Original Article
Sara Sadeghzadeh; mahtab mobini
Abstract
Hannibal AlKhas was born in Kermanshah on 1930 June 14, to an Assyrian family. He was one of the founders of figurative design in modern Iranian painting and also one of the most influential contemporary Iranian lecturers and painters who has taught several successive generations of art students. He ...
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Hannibal AlKhas was born in Kermanshah on 1930 June 14, to an Assyrian family. He was one of the founders of figurative design in modern Iranian painting and also one of the most influential contemporary Iranian lecturers and painters who has taught several successive generations of art students. He is one of the modernist figurative and hard-working Iranian painters who is well-known for his artworks multiplicity, style, and impact on the history of the art of painting in Iran. He always adhered to the style of storytelling in Iranian paintings. He always had an attitude towards the past arts and he believed that the roots of a human being must be found in tradition and in the past Making use of a combined style in creating modern paintings, he was always inspired by the past and thus the effect of the previous literatures in making his artworks cannot be ignored. Most elements in his paintings which were adapted from the past works are assembled with a unique combination narrating his thoughts. These repetitive historical elements and adaptations that shine in some artworks of this precious painter unconsciously import his paintings in intertextuality and make them important. This approach was based on Julia Kristova's which was published in an article entitled "Word, Dialogue, Novel" in 1966. This perspective was then developed by many researchers and theorists. From a specific point of view Gerard Genette continued to discuss the intertextuality of the new master plan but in general he studied the relationship between a text and non-texts. He brought these textual relations in five types of relationships and described the sum of these transnational relations. This research, which has been collected using library in a descriptive - analytical manner within the framework of intertextuality and hypotextualite of Ge`rard Genette investigates the hypotexts that have been utilized and modified in style and content by Alkhas in his artworks. The purpose of this study is to investigate the influential pre-texts on the paintings and the changes applied to them. The main questions of this research are: Where did the influential pre-texts of Hannibal alKhas's works originate? How has AlKhas influenced past texts to create new and creative works? The importance of this research can also be attributed to alKhas' special place in the development of contemporary Iranian modern art and the necessity of examining his works from lesser aspects and angles and secondly the use of relatively new tools in critical thinling and artistic aspirations and artists like intertextuality. The statistical population of this study includes analysis of four works of Hannibal alKhasas (1930-2011) from the beginners of figurative design in modernist Iranian painting with pre-texts which he used in the creation of his works. Our results show that borrowing elements in artworks of other artists and myths and modifying them in terms of style and content to create new concepts from old ones were valuable steps toward transferring thoughts and innovative stories.
Original Article
Mozhgan Kheirollahi Aznavleh; Esmael Bani Ardalan
Abstract
Scholars have been confronted with numerous problems in compiling art history. Using the method of philology along with other methods of studying the history of art, can help researchers to solve some Mystery and compensate for the lack of evidence. Here, philology means the study of words to achieve ...
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Scholars have been confronted with numerous problems in compiling art history. Using the method of philology along with other methods of studying the history of art, can help researchers to solve some Mystery and compensate for the lack of evidence. Here, philology means the study of words to achieve the correct and valid meaning of the word and its application as an artistic term throughout the various periods of art history. Philology can be used as an interdisciplinary study method to achieve a proper understanding of the meaning and concept of vocabulary and artistic expressions. The researcher must establish an appropriate communication between his information and knowledge in the field of art and artwork with his information in the field of literature and literary sciences related to Philology. Although this method has many merits and uses in the field of art research, its application requires observing the points that, if not followed, will lead to a mislead of the researcher and will lead to a misleading study direction. The research hypothesis is that understanding the meaning of words and phrases and thinking about the meaning of the names of historical artistic objects can be used as one of a variety of research methods on the form and meaning of artwork. In this paper, the importance and situation of philology in art history studies is shown. To achieve this destination, three case studies have been reviewed and the findings have been based on the Critical Study of these items. They include Botteh Jeqqeh, Char Bagh, Panj - O - Haft Arc. A review of the case studies shows that the inappropriate use of the methodology of philology has misconstrued and misinterpreted researchers, sometimes ignoring historical and archaeological evidence. Some of these matters include: superficiality, lack of full knowledge of researchers with philosophy and Literary science such as grammatical structure of words, etc., ignore language changes during periods of history, lack of attention to historical developments, lack of attention to local languages and cultures, etc. To apply this methodology, researchers must investigate archaeological and historical evidence in order to achieve a comprehensive understanding of the subject matter of the research. In the second step, using dictionaries and Lexicons, the meaning of the name of the subject is discussed in a lexical way. If the data in the philology department can match the data of the artistic department or the data of these two parts complement each other, they can be used to analyze and interpret the data and research findings. This paper introduces the methodology of philology and the hints and nuances of its application in art research, which has been critically presented Data is collected through library studies and internet search
Original Article
Ebrahim Bagheri Taleghani
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 ...
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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.
Original Article
behnam alizadeh ashrafi; Yazdan Movahedi; Mohammad Darkahi ghare bagh
Abstract
Introduction: The aim of this study investigated the effect of aesthetics on exposure to artworks. Method: This study was a causal-comparative study. The statistical population of this study was all male students of Islamic Art University of Tabriz in the year 2019. At first, randomly, 30 people were ...
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Introduction: The aim of this study investigated the effect of aesthetics on exposure to artworks. Method: This study was a causal-comparative study. The statistical population of this study was all male students of Islamic Art University of Tabriz in the year 2019. At first, randomly, 30 people were selected from those who were eligible for testing, then three group of images presented in three stages (one of the group have images are without aesthetics' rules and next the images were photographs in history of photography and the end, important painting's in history of art) At the same time, quantitative electroencephalography was recorded in the delta, theta, alpha and beta frequency bands. The data were analyzed by multivariate analysis of variance and all stages were calculated using SPSS version 23 software. Results: The findings showed that there was a significant difference in alpha frequency in three group images presentation (P <0.01). Conclusion: Based on the findings of this research, it can be said that the aesthetic rules are efficient when viewers is looking to art works. .............................................................................................................................................................. . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . .. . . . . . .. . . .. . . . . . .. . . .. . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . .. . . . . . .. . . .. . . . . . .. . . .. . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . .. . . . . . .. . . .. . . . . . .. . . .. . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..
Original Article
ali Boozari; mostafa Laal Shateri
Abstract
The illustration was initiated in lithographic books in the middle of the Qajar period with the publication of the Law of Signs (1252 AH / 1836 AD) and then continued in a short time widely in most books of this period, especially with the theme of literature in branches such as folk, epic, and romance. ...
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The illustration was initiated in lithographic books in the middle of the Qajar period with the publication of the Law of Signs (1252 AH / 1836 AD) and then continued in a short time widely in most books of this period, especially with the theme of literature in branches such as folk, epic, and romance. In addition, Tufan al-Boka' (Written by Johari) is a unique work with a religious theme, published more than sixty times with the lithographic printing technique, following the growing demand of the publishers. Although this book differed in the number of illustrated assemblies in each edition for various reasons, one of the assemblies which exists in most of these editions is the image of "Imam Ali's (AS) war with Marhab Khaybari". The main question raised is the extent to which Mirza Ali-Qoli Xu’i, as a prominent figure in the illustration of this book (3 Movable type versions and 4 Lithography versions), was influenced by historical and hadith narrations and sometimes its relative reflection in poems (written discourse) has been in the creation of the mentioned image (visual discourse). The findings based on a library study and a comparative analysis of narrations and images indicate that the written discourse has been an inspiring and structural factor for Xu’i along with other influential issues in depicting this parliament. This trend can be the basis of the images, as well as the imagery of this parliament. However, the Shiite discourse led to some minor changes in the visual discourse. Accordingly, the image is considered as a vehicle for translating written discourse into visual discourse for the general audience of this book.
تصویرسازی در کتابهای چاپ سنگی از اواسط دوره قاجار با انتشار قانون نشان (1252ق/ 1836م) آغاز و در اندک زمانی بهصورت گسترده در اکثر کتابهای این دوره بهویژه با درونمایه ادبیات در شاخههایی همچون عامیانه، حماسی، عاشقانه و مذهبی ادامه یافت. در این بین طوفان البکاء اثر جوهری با درونمایه مذهبی یگانه اثری محسوب میگردد که در پی خواستِ فزاینده جامعه از سوی ناشران بیش از شصت بار با تکنیک چاپ سنگی بهصورت مصور منتشر گردید و گرچه این کتاب در هر چاپ، بنا به دلایل گوناگون در تعداد مجالس مصور دارای تفاوت بود، اما یکی از مجالس که در اکثر این نسخهها وجود دارد، تصویر «محاربه حضرت علی(ع) با مرحب خَیبَری» است. هدف از این پژوهش پاسخ به این پرسش است که میرزا علیقلی خویی بهعنوان چهره شاخص در تصویرسازی این کتاب (3 نسخه چاپ سربی و 4 نسخه چاپ سنگی) تا چه میزان تحت تأثیر روایات تاریخی و حدیثی و گاه بازتاب نسبی آن در اشعار (گفتمانِ مکتوب) در خلق تصویرِ مذکور (گفتمانِ بصری) بوده است. یافتهها مبتنی بر مطالعه کتابخانهای و تحلیلِ تطبیقی روایات و تصاویر حاکی از آن است که در کنار سایر موضوعاتِ مؤثر ... و در.
Original Article
Maryam Birang; Taher Rezazadeh
Abstract
Abstract: This study aims to discuss and compare the structural and contextual configuration of My name is red and Persian painting. Indeed, it is trying to study the number of influences Persian painting has had on this fictional story. What this essay seeks to address is the appearance of Persian painting ...
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Abstract: This study aims to discuss and compare the structural and contextual configuration of My name is red and Persian painting. Indeed, it is trying to study the number of influences Persian painting has had on this fictional story. What this essay seeks to address is the appearance of Persian painting at the heart of the narrative, on which Pamuk has based his story's structure. By examining the structure of the novel, one can see that the novel has been developed based on pre-existing materials, just as a Persian painting is based on pre-existing paintings. Therefore, one can say that My Name is red is based on Persian painting and the textual world around it. Studies show that most of the pre-texts used in this novel are visual, thus, at best this structure can be studied and investigated through ekphrasis. Pamuk has incorporated visual pre-texts of Persian paintings through both objective and subjective ekphrasis. Ekphrasis is the most powerful tool that Pamuk has used to create the visual world of his novel. The present study attempts to scrutinize the role of ekphrasis and visual culture in My Name is red. The novel achieves its charm and significance through the detailed descriptions of the visual world of Persian paintings. Therefore, painting has a prominent role in My Name is Red for it represents art, culture and religion of the 16th century Istanbul in great details. As a subfield of visual culture, ekphrasis makes an explicit connection between art and storytelling in My Name is red, therefore the novel can be considered as the most significant ekphrastic literary work of fiction in contemporary world literature. The world of My Name is Red is surrounded by pictures as they are seen everywhere and in every field. The novel is itself a miniature painting created by Pamuk. It pictures every scene, every character and every painting in great details. There is a harmonious relationship between words and images. The writer describes the visual through the verbal. Miniature and portraiture styles of painting are described through the medium of written language. He has written the descriptions and biographies in this novel so that you can associate images similar to painting scenes. In fact, he painted with words. This study identifies and explains many of the objective ekphrasis that this author has described; by bringing the images of these assemblies, we will see how these images are drawn to the word by Pamuk, then we’ll came to the cases where Pamuk's representation of Iranian paintings is in the fictional context of the novel. Orhan Pamuk defining features of the Herat School in the descriptions of the novel are close to many scenes to Persian paintings, as if we are watching familiar scenes of illustrations. Comparing narrative of this novel with paintings refers to the idea of intertextuality and reveals the formal and structural entanglement of the novel, My Name is Red, with Persian painting.
