Original Article
Visual & Applied Arts
ameneh mafitabar
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 ...
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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.
Original Article
Visual & Applied Arts
zeinab saedzade; Soodabeh Salehi
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 ...
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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.
Original Article
Visual & Applied Arts
SORAYA RADAMIN; zohre radamin
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 ...
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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 a mixed-methods research approach, collecting data through semi-structured questionnaires and interviews with a sample of Iranian men. A total of 224 participants were included in the study, with random sampling conducted among men aged 25–50. The data were analyzed using SPSS software, employing descriptive statistics such as frequency and percentage. The findings reveal that approximately 11% of Iranian men predominantly exhibit this archetype. These men are characterized by traits such as order, rationality, discipline, and structure, which directly influence their clothing style and social identity. Data analysis indicates that men with the Apollo archetype have a stronger preference for formal and conventional attire, placing particular emphasis on appearance details such as neatness, color coordination, and adherence to social standards. This clothing style not only reflects their individual personality but also signifies their effort to conform to collective norms and reinforce an image of responsibility and loyalty to social structures. Furthermore, the study's results demonstrate that these men use their clothing as a symbolic tool to balance personal identity and cultural expectations.
Original Article
Visual & Applied Arts
Ramesh Taherian Ojaroud; Hossein Ardalani
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 ...
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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 study from the perspective of emotional design. It is assumed that, in addition to meaning and concept, emotional design will provide designers' satisfaction and product-user interaction. The research is applied from the point of view of objective and from the point of view of qualitative-descriptive nature. It uses a survey method to collect data. Its most important tool is in the field, in both verbal and visual forms, researcher-made questionnaires and interviews, and non-verbal, observation, based on interaction design and user-centered methods. The analysis of the experts of the Delphi group was used and hierarchical analysis was used to evaluate the different stages of the project. Considering the elements of usability and interactions in the field of feeling, the questionnaire is based on the six elements of usability: efficiency, effectiveness, safety, ability to learn and remember easily, desirability and design principles of interactions: adaptability, feedback, visibility, limitations, recall and experience. The use of emotion in thirteen products has been provided to 30 people from the group of men and women over 20 years old, and the value of emotion has been expressed in terms of meaning, product concept and interpretation.Keywords: Meaning, Concept, Product, Emotional design, Industrial revolution.
Original Article
Visual & Applied Arts
مرضیه جعفرپور; zohreh tabatabaee jabali
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 ...
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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.
Original Article
Visual & Applied Arts
Fatemeh Gholami Houjeghan; Hassan Bolkhari Ghehi; Mina Sadri
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, ...
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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, and mystical nuances are skillfully incorporated into the realities of everyday life. In the present study, an attempt has been made to pay attention to the inscriptions of Quranic verses and the admonitions (dhikr) inspired by them as an inseparable element of the story of the illustration, which have an apparently intangible presence but are very effective inwardly because the selection of Quranic verses and admonitions (dhikr) was not done aimlessly, and both obvious and hidden goals were considered in this. In summary, it was clear from studying the painting that the artist does not only want a mere relationship between the divine names and the audience, but also seeks to place God at the center of his audience's attention and to encourage his audience to not only remember God verbally, but to turn to God with all their being and have a living and existential relationship with God. In fact, the artist is the link between God and the audience of the work, and this is the main function of the verses and admonitions in Iranian painting. The present study is qualitative and has examined the painting in question with a descriptive-analytical approach and using library resources (real/virtual).
