Original Article
keivan Haghnazari; Alireza Khajeh Ahmad Attari; behzad Barekat
Abstract
In the aftermath of Arab conquest of Persia, Iranians were afflicted with some feelings of inferiority. The first important political activity of Iranians after Sasanid collapse, was their participation in Mokhtar’s uprising, to avenge the murder of third Shiite Imam. Anti-Ummayad movement of Iranians, ...
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In the aftermath of Arab conquest of Persia, Iranians were afflicted with some feelings of inferiority. The first important political activity of Iranians after Sasanid collapse, was their participation in Mokhtar’s uprising, to avenge the murder of third Shiite Imam. Anti-Ummayad movement of Iranians, continued and reached to the point of replacing Ummayads with Abbasids. The most powerful leaders of Abbasid revolution in the eve of victory were Abu Salama and Abu Moslem, and the former was to bring Alids to the power instead of Abbasids. Therefore, Abbasids in the first year of their rule, ordered Abu Moslem to kill him and some years later, they killed Abu Moslem too. Abu Moslem passed away but his name remained alive, as a Javānmard in futuwwa culture and as an Ayyār in folk literature. Afterwards in the third century of Hijra, a javānmard artisan whose name was “yaqub ibn al- layth”, quitted his job as an artisan and became Ayyār which means bandit in this context. He gradually became commander, ruler and finally the most powerful man of the caliph, but in some point he stopped obeying the caliph and finally invaded his army. He was the first Persian king to invade a caliph after Sassanid collapse.In some Safavid paintings, mythological and historical kings and knights of Iran or a high-ranking lady, are seen riding a horse, while an axe holding footman, named Ayyār and Shāter , serves as their forerunner, and in some cases, this man is looking after his master’s horse. The purpose of the present article is to reconstruct the discourse that such men were related to, through tracing for the nationalistic, religious and political meanings and implications of the image of Ayyār for the people of Safavid era .The research, in the framework of Vandijk’s Critical Discourse Analysis, tends to describe and analyze the data related to the term Ayyār in Persian language and the image of Ayyār in Safavid paintings. It concludes that, if Safavid painters depicted Ayyārs in their works, Safavid kings had such men among their servants, and the axe wielding men who played a violent role in the religious transformations of Shah Ismail’s reign, were apparently the same axe holding Ayyārs depicted in Safavid paintings. Men whose axes are reminiscent of “Abu Muslim’s” axe, claim to be taught by the prophet Khidr, or having esoteric sciences, to legitimize their violent deeds. The image of Ayyār , for the people of Safavid era, who were culturally aware of the matter, was the symbol of a discourse rooted in pre-Islamic Iran, and thus related to Shiism in an ambiguous way. Tending to rebuild the Persian identity and authority in post-Islamic period, this discourse developed in a culture coming out of the above-mentioned image. Ayyārs were well-known in Safavid era, to the extent that, despite Ferdowsi’s silence about them, Safavid painters depicted Ayyārs in Shāhnāmeh illustrations.
Original Article
Tasin Karimi Avatefi; Kamran Afsharmohajer
Abstract
The increasing connections of kings, upper classes and Iranian artists with Europe, along with the arrival of new communication facilities and tools, had a tremendous effect on the attitude of clients and painters in the Qajar period. Wall painting in the city of Tabriz, which was considered as one of ...
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The increasing connections of kings, upper classes and Iranian artists with Europe, along with the arrival of new communication facilities and tools, had a tremendous effect on the attitude of clients and painters in the Qajar period. Wall painting in the city of Tabriz, which was considered as one of the important centers of cultural and artistic developments and the main gateway of Iran's relations with the West due to the Crown Prince, was widely used in the houses of aristocrats and rich people in addition to government buildings.In the study of 368 wall painting and collections of murals identified in eleven of Qajar houses in Tabriz, the main question is: What are the effects of cultural relations with the West on the murals in the Qajar houses of Tabriz, what message is conveyed to the observer? This research is applied in terms of purpose and descriptive-analytical in nature with a qualitative approach and method of collecting information is field and library.The results show that the manifestations of Western culture and art in the murals are recognizable and are evident in seven presents of the wall painting. The presence of images of women in European clothing, European landscapes and architecture, emerging industrial tools and wall painting on the theme of still life and angels clearly shows the accessibility and up to dateless of clients or painters and the influence of Western culture and art.The increasing connections of kings, upper classes and Iranian artists with Europe, along with the arrival of new communication facilities and tools, had a tremendous effect on the attitude of clients and painters in the Qajar period. Wall painting in the city of Tabriz, which was considered as one of the important centers of cultural and artistic developments and the main gateway of Iran's relations with the West due to the Crown Prince, was widely used in the houses of aristocrats and rich people in addition to government buildings.In the study of 368 wall painting and collections of murals identified in 11 of Qajar houses in Tabriz, the main question is: What are the effects of cultural relations with the West on the murals in the Qajar houses of Tabriz, what message is conveyed to the observer? This research is applied in terms of purpose and descriptive-analytical in nature with a qualitative approach and method of collecting information is field and library.The results show that the manifestations of Western culture and art in the murals are recognizable and are evident in 70% of the wall painting. The presence of images of women in European clothing, European landscapes and architecture, emerging industrial tools and wall painting on the theme of still-life and angels clearly shows the accessibility and up-to-datedness of clients or painters and the influence of Western culture and art.
Original Article
Visual & Applied Arts
Nahid Taghinezhad; Samaneh Kakavand; Mohammad Reza Kheirollahi
Abstract
Studying the common features and characteristics of garden rugs in order to understand the similarities of the design is the subject of leading research. The analogy principle in garden rugs indicates the repetition of old themes in new samples. The purpose of this article is to identify the common visual ...
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Studying the common features and characteristics of garden rugs in order to understand the similarities of the design is the subject of leading research. The analogy principle in garden rugs indicates the repetition of old themes in new samples. The purpose of this article is to identify the common visual elements in the margins of garden rugs. Examples of garden rugs from the tenth to thirteenth centuries remain. The prevailing artistic pattern in each historical period has influenced the structure and motifs of garden rugs. But there are cases where it is possible to include all the specimens in one category called the "four garden" or "garden" design. How can common visual elements in the margins of garden rugs be studied and analyzed? What is the common pattern in the design of garden rug borders and its placement in the garden design category? In this article, by studying and observing 20 samples of garden rugs, the margins are examined and the similarity of its design and center of gravity is discovered. The present article is a kind of qualitative research and falls into the category of analytical-descriptive research. The method of study and analysis is derived from the term similarity rule in the Panofsky iconography method. Samples were selected non-randomly and in this regard, design diversity was an important component for selection. The information is collected in the form of documents. The results of the study indicate structural similarities in the design of the garden rug margin and the existence of similarity in all 20 selected samples. Garden rugs have always been in harmony with other examples during the time of popularity and prosperity, despite the variety of designs in different periods.Chaharbagh or garden design is one of the various types of Iranian carpet designs. This design was relatively successful between the tenth and thirteenth centuries AH and was produced by weavers. Coordination between the garden carpet design and the Iranian garden map as a model of cosmic paradise is one of the reasons for promoting the design. Many components of the Persian garden such as trees, plots and small gardens, water canals, streams and springs and birds, ponds and pavilions can also be seen in the garden design carpet. There are many differences in the components of the garden design in the remaining carpets. But the question is, despite the differences, what features in the structure of the garden design put the existing specimens in one floor? In this study, the authors try to explain this rule by discovering a similar relationship in the structure of the garden design.Garden rugs in various dimensions have been the focus of attention in various articles. Many researchers have worked in this field based on their worldview and the tools and methods at their disposal.
Original Article
Visual & Applied Arts
reyhaneh taghiyari; Hossein Ardalani; abolfazl davodi rokn abadi
Abstract
Baudrillard believes that photography has many amazements as the world can fully vanish in a photo. Hence, an image does not reveal reality to us, rather depicts the absence of the world. Likewise, due to this absence and lack of objectivity in photography, one could witness the mutual relationship between ...
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Baudrillard believes that photography has many amazements as the world can fully vanish in a photo. Hence, an image does not reveal reality to us, rather depicts the absence of the world. Likewise, due to this absence and lack of objectivity in photography, one could witness the mutual relationship between the object and the subject and hence acknowledge the astonishing impact of the image.Baudrillard’s main problem is the reality in today’s world, a reality that is no longer original and real, since hyperreality has now dominated human life.From his perspective, the image goes from the stage of a reflecting reality to a stage of concealing reality, and then to the stage of concealing the absence of reality, and in the third stage, has no relationships with reality. In the fourth stage, it reaches the integral reality, a sort of ultra reality that terminates all reality, as well as illusion. Baudrillard’s philosophical views have been shown in his artworks, and his photos have a direct relationship with his philosophy. Baudrillard does not seek the truth that is hidden in the image, rather seeks to introduce the hierarchies that guide our perception of the images of the surrounding world, and his writings are meant to elucidate the unreality around us, which is indeed mistakenly considered to be real. We have the tendency to assume that the subject, referring to the photographer, by choosing the object/issue and photographing him, decides what will appear in the form of the object in the photograph, however, Baudrillard reverses this relationship and describes that it is actually the object that discovers the subject by imposing its presence on the subject, and according to Baudrillard’s view, the photographic object has a desire to become an image and at the moment of choosing the frame and the subject, the photographic object passes this desire to the photographer so that he could replicate this desire in his photography. Therefore, in this research along with a discovery on his philosophy and explaining the ultra reality from his viewpoint, a number of his photo collection “Ultimate paradox”,have been exhibited and presented in the 80s and 90s. The main objective and goal of this research is the analysis and examination of ultra reality photography from Baudrillard’s perspectives. In order to do so, in parallel to a wider recognition of his viewpoints, in regard to photography as art, we aim to raise the question as to how reality can disappear and become invisible in photos. The methodology in practice is a descriptive analytic one, which uses literature of Baudrillard’s viewpoints as the main source of research. By doing so, one arrives at such a conclusion that photography can achieve extraordinary qualities once freed from the known aesthetic factor, opening a new perspective to the observer. Simultaneously, analyzing the formation of the bilateral relationship between the object and the subject in photography.
Original Article
Visual & Applied Arts
Keyvan Shamshirbeigi
Abstract
Similar to written texts, pictorial works have narrative capabilities. A picture uses a distinct approach of narrating by utilizing visual components, tools, and techniques including colour, lines, figures, perspective, etc. Nelson Goodman is one of the philosophers whose aesthetics theories influenced ...
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Similar to written texts, pictorial works have narrative capabilities. A picture uses a distinct approach of narrating by utilizing visual components, tools, and techniques including colour, lines, figures, perspective, etc. Nelson Goodman is one of the philosophers whose aesthetics theories influenced the development of narratology. He provides a sound basis for the identification of structural features of pictorial works in his examination of visual narratives. Goodman classifies the pictorial narratives into four major categories by examining the relationship between “order of occurrence” and “order of narration”: 1. Timeless and instantaneous pictures; a single event in a single moment; 2. Temporal and linear pictures, a series of events in a directional relationship between “order of narration” and “order of occurrence”; 3. Temporal and twisted pictures, “episodic” events with “twisted” structures in their narration; 4. Atemporal/antitemporal and immaterial pictures, symbolic and eternal events. Furthermore, according to Goodman’s aesthetics theory, the two aforementioned orders do not always result in narrative-based structures because “description,” “research,” or “symphony” may instead develop from the two orders. This study employed Goodman’s aesthetics theory to examine Taq-e Bostan’s petroglyphs. Not only is analysing the narrative style in these extremely ancient petroglyphs a modern approach of analysis, but it also offers a fresh look at the narrative’s promoting and restricting elements. The findings indicated that the narration of the king’s hunts in this petroglyph is done in a way that also depicts other concepts and themes. In addition, applying Goodman’s aesthetics theory to the aesthetics of this relief of a boar hunt highlighted the artist’s intricate narrative techniques and in-depth knowledge of him. The sculptor expertly captures the narrative intricacies and temporal fragments in his work by skilfully arranging the components to create the desired concepts and dynamics. Because artistic images contain a very rich source of technical and cultural information about the time of their creation; This research aims to use the visual research method, which is a qualitative research method for the production and representation of knowledge on visual art works. This method is very useful and popular for understanding and analyzing images and arts such as film, photography, drawing, painting and sculpture.Because artistic images contain a very rich source of technical and cultural information about the time of their creation; This research aims to use the visual research method, which is a qualitative research method for the production and representation of knowledge on visual art works. This method is very useful and popular for understanding and analyzing images and arts such as film, photography, drawing, painting and sculpture.Therefore, the present article is trying to examine the constituent elements of this petroglyph, approach the perspective of the creator of the work and provide a fresh look at how to narrate the magnificent and musical ceremony of the king, his musicians and hunters.
Original Article
Visual & Applied Arts
Marzieh Allahdadi; Maryam Habibi; Maryam Khalili; Mohsen Safar dezfoli; Bahareh Nejati
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 ...
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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.
