Original Article
behrouz soheili esfahani; mohsen marasy
Abstract
By paying more attention to “concept” of artwork in Postmodern and Contemporary Art, and with the advent of Hermeneutic and Intertextual topics in art, attentions to “title” effects on transferring and turning of concept have increased. Conceptual Art has concerned with these ...
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By paying more attention to “concept” of artwork in Postmodern and Contemporary Art, and with the advent of Hermeneutic and Intertextual topics in art, attentions to “title” effects on transferring and turning of concept have increased. Conceptual Art has concerned with these effects more than the other movements because, “concept” is its central pillar. The “title” has an important and undeniable value in visual conceptual artworks due to “language” and “writing” importance in these works. The authors have based Edward Lucie Smith definition of Conceptual Art for identifying visual conceptual art. Although basic and traditional art categories are out of date in Conceptual Art, but in this study the authors have drawn a presumptive boundary and separated the artworks that are mostly based on basic art media like painting, sculpture and photography from the others. This part of Conceptual Art has been considered as the research domain. The purpose of this study is identifying of “title” function in visual conceptual art and its role in forming and transferring of these works “concept”. The article has been conducted on the basis of Analytical-Descriptive method. In the first step the researchers have studied “title” qualitatively and then subdivided conceptual artworks into 3 categories: Entitled by the Author, Untitled, Without Title-Entitled. In the second step, they have considered “title” functions in these 3 categories of visual conceptual artworks on the basis of Bahman Namvar Motlagh thoughts. In the third one, they have inspected “title” effects by deleting it from conceptual artworks. The researchers have studied both of Persian and foreign visual conceptual artworks “titles”. In this study, 3 important keywords in conceptual art which are “title”, “idea” and “concept” have been defined in order to avoid mixing their meanings. The results show that “title” in a visual conceptual artwork is considered the part of a work itself and it’s not something separate from it. Furthermore, “title” involves in forming and transferring visual conceptual artworks concept and can change their concept. The results also prove that “title” can be appeared as a factor of “conceptualizer” in some conceptual artworks so that changes an object or a visual artwork into visual conceptual art and if the “title” be deleted from a visual conceptual artwork, it may go out of Conceptual Art circle and fall down to ordinary object or common artwork. Language has been used as one of the two mechanisms in Conceptual Art and has been applied in two kinds in visual conceptual art: first, using text in own of artwork, Second, using title. “Title” plays last role in completing the refer circle of artwork to itself in some visual conceptual artworks which made based on Tautology. As Bahman Namvar Motlagh has introduced three basic functions for titles of artworks which are “artwork identifier”, “advertising and making relationship for artwork”, “first step of making relationship between artwork and audience”, the authors in this research have added one more function for title to previous ones which called “effect on forming of final concept of artwork.
Original Article
rasool eskandari; mohammad taghi ashouri
Abstract
Most archaeological sites of Iran have had the art of pottery. Pottery has a fundamental importance in the study of cultures. Special features of pottery caused to be intact through theincidents. There is no doubt a part of our knowledge about the prehistoric cultures of ...
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Most archaeological sites of Iran have had the art of pottery. Pottery has a fundamental importance in the study of cultures. Special features of pottery caused to be intact through theincidents. There is no doubt a part of our knowledge about the prehistoric cultures of Iran has obtained through the study of pottery. This paper is about the study of relation between cultural elements and the forms of Sialk's pottery from the beginning to the 6th era. Iran's pre-historic pottery is examined through two main categories: motifs and forms. While our knowledge about the culture, ideology and environment has been achieved through the study of motifs, the form has been studied limitedly. In fact the concepts, thoughts and life of prehistoric human has considered by motifs, while the study of forms has declined to the method of production, techniques and materials. On the other hand we know one of the most important features of pottery in Iran is the diversity of form as every culture has had its special style in making pottery. Also one of the most important problems of pottery is a trend towards the constant production of some forms in a pre-historic culture. For instance at the third period in Sialk, had been a strong trend towards the constant production of goblets. There is absolute different between the form of fourth period and the third. In this period we have a sort of jug that the same type of this vessel had not been in the previous period. Also from the sixth period some teapots with long tube has explored that is different from the previous period’s vessels. The main intention of this paper is to gain information about the pre-historic culture of Sialk through a new approach to the pottery form. The main question of this paper is that what relation can exist between the constant production of pottery forms and cultural elements in Sialk? The relation between form and culture has considered through three categories: agriculture, religion and social classes. Cultivation of some crops like barley and dairy products had great influences upon the structure of vessel. In some cultures the special ideology or ritual had great influences upon the form of pottery. In religion context the rim, mouth, base and the size of vessel had changed in the third, fourth and sixth era as has analyzed in this paper. As the archaeological documents show the social classes of prehistoric culture had their special vessels. For instance the King in some relief and inscriptions had a small goblet in his hand while the servants has depicted with a big jug on their shoulders. The form and structure of each of these vessels indicate to the situation of these classes. Sialk's pottery has compared with some pre-historic cultures of Iran and Mesopotamia because we know it has been communication between Iran and Mesopotamia’s cultures. This comparison has done in order to obtain reasonable answer. For instance there is a similarity between the diet of Sialk’s third era and Ubaid culture. The results of this paper indicate that the similarity between the form of pottery vessels of these cultures related to the diet and religion. The results indicate a strong trend towards the constant production of a form in an era is not accidental and these elements had great influences on pottery form. Along the development of agriculture and appearance of new crops and appearance of religion, pottery form fundamentally had changed. The method of this research is based on analytical and descriptive approach. Study of myths and religious text is inevitable. Hence the intertextual approach is used in this paper.
Original Article
kamran afshar mohajer; soodabeh salehi; amir farid
Abstract
Writing system is considered one of the greatest and probably the most important invention of humanity. That is because not only has it made possible to record history, it has eased communication among people and cultures. In terms of oral features, language has been a natural development for almost ...
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Writing system is considered one of the greatest and probably the most important invention of humanity. That is because not only has it made possible to record history, it has eased communication among people and cultures. In terms of oral features, language has been a natural development for almost all people over the history. Writing however has historically gone through a different line of development. In the initial stages, some cultural groups gave rise to writing to record their transactions. Such writings were first pictographic, that is, the relationship between an object and its writing symbol was so close. This pictorial relationship remained as a mutual alphabet for a long time until the pictures went through some modifications, and the alphabet was born. The meaning in pictogram was obvious to the reader as each picture represented the related object. However, with the gradual replacement of pictures with alphabetic letters over time, each letter was to represent a special sound, and consequently, the created abstraction changed the clarity of meaning to a point where any mistake in writing a letter would lead to lack of understanding of the writer's meaning. As such, true recognition of each letter in various scripts, in order to achieve the goal of writing, gained importance. Right reading and distinguishing each letter in scripts and calligraphy is dependent on the right and complete expression of the shapes of that writing system. Therefore, each letter is supposed to bear special shape features that when disobeyed, similarity with other letters, thus mistakes in recognizing and reading would be resulted. Islamic alphabet is characterized by positive aspects and unique features along with some limitations, which are in need of a separate thorough discussion. However, beyond all judgments on limitations and positives of the alphabet, form and shape features of the alphabet need to be taken into consideration. The available literature proves the shortage of basic and fundamental investigations on structure and forms of Islamic script and calligraphy. Therefore, it emphasizes on the necessity to carry out studies in this area. On the other hand, mentioning the drawbacks in Islamic scripts and discussions like the incongruity of this writing system with today's scientific and technological developments have made the emergence of recommendations, criticisms, and even opponents against this writing, to a point where the idea of changing the script has gained a special attention in Islamic countries. We are faced with a variety of shapes and also the similarity of lettering in some letters of Islamic script. If unique structure features of each letter are discovered, clear recognition of letters would be achieved. In order to fulfill this aim, the present study has put forward two questions: Which part of the consisting components of letters in Islamic script has the distinguishing ability of that part? What are the recognizable features of each letter? The study has focused on traditional scripts, and is conducted by using descriptive-analytic methodology. Letters, after being separated, are analyzed in distinct tables using shape comparison among data. The results achieved through such comparisons show the variety in shapes of each letter. In spite of this diversity, distinctive parts can be found for each letter, the preservation of which makes it sufficient to distinguish each letter.
Original Article
farhang mozaffar; mehdi hosseini; reza khodadadi
Abstract
Public art is associated with many urban issues and as a viable strategy to be considered in urban communities. The most important goals of public art Specially "Mural Art" beautification and stylized urban landscape and spaces. This visual media can affect aspects of physical and visual urban ...
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Public art is associated with many urban issues and as a viable strategy to be considered in urban communities. The most important goals of public art Specially "Mural Art" beautification and stylized urban landscape and spaces. This visual media can affect aspects of physical and visual urban landscape and create effective public spaces lively and joyful. Therefore, this paper due to the need to understand the role and impact of Murals on the beauty of cities, and with the aim to explain the impact of murals as one of the strategies to improve the landscape and beautification of the Tehran City environment. Although this study uses qualitative and quantitative "mixed methods research", But the emphasis on quantitative studies. Therefore, used Library Studies for data gathering and refers public art and murals concept and definition, how to relate art and the urban landscape is been discussed. But field study, according to the Statistical population of Tehran citizens Simple Random Sampling method and sample size was based on a Cochran's Formula 380 cases. to collect quantitative data used 5 point Likert questionnaire and data analysis was used SPSS software. The results of qualitative research showed that interventions of public art, specially murals, Can eliminate visual problems and reduce the physical aspects of the urban landscape improve. The result of field studies also indicate that Tehran citizens are satisfied with the murals that arise with beautification purposes in Tehran. The citizens believe Tehran's visual quality is improved by murals. the citizens of tehran also believe murals not only beautify urban spaces, but also mural art is a suitable method for the reconstruction of old urban tissue.
Original Article
samira Royan; samad samanain
Abstract
The number of illustrated historical manuscripts which survived from Safavid time, are very few in comparison with other illustrated literary works of this era and also the illustrated historical texts of their Muslim neighbors-Ottoman and Mughal of India. So, Scholars believe that Safavids were not ...
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The number of illustrated historical manuscripts which survived from Safavid time, are very few in comparison with other illustrated literary works of this era and also the illustrated historical texts of their Muslim neighbors-Ottoman and Mughal of India. So, Scholars believe that Safavids were not interested in the illustration of their history, and that it shows a break from Iranian tradition of illustrating history which came back at least to Sasanids. Scholars consider this unwillingness to the illustrating of history as a result of the qualities of Safavid painting, such as following common models and avoiding realism, which separated their painting from their counterparts. In respect, the scholarly writings on picturing history in Safavid era are also rare in comparison with the surveys on other artistic products of Safavid history, and the importance and function of Safavid historical pictures are almost unstudied. So, this article besides introducing scholars’ approaches to the illustrating of history in Safavid time, and evaluating their comments on this issue, tries to give a better vision to illustrating history in Safavid Persia by surveying where and why they illustrated their history. Through the written and visual collected data and with a descriptive-analytic method, we will prove that, contrary to the common approach, Safavids were not reluctant to picturing their history, but they had so many ways for doing this. Illustrating Nonhistorical manuscripts (especially Shahnama), wall painting and single page painting are the mostly used grounds for Safavids to illustrate their history. To some extent, Wall paintings and single page paintings by historical themes, in the second half of Safavid era, replaced the illustrated historical manuscripts in earlier times, which may cause the fewer number of survived illustrated historical manuscripts. By the way we will show that the number of remained illustrated manuscripts cannot show that Safavids hadn’t illustrated their histories, because many environmental or human factors may Couse damage or loss of these products. In fact what made Safavid illustration of history different, was not the number of illustrated historical manuscripts or even the number of miniatures in the whole manuscript, but were the aim and operation of these pictures in their visual system. They didn’t show historical details and were totally ignorant about the facts. They didn’t show the real face of real individuals, but the ideal portrait of ideal heroes. Safavid historical illustrations, unlike those of Ottomans and Mughals of India, were not the exact visual documents of history which show everything in the way it looks, instead, they were visual representations of the glory and might of the court or anyone who supported the illustrating project. So they were really important in showing of prestige and dignity and also projecting the visual ideals of visible things, such as the king or things related to him.
Original Article
Adele Mohtasham
Abstract
In the process of conservation and restoration of cultural and historical objects, it is necessary to ensure complete understanding of the objects. So it is necessary to identify, study and interpretation of the object. The role of "Hermeneutics" in this process is undeniable. Intentionalism is a way ...
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In the process of conservation and restoration of cultural and historical objects, it is necessary to ensure complete understanding of the objects. So it is necessary to identify, study and interpretation of the object. The role of "Hermeneutics" in this process is undeniable. Intentionalism is a way to understanding the meaning. In this paper, the importance of artist′s intention in conservation and restoration interventions, has been studied. The research method was analytic-descriptive. The data collection was done through review of written sources. The conclusions were made through data analysis and reasoning. Absolute intentionalism, exclusive intentionalism, and hypothetical intentionalism, had no place in this process. Inclusive intentionalism was consistent nearly with conventional methods in the field of conservation and restoration. Balanced intentionalism, was more suitable than other types of intentionalism
Original Article
javad hatami; mostafa shahmouhammadi; vahid choopankare; marzie yadgar
Abstract
Considering the 30-year history of industrial design education in Iran and after 18 years of the last curriculum in this field, there is a need for a new curriculum design for this field. This research aims to explain the factors affecting the design of industrial design curriculum in the undergraduate ...
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Considering the 30-year history of industrial design education in Iran and after 18 years of the last curriculum in this field, there is a need for a new curriculum design for this field. This research aims to explain the factors affecting the design of industrial design curriculum in the undergraduate degree in Iran with a qualitative and phenomenological approach and content analysis method. The populations studied were faculty members in the field of industrial design (at least in professor assistant grade) at Tehran universities. By theoretical sampling method up to reaching data saturation, 16 persons were considered. Data collection was made by deep unstructured interview. Expressions and statements of interviewees were determined as the unit of content, accordingly, 604 significant codes were found that finally by code reduction, 10 main themes in two categories were apparent: 1. Curriculum 2. Reform. There were six curriculum themes, effective components in curriculum, content, teaching-learning, educational environment, evaluation and four themes emerged in the category of reform, updating, reviewing and changing, crediting and establishing new fields. Consequently, in order to design an industrial design curriculum, the necessity of redefining the industrial design discipline in Iran and determining the objectives of the curriculum based on the needs assessment, professional development of curriculum, and the use of the 30-year experience in this field, strategies for transferring knowledge and achievement an indigenous model of industrial design, selection of learning strategies in the field and group learning in the teaching-learning process, diverse educational spaces, ongoing evaluation and curriculum reform, review and updating of curriculum, accreditation to industrial design, and development of new fields of study in undergraduate degree were introduced as suggestions for redesigning the curriculum of the discipline.
