Original Article
Farzane Mouhammadi; Amir Mazyar
Abstract
In the dispute over determining the hierarchy of arts in the Western history of thinking, the comparison between painting and poetry, as two everlasting rivals, have been among the most prominent and challenging discussions: this is a comparison that shapes a part of the dual history of image and word. ...
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In the dispute over determining the hierarchy of arts in the Western history of thinking, the comparison between painting and poetry, as two everlasting rivals, have been among the most prominent and challenging discussions: this is a comparison that shapes a part of the dual history of image and word. This research seeks to investigate the contrast between image and word, through the comparison between painting and poetry made in treatise of Paragone written by Leonardo Da Vinci, which is known to be one of the first finely systematic works written in this field. His discussions in this subject matter are foundations of many of today’s well-known concepts in the area of aesthetics, and therefore this very matter which confirms its freshness makes this treatise as double important. The question of this paper, primarily based on the comparison between painting and Poetry discussed in Paragone, is to analyze the contrast between image and word as two distinctive media, or two distinctive means of perception. In the attempt to study dimensions of this problem, and in order to achieve the goal of writing this paper, the descriptive-analytical research method is applied, and information is gathered from library resources. In this series of notes, Leonardo compares and contrasts painting with poetry, music and sculpting. Many consider this work as a defense of painting because different kinds of art are compared with painting or image, as the only pattern for the perfect art, and this is their imperfections and similarities respecting painting that leads to their definition. Among these notes which are organized according to their subject matter within the Aristotelian tradition, the major part is dedicated to the comparison between painting and poetry or in other words between image and word. It will be revealed that in this collection of notes, Leonardo makes painting (image), as a perfect model for perception, confront poetry (word) in a battle; and by defining painting as a science, clarifying the close connection between painting and the Nature, referring image to sight, talking about the broad range of apprehensibility of painting and at last by suggesting the existence of harmony in painting, he elevates this art up to a status to be as a pattern for poetry and eventually superior to it. In this way, image is treated as one of the most fundamentally vital references of perception, whereas word is merely a trivially minor reflection of a small part of this visual perception. Not only Leonardo considers the extent and power of visual signs superior than the ones of poetry, but also he considers the creator of them as a dominating power over the world. He considers the creation of image and its perception by the spectator as an exceptionally special experience which is not attainable through poetry. In other words, Leonardo meant to overturn the hierarchy of arts by theorizing what his colleges treated in a practical way, and to give image that supremacy that humanists considered for poetry by giving references to vision.
Original Article
Houseyn Dayyeri; Mohammad Taghi Ashouri
Abstract
The purpose of this paper is made using approach iconology to decode the symbolism associated with the water element and archery in the story of Rostam and Esfandiar. Tales Ferdowsi, Esfandiar invulnerable, but Rustam with using the help of Phoenix realize the esfandiar weakness and with arrow ...
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The purpose of this paper is made using approach iconology to decode the symbolism associated with the water element and archery in the story of Rostam and Esfandiar. Tales Ferdowsi, Esfandiar invulnerable, but Rustam with using the help of Phoenix realize the esfandiar weakness and with arrow shooting kills him. In Iranian mythology, archery is the important task of rainy gods and Appear that the action by rustam refer to the popular mythological concepts in this field. Since mythological forms or archetypes in the context of creative imagination, appear in the narrative epic, As a result, ideas and abstract images of epic narratives can find a symbolic way and The access to the deep meanings behind them it will not be possible except through decoding symbolic elements. The iconology approach is the artistic studies to identify the repeated images of cultural continuity and follow it looks in the picture and the text. The problem described in this article is to identify a symbolic link the archery with the emphasizing the element of water. The research is descriptive – analytical, data collected through the library and images collected through the library and cyberspace resources . The results show that the narrative archery as the archetypal suicide frequent in mythological geography of Indo-European peoples, Once again depicting, the conflict between the forces of good and evil in connection with the rituals rainy.
Original Article
Alireza Esfahaniza; Mansour Hessami; Soudabe Salehi
Abstract
The approach used by professional sculptors to come up with novel ideas is a kind of "Heuristic research". Based on their experimental skills in understanding and analyzing the design of a work, they investigate others' works and finally find the right way using a schema inference. Schemas formation ...
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The approach used by professional sculptors to come up with novel ideas is a kind of "Heuristic research". Based on their experimental skills in understanding and analyzing the design of a work, they investigate others' works and finally find the right way using a schema inference. Schemas formation can be considered as results of "deductive reasoning" and "visual analog strategy" in the ideation based on previous works. Although the method of deductive reasoning and visual analog design strategy along with ideation in the traditional way are common in the behavior and performance of artists; unfortunately, there is little academic records in the visual arts. The behavioral studies in the process of creating a work is a part of "research design" studies. The designers create new forms based on the foundation of existing forms in the nature and what they find in the collection of artistic works. It is clear that the combination of visual data requires an understanding of the design and deductive reasoning skills as well. Portions of interdisciplinary studies in architectural design, namely “design studies”, have been done in this regard. The studies in this area have shown that most successful designers use visual stimuli, such as video records, for achieving success in the design process and ideation. Moreover, it has been shown that the use of visual analog design increases the quality of design solutions and ideation. In most cases, the value of a design is attributed to the deductive reasoning, and inductive reasoning is considered as a result of deductive thinking. The deductive thinking means conducting a new situation based on previous similar situations. In this way of thinking, two positions are always defined. The first situation which is a result of the analogous element, represents the old position and it is referred to the element of “analogous origin”. The new, position that the argument is carried on it, is called “analogous purpose”. Each of the analogous elements is representative of a position and the analogous is a systematic relationship among them. The analogous source and target can be represented by images. When the origin position is represented by a packet image in the mind, we get close to “visual analog" as the images could be applied in "understanding" or “problem-solving". The purpose of this article is exploring the visual analog inductive reasoning and strategies to analyze the behavior of sculptors in the design process and ideation. This study, based on the qualitative- analytical approach and provides examples of the works by Henry Moore, Antony Gormley, Jeff Koons, and Richard Deacon. It explains the relationship between visual studies and process design ideation's records. The results of this study indicate that ideation analysis based on deductive reasoning has an academic, research and practical importance which can be helpful in the theoretical and practical training of sculpture.
Original Article
Hanif Rahimi; Ali Asghar Shirazi; Mohsen Marasi
Abstract
Making Album has a long tradition in the history of Islamic Art in Iran specially at the end of Timorid Dinasty and Safavid Period. Albums contains scattered pages of caligraphy and paintings which bind together and form a book that used in order to review the masterpeace of the artists in cultural meetings. ...
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Making Album has a long tradition in the history of Islamic Art in Iran specially at the end of Timorid Dinasty and Safavid Period. Albums contains scattered pages of caligraphy and paintings which bind together and form a book that used in order to review the masterpeace of the artists in cultural meetings. These albums have some advantages for the art of Iran. First preserve the works of art, second there is a place for workmanship and third sometimes the patron or the owner wanted an author to write a preface for it. In fact Prefaces of the Albums must be known as the first Art histories of Iran which include precious information about artists, patrons and sometimes the history of forming the arts of caligraphy and painting. Most of the Reserchers almost payed attention to literary aspects and extracting historical information about artists and master-student relationships of them and less paying to socialogical contexts and regarding references of texts to their historical setting. Preface to Bahram Mirza’s Album wrote by Dust Mohammad Heravi in 951 AH. A lot of contemporary scholars point to it and it has an important place in the studies of Persian painting since the time it has been known, but a few scholars study it criticaly. This is the first times that a Preface pay to paining and painters. While based on historical documents and texts the author was not painter but a caligrapher who worked in Royal library. Now there is a question that why in the mid-century there was an attention to painting and painters? In fact this research sought to the point that what the causes of the rise of Dust Muhammad Heravi's Preface about the painting in the tenth/sixteenth century? To answer this question, the analytical historical sociology approach is taken. This method by means of first and second sources almost proceeds “why?” in matters and answers based on authentic causal relations; Causes which have similar results. Research findings show that different chains of linear and transversal causes like political-religious context of that period, written tradition and intellectual-educational-professional background of author during the time which form along time ago in the ground of history, at last tend to converge and results in writing the preface. One can regard these causes into two tied existential causes and formative causes. The presence of Clercs in politics and pressur to painters, change in King's mood and his reluctance of painting, miserliness and at last firing the painters from the court, are existential causes of writing Preface in defence of painting and painters, and written tradition of writing preface in Safavid period, skill of author in literature and his familiarity with riddle, rhyme and courtly culture of Herat as an exemplar of art patronage are regard as formative causes.
Original Article
Ma’soumeh Mosleh Amirdehi; Sedaghat Jabbari
Abstract
The written element of script is considered as one of the basic elements used in writing and manuscripts and the main purpose of this research is to derive and study an unknown style of script that has written in Lata'if-Al-Tafsir book. It was also known in manuscripts during the history of calligraphy. ...
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The written element of script is considered as one of the basic elements used in writing and manuscripts and the main purpose of this research is to derive and study an unknown style of script that has written in Lata'if-Al-Tafsir book. It was also known in manuscripts during the history of calligraphy. Traditional calligraphy has been used with various shapes in different parts of Islamic realm, in a way that in each place, it took its own specific zonal style and sometimes with the introduction of writers and calligrapher, it took a new shape. Thus, in several manuscripts written in ninth/fifteenth and early of tenth/sixteenth century in India, a particular method can be found that within a different and unknown style of calligraphy can be seen. This way of writing has been named Bihari in some appendix. However, until now, a definite analysis of visual features of this style and its relation to traditional calligraphy has not been introduced and only we can see concise ideas and hints about this script in appendix. With this purpose, a manuscript from Lata'if-Al-Tafsir book (Library, Museum and Document Center of Iran Parliament, No. 12298) is chosen and the morphology of its script will be studied by historic, analytic and comparative style. Until now, the features of this style have been considered lesser in appendix. However, the visual analysis of Lata'if-Al-Tafsir's script and its comparison with styles of traditional calligraphy can be effective in knowing this script style. With this introduction, in this article it is tried to specify the main features of scripts in manuscript and derive the relation of this script with traditional calligraphy in order to partly show the unknown features of the script. In the present article, the main hypothesis is that, given to the diversity and variety of scripts, different methods in script of manuscript known as Bihari script use the features of traditional calligraphy and within the initial letters are similar to Naskh and distance between letters can show some features of early Kufic scripts. Thus, whatever makes the features of this script different probably return to the combination of characteristics in different scripts that is also accompanied with some new features such as exaggeration in the size of letters, contrast in the weight, frequent use of kashida and variation in letters, by this it took a different feature. Another hypothesis is the use of qalam in writing this script that it seems most letters were written by the nish of qalam and kashida was written by the whole nib of qalam. This shows the extensive capability of traditional calligraphy in writing and calligraphy, and it is important because of its unique features which can help reaching a new look in type design and providing different contexts in this field of graphic design. As a result, script of Lata'if-Al-Tafsir's manuscript and similar examples known as Bihari are inspired from naskh script which were combined with some features of different scripts and were known among Indian Persian speakers during ninth/fifteenth and early of tenth/sixteenth.
Original Article
Alireza Vaez
Abstract
Black and white photograph without the medium of color has played a significant role in recognizing photography as a type of art. Therefore, the structure of these photographs, or tonal, has been majorly considered by the aesthetes and photographers which has led to the development and flourishing of ...
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Black and white photograph without the medium of color has played a significant role in recognizing photography as a type of art. Therefore, the structure of these photographs, or tonal, has been majorly considered by the aesthetes and photographers which has led to the development and flourishing of photography art up to now. The tonal of black and white photograph and their differentiation is crucial for our vision. Since some methods can challenge the photographers in management of tonal arrangement and composition during creation of their photos, it is necessary this issue be taken into consideration in this article. Accordingly, this research tries to inspect the differences and similarities between the two methods of: 1-using variable contrast paper instead of the monograde paper and 2-using the zone system by utilizing monograde paper, in terms of tonal arrangement and its influence on photograph quality. This research was completed by doing various experiments and using comparative and analytic method with a qualitative approach as well as studying photography theoretical basis. The research defined that using of variable contrast papers with filter 4 (instead of using development +2 and exposing to the zone system method) changes the valuable tonal of photograph(detailed high lights and shadows) to lower valued tonal(high lights and shadows without details)(picture No 12). Using the variable contrast papers with filter 0(instead of using development -2 and exposing to the zone system method) improperly changed bright and dark tonal to middle gray and caused a density in this section and threw contrast off balance(picture No 13). Because of possibility to changing of exposure and development of film, and being an influence on arrangement of tonal, the zone system has a convenient function to making of balance in contrast and so keeping the valuable tonal, and eliminating and transfering of lower valued of them. Doing of plus development in zone system method, demonstrated that we can control each three section of tonal(high lights, middle gray and shadows) from the point of view of separation and convenient replacement of tonal(curve No 14). As a result, the research question investigates whether there are differences in tonal arrangement of the two methods and why the user has to choose the difficult method of the zone system. It is concluded that the possibility of careful and wise control and substitution of tonal and their separation in all parts of the picture by using the zone system guarantees the quality improvement and sharpness of the photograph (as the most significant feature). This choice peruses aesthetical aims and subsequently the variable contrast paper cannot be an appropriate substitute for that.
Original Article
Kouros Samanian; Hamideh Abasian
Abstract
Login New techniques, painting affected West, in the late Qajar era, opened a new chapter on Pahlavi of the visual arts, That on one side the art of the West and the periods before the Qajar, roots, and on the other hand,is the mirror of developments and orientation of Age itself. One particular artistic ...
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Login New techniques, painting affected West, in the late Qajar era, opened a new chapter on Pahlavi of the visual arts, That on one side the art of the West and the periods before the Qajar, roots, and on the other hand,is the mirror of developments and orientation of Age itself. One particular artistic trends of the period, making images of the political elite who commissioned them, in the form of photographs or portraits that can be created. This type of work, culminating in the Revolution, and then, in the next period continued until after the formation of the National Assembly, the specific type of art became. Despite numerous studies on the life and works of artists, including Kamal-al-molk and Ali Mahmoudi, visual and technical features portraits of men National Assembly is still unknown. Therefore, the main goal of this research is to decode the working certificate of Jafar-e-chehrenegar, artists of movement art, and knowledge of the techniques employed in this portrait. Research method is descriptive- historical. In this direction, three examples of Jafar-e-chehrehnegar in the Museum of Parliament, to historical and comparative studies is selected. As a result of studies on Jafar-e-Chehrehnegar’s works, which are the portraits of Parliament members, It was found that all three tableaus reconstructed of image. can be viewed in this way he will continue to be Kamalolmolk. Therefore, it can be concluded that the J.Chehrehnegar, learned painting to mentor a student’s Kamalolmolk or he was student of himself that his name has been among their pupils is unknown.
