delicate coloring in close-up spectra is similar to Japanese prints. Abstract representation of nature and the characteristic of animism in trees has added grotesque aspect to the images.Wagner's works and his musical drama have many visual aspects too. The influence of music can be considered in the following aspects in Rackham’s work: The rhythmic and wavy representation of the lines reflects the musical characteristic of the images. Also, the change in the thickness of the lines, which causes heaviness and lightness, is similar to the sound energy, which can be understood in different instruments. Continuous lines are reminiscent of Wagner’s long sentences with no cadence . Gradual changes between colors demonstrate the chromatic intervals in the music. The power and quality of the lines are portrayed as the high intensity of the sounds and the strong dynamics of the music. The sense of musical movement is evident in the inherent nature of Rackham's lines. By using lines, Rackham distances himself from the actual display of volumes, and becomes more akin with the abstraction of music. But Rackham, in the face of the greatness of Wagner's music, has acted fantastically and has become more decorative than psychological. And this is partly due to his lack of understanding of the music space and inability to deal with his sense of fantasy and personal view.

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Original Article

The restorer's interpretation of the work of art and its role in restoration

Nadia Aliani; Kouros Samanian

Articles in Press, Corrected Proof, Available Online from 31 May 2025

https://doi.org/10.30480/vaa.2024.4299.1777

Abstract

AbstractExisting approaches in the Conservation of historical-artifacts and the formation of the ethics and theorical methods of conservation, in Its most fundamental aspect considers the two basic elements of "Work of art " and "Identifier ". The purpose of this article, which has been prepared by using ... Read More AbstractExisting approaches in the Conservation of historical-artifacts and the formation of the ethics and theorical methods of conservation, in Its most fundamental aspect considers the two basic elements of "Work of art " and "Identifier ". The purpose of this article, which has been prepared by using the descriptive and analytical method, is to pay attention to the effect of the researcher's interpretation of the artifacts and its results. Also, that part of conservation that oversees the acceptance of subject-oriented interventions in works of art has been investigated. In this regard, present research examined, the way restorer gives meaning to the work of art and also the importance of the individuality of the restorer as an identifier of the artifact and a surveys new ideas in the philosophy and psychology of art, in order to review the ethics of restoration.In this regard, this article looks at the concept of audience-centeredness in hermeneutics and examines related theories in the field of restoration. Then, by knowing the impact of cognitive components of the mind on art conservation, and by using those scientific theories that have been proposed and tested in the field of psychology of art, also by referring to the theories of Erwin Panofsky and Chatterjee, this article has concluded that by accepting individuality as One of the most effective elements in restoration, it is necessary to review the function of what has been established as restoration ethics in conservation rules and charters. In the same way, audience-oriented restoration, in which the audience's purpose of visiting and the way of giving meaning to the works are taken into consideration, should enter the field of restoration in our country. The fundacion of any act of restoration and conservation can be found in two components: the restorer (recognizer) or subject and the work of art (object or subject of recognition). The attitude that governs restoration ethics in the classical way, emphasizes on concepts such as authenticity and substance on the one hand, and the characteristics of the creator of the work or the author, on the other hand and also considers the artwork as a reference for restoration decisions,. and for this reason it is different, from the New ethics and manners, which emphasize the central role and strong impact of the audience in meaning making with art and the final interpretation leading to the restoration of the work of art,.Although a number of defining titles in the restoration of works of art, such as judgment, , meaning,making, perception and etc., are common among classical and modern theories of restoration, but there is a opposition of attention to the qualities of the material of the artwork against the quality of the mind of the perceiver. , therefore that is the essence which causes the formation of traditional and new views in restoration theories.

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Original Article

The Concept of Pan: Glance Through Two Works of Bahman Mohassess

Bahman Taherian; Esmael Bani Ardalan

Articles in Press, Corrected Proof, Available Online from 31 May 2025

https://doi.org/10.30480/vaa.2023.4557.1796

Abstract

The paint stain(pan) is an analytical instrument in Didi-Huberman`s theory of image. that is ignored as a defect in the image in some approaches like structuralist semiology and Panofsky`s iconography, whereas in the experience of the artist-spectator, one as the producer of the artwork and the other ... Read More The paint stain(pan) is an analytical instrument in Didi-Huberman`s theory of image. that is ignored as a defect in the image in some approaches like structuralist semiology and Panofsky`s iconography, whereas in the experience of the artist-spectator, one as the producer of the artwork and the other as its viewer, it has an important status, but with an academic juggle becomes invisible. positivist approaches presuppose certain meaning for painting, whereby the hermeneutics trait of stains will lost.To interpret the stains and details of the image that are ignored in positivist art history, Didi-Huberman proposes new aesthetics called "Aesthetics of the symptom" based on Freud's theories instead of Kant's theories. The Aesthetics of the symptom is based on sovereign accident in painting, it means there are some forces that hinder procedure of painting, like conflict between material cause and formal cause. This conflict is like conflict between “ego” and “id” in Freud`s theories but simultaneously is different because in Freud`s theories symptom is a clinical concept but disguised to critical concept in Didi-Huberman`s theories. This transformation takes Didi-Huberman`s theories out from pure psychoanalysis. By referenting to “Unknown Masterpiece” from Honore de Balzac and its protagonist tragic destiny and connect it with concept of symptom and concept of pan, Didi-Huberman makes a strong structure to critc theory of mimesis.Another issue that Didi-Huberman criticizes is positivist art history, in his article: “The art of not describing: vermeer – the detail and the patch” which he writes opposite of Svetlana Alper`s book,” The Art of Describing: Dutch Art in the Seventeenth Century”, he pursues his goals. Didi-Huberman emphasizes on phenomenological effect of patches but simultaneously he wants to say these phenomenological effects have a real signifying structure in their behind, this concealed signifying structure is very important to understand the concept of symptom and its relation with the concept of the pan because this relation makes a connection between semiotics and phenomenology in Didi-Huberman's theories. This moving between semiotics and phenomenology is vital for destroying connection between signifier and signified or between sign and meaning. Also, like the Lacanian subject that split between two impossible choices, moving between opposite fields splits Didi-Huberman`s subject between “seeing” and “knowing” whereby something is lost in each case, so dialectic between seeing and knowing that Didi-Huberman configuration, is not Hegelian dialectic because there is no any synthesis. Finally, this article represents new approache to this part of painting through an analysis of two paintings of Mohassess such as "Fifi Howls from the Happiness"[Fifi Az Khoshhali Zuze Mikeshad] and "The Fall of Ikar"[Soghute Ikar] by presuming painting as a non-determined meaning case, with an analytical-descriptive approach and relying on library sources for clarifying the phenomenological importance of stain as the material cause of painting, according to Didi-Huberman's theory.

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Original Article

Recognition and mythological making clear and of the decorations of historical houses in Riab village, Gonabad city

Alireza Sheikhi

Articles in Press, Accepted Manuscript, Available Online from 31 May 2025

https://doi.org/10.30480/vaa.2023.4657.1817

Abstract

The historical houses of Riab-a village 7 kilometers from Gonabad- have remarkable architectural decorations. These palaces were built by Agha Seyed Alinqi and his descendants, left over from the Qajar period. He and his descendants were among the educated and good people of the city and had a generous ... Read More The historical houses of Riab-a village 7 kilometers from Gonabad- have remarkable architectural decorations. These palaces were built by Agha Seyed Alinqi and his descendants, left over from the Qajar period. He and his descendants were among the educated and good people of the city and had a generous hand in doing good deeds. The purpose of the writing is to recognize and mythological analysis of architectural decorations in twelve historical monuments of the village. Therefore, it is looking for an answer to the question of what decorations are included in the historical buildings of Riab and what is the hidden thought in these motifs based on the mythological analysis of Georges Dumzil? The research method is fundamental in terms of its purpose and descriptive and analytical in terms of its nature and method, collecting information, library and especially in the field, including collection, photography and interviews with experts and informants. The findings show that the greenhouses were built with organic materials, especially mud and straw, and were placed in the qibla. The decorations of the salons are very simple and concise; At the same time, they have greatness. These motifs can be examined and paid attention to according to the thought, belief and belief of the people of the dynasty who believed in the Nematullahi method of Sultan Alishahi. Shahriari's thought is manifested in the form of Taj, whose leader has been introduced as Qutb al-Avatad, Sultan al-Arifin and Qibla al-Salkin. Also, he was one of the good and righteous people of Gonabad who practiced truth and righteousness. On the other hand, they supported the people of the region in warfare and defense due to the looting of the Turks, droughts and constant famines, and in a way they gave them security by building a tower and rampart in the village of Riab. On the other hand, Desgar, one of his descendants who were doctors, are considered to be the helpers of the people. What has been noticed more than before is the approach of production and economy, which is manifested in cedar. This lineage has worked in agriculture and economics so that Qavam al-Din, known as Qavam al-Tajjar, was one of the prominent merchants in Tsarist Russia at the time. On the other hand, according to the order of the poor, his hands have been very generous in charitable matters such as endowment, especially water. The effort to improve the village and in general in the canals of Gonabad has practically brought suitable agricultural conditions to the people of this region who can be considered as representatives of the common class. Drought, famine, incurable diseases such as plague; Everyone confirms that they have spent their time believing in helping to create this border.

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Original Article

A research on the cultural evolution of wedding photography in the wedding albums of Guilan province using the opinions of Erving Goffman (1980-2022 )

Amirhosein Golpour navidehinezhad; Mohammad Khodadadi motarjemzadeh; Mohammad Hoseini markhali

Articles in Press, Corrected Proof, Available Online from 31 May 2025

https://doi.org/10.30480/vaa.2024.5004.1877

Abstract

albums, as a form of social representation, are influenced by the ongoing political, social, and cultural changes in each country and region, portraying these transformations in various ways through images. By studying wedding photo albums, one can gain insight into many social developments within the ... Read More albums, as a form of social representation, are influenced by the ongoing political, social, and cultural changes in each country and region, portraying these transformations in various ways through images. By studying wedding photo albums, one can gain insight into many social developments within the realm of visual culture. This research, based on the study of wedding photo albums of middle-class Gilani families from 1980 to 2021, explores the relationship between weddings and photography from a sociological perspective, drawing upon Erving Goffman's theory of self-presentation in everyday life.Through data analysis of 12 wedding photo albums, three key cultural transformations in wedding photography were identified:First, documentary wedding photography, from 1980 to the mid-2000s, where the photographer is an observer, And interference to change the meaning of the ceremony and identity is not seen in the photos.The photographer faithfully looks at the ceremony in the designated environment, even outside the ceremony, the photographer is indifferent to the changes that can be made. However, photographic curiosities can be found in the albums, such as photos of informal scenes as well as behind-the-scenes images of weddings where relatives are busy cooking the wedding dinner. One of the consequences of the documentary approach in wedding photography is the photography of wedding rituals that can be found in albums. For this reason, we see unusual images such as acts of misunderstanding and even entering the hidden parts of the ceremony and behind the scenes.Second, illustrative wedding photography, covering the period from the mid-2000s to the late 2010s, with studio photographers playing a more prominent role. During this period, we observe imagery in the sense of abundant visual effects. with the introduction of the digital system in photography, effects (effects, effects) and montages that depict the position of the bride and groom in an imaginary world are becoming more widespread. In this period, we see visualization in the sense of many visual effects. also, regarding the makeup of the bride's face, in this period of time, thick makeup is discussed at the level of fashion magazines and cosmetics advertisements. Getting out of the official space of the wedding ceremony and recording part of the action in the space outside the celebration environment can be seen as the beginning of using natural scenery and finding the right placeThird, Staged wedding photography, accompanied by clichéd metaphors, encompasses the period from the early 2010s to the early 2021s. This method became popular as a ritual in wedding ceremonies. As mentioned earlier, the increase in the use of natural landscapes and finding ideal spaces can be seen in the 2010s. In the wedding photo frame of this decade, there is no trace of the image of others, even the bride and groom have drawn themselves in the awe of unattainable heroism by taking ideal and mythical poses

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