Original Article
Visual & Applied Arts
Paria sadat Razavi manesh; Niloofar Shadmehri; Ebrahim Bagheri Taleghani
Abstract
Facilities and services are among the pillars of tourism that can be effective in the success and development of tourism. These services should be designed to meet the tourists needs and facilitate the presentation of tourist attractions in order to bring the best productivity in the tourism industry. ...
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Facilities and services are among the pillars of tourism that can be effective in the success and development of tourism. These services should be designed to meet the tourists needs and facilitate the presentation of tourist attractions in order to bring the best productivity in the tourism industry. For this purpose, it is necessary to study the needs of tourists. Due to the inadequacy of tourism services for European tourists in Iran, the purpose of this study was to identify their most important needs and prioritize their problems during the trip to Iran to be used for product-service design. The present study is in the category of applied research in terms of purpose and in the category of descriptive survey in terms of data collection. Due to the type of data, it is a qualitative study in which data collection is formed through a questionnaireaccording to common interests and tastes of European tourists, This study has considered the impact of climate, culture and behavior in this survey. The sample size was differentiate based on the average of visiting to Iran during recent years and in the present study was equal to 108 people consisting of tourists and tour leaders and the Snowball sampling method was chosen. Cronbach's alpha of both questionnaires was above 0.7, which indicates their high Reliability. Demographic studies show that European tourists are mostly young people with higher education, which includes both genders. This can affect the level of up-to-dateness of the application being designed. Interestingly, people who spoke languages other than English often preferred English too.Based on the two questionnaires, it was found that tourists need money, cameras, passports and clothes more than any other means. Since these essential products cannot be redesigned in the field of product design, it seems that the most appropriate way is to design a device for tourists to carry these essential products. As a result, a lightweight bag or backpack will be, taking into account the items to be transported and services should be designed so that in addition to introducing travel agencies and their tours, provide information about attractions, obtaining visa, the ability to see pictures and comments of other tourists, booking personal tours, getting to know other tourists and coordinating travel dates with them. Examining the answers to the question that was asked about the favorite souvenirs and traditional products, it was found that most tourists prefer the carpet and buy it. In response to a question about the reason for the buying handicrafts and souvenirs by most of the tourists, the reasons are stated to be uniqueness and beautyMoreover, the need to design a backpack with a portable bag using handicrafts as a product to accompany services was one of the findings of this study.
Original Article
Visual & Applied Arts
Mehdi kazempour; Mohammad Janbakhshi; Davoud Saadat
Abstract
The Shahnameh of Shah Tahmaspi, illustrated during the Safavid era, transforms Ferdowsi's Shahnameh—a 4th-century AH epic poem—into visual art. One of the significant questions in this field concerns the extent of the connection between Shah Tahmaspi's Shahnameh and Ferdowsi's original text. ...
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The Shahnameh of Shah Tahmaspi, illustrated during the Safavid era, transforms Ferdowsi's Shahnameh—a 4th-century AH epic poem—into visual art. One of the significant questions in this field concerns the extent of the connection between Shah Tahmaspi's Shahnameh and Ferdowsi's original text. This research addresses the following questions: What are the uses and functions of color in Ferdowsi's Shahnameh and the illustrations of Shah Tahmaspi's Shahnameh? What similarities, harmonies, and differences exist between the colors used in the illustrations of Shah Tahmaspi's Shahnameh and those described in the text of Ferdowsi's Shahnameh? The findings of this study reveal that both Ferdowsi's Shahnameh and Shah Tahmaspi's Shahnameh utilize color to create mental imagery for the audience, enhancing their understanding of the events, especially in the epic narratives of Ferdowsi's work. This use of color stimulates the reader's emotions, fostering deeper engagement and attachment to the stories. Additionally, the study shows that color in Ferdowsi's Shahnameh serves a more symbolic function compared to its use in the illustrations of Shah Tahmaspi's Shahnameh.
Original Article
Visual & Applied Arts
Muhammad Savari; Alireza Sheikhi
Abstract
Flowers and Birds paintig of the Safavid period can be studied in three periods. The present study, based on a descriptive-analytical method, tries to answer these questions: what are the visual characteristics of flowers and chickens in the Safavid period and how can they be divided in several ways? ...
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Flowers and Birds paintig of the Safavid period can be studied in three periods. The present study, based on a descriptive-analytical method, tries to answer these questions: what are the visual characteristics of flowers and chickens in the Safavid period and how can they be divided in several ways? What factors can be considered effective in the style and context of Safavid flowers and Birds painting? The desire for realism and increasing demand in the market circle, was able to lead to the formation of flower and birds themes in the Safavid period and created new conditions for the artist to produce works outside the court painting. One of the factors behind the Safavid period is the arrival of the East Dutch company in India, which led to the arrival of botanical works and engravings. First, Indian flower and plant artists copied these works, and then these patterns reached Iran, as well as Dutch artists. They also came to Iran and a number of these artists came to the supervision of workshops and Librarys in Isfahan and trained students, but the Iranian flower and Birds artist remained on his traditions in painting flowers and birds, although of the flower design type. They were inspired by European works, but they never imitated them like Indian Gurkani artists. During the first Isfahan period, Riza Abbasi was able to paint flowers and birds. Moin, like Reza Abbasi, emphasizes the bird. Shafi Abbasi was one of the main promoters of this method in Isfahan. Like his father, Riza Abbasi, he carried out many court orders with plant designs for muraqqa, which is a testament to the courtly roots of this type of painting. Shafi'i was famous in painting of flower. With the beginning of the third period (Isfahan II), Muhammad Zaman with the background of his traditional patterns such as Agha Moin and Muhammad Shafi, second-hand Indian works, European works and Dutch engravings and training of Western masters, with emphasis on flowers instead of birds, painting with a pardaz (Conventional Iranian painting) and the emphasis on showing the volume of flowers with a certain angle of light, on a flat and monochromatic background, both showed a realistic way of studying flowers and a connection between traditional Safavid and Zand-Qajar flower and bird paintings in the future. The works of Safavid artists' flowers and Birds were divided into two parts: watercolor and Siah Qalam. Siah Qalam design was a method that was performed with a long linear ‘pardaz’ or ‘Qalamgiri’ and was mostly used as a practical design. Most of the information in this study was completed by Indian and Iranian authorities and Lucky works were not considered in this study. The method of collecting materials and images of this research has been done in the form of libraries and using the available resources of museums and reputable sites.
Original Article
Visual & Applied Arts
Sayed Najmedin Amir-Shahkarami; Shakib Omrani
Abstract
This research examines the advancements in artificial intelligence (AI) and its growing impact on idea generation, production, and conceptual content in audiovisual media, particularly animation. Initially introduced to streamline tasks like editing and rendering, AI's role has evolved with machine learning ...
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This research examines the advancements in artificial intelligence (AI) and its growing impact on idea generation, production, and conceptual content in audiovisual media, particularly animation. Initially introduced to streamline tasks like editing and rendering, AI's role has evolved with machine learning and neural networks, enabling machines to create audiovisual content with minimal human involvement. AI now plays a significant role in content creation, offering new possibilities and producing works with unique qualities distinct from human-made creations. This raises a critical question: how does AI influence the process of conceptual content creation in animated films, and at what stage does it begin to affect the production workflow? This study aims to explore AI’s capabilities in the formation of ideas, cinematic elements, and conceptual narratives, while investigating how these technologies impact meaning-making in the production process. By examining AI's evolving role in both facilitating and driving the creative process, the research seeks to understand its broader implications for the animation industry. To achieve this, the study draws on a variety of historical, technical, and analytical sources, as well as previous research related to AI’s growing role in creative fields. It also conducts qualitative analyses through case studies, focusing on works such as The Crow, Don’t Hug Me I’m Scared, and Gnosis, which highlight how AI is being applied to conceptualize and produce innovative audiovisual content. These case studies reveal that AI offers a vast array of accessible and versatile tools, enabling creators to push the boundaries of storytelling and design. AI-driven technologies are no longer confined to experimental or niche projects; they are becoming integral to mainstream animation production. The research also underscores how AI has contributed to the development of commercially successful projects, demonstrating that its impact extends beyond mere technical support to include artistic and conceptual innovation. By utilizing AI, creators can explore new narrative structures, generate visual effects that would be difficult to achieve through traditional methods, and experiment with dynamic content generation in ways that redefine artistic boundaries. AI’s growing integration into animation production is reshaping the traditional roles of creators, as machines increasingly collaborate with humans to co-create stories and visuals. This collaborative process is challenging traditional notions of authorship, pushing the animation industry toward new models of creative partnership between humans and machines. Moreover, the research highlights that AI's role in animation goes beyond facilitating efficiency; it fosters innovation, providing creators with tools to explore uncharted artistic territories and enrich the emotional and thematic depth of their works. As AI technologies continue to evolve, they are likely to further influence the animation industry by offering even more sophisticated tools for creative development. The study concludes by emphasizing that AI’s ongoing evolution will continue to reshape the production landscape, enabling deeper collaborations between human creators and machines, and redefining the future of storytelling and artistic expression in animation. Through this research, a clearer understanding emerges of AI’s transformative role in both the technical and conceptual dimensions of the animation industry.
Original Article
Visual & Applied Arts
Sahar Soufi; Samira Royan
Abstract
Qajar painting is recognized as a turning point in the history of Iranian art, with one of its innovations being the prominence of female portraiture and figural depictions. This research examines the reasons behind the significant presence of female imagery in the art of the Qajar era, specifically ...
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Qajar painting is recognized as a turning point in the history of Iranian art, with one of its innovations being the prominence of female portraiture and figural depictions. This research examines the reasons behind the significant presence of female imagery in the art of the Qajar era, specifically through a study of women's portraits in the eastern chamber of the Marble Throne Veranda in Golestan Palace (known as the "Painting Room"). Among the paintings in this chamber, ten distinct female portraits were selected and analyzed as research samples.The study adopts a descriptive-analytical methodology, with data collected through documentary and library research (a significant portion of visual documentation was photographed by the researchers). For the analysis of the samples, Erwin Panofsky's iconographic and iconological method was employed—an appropriate approach for interpreting images by referencing textual sources and the contextual background of the artworks.The qualitative, iconological analysis of the samples revealed that, contrary to previous studies which interpreted the abundance of female imagery in Qajar painting as indicative of women's elevated social status, these depictions primarily served as decorative motifs to showcase the court's splendor and the king's possessions. The tendency toward realism—a characteristic of Qajar painting influenced by Western art—was not used to represent reality but rather to materialize an idealized vision of feminine beauty.
