Original Article
Mahbube Taheri; Efatolsadat Afzal tusi
Abstract
In the course of the interrogation of reading, understanding and deconstruction in the postmodern era, the critique of the position of criticism in the achievements of postmodern discourse has a cross-border approach to each other's borders. A negation that addresses invertebrate invertebilities and ...
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In the course of the interrogation of reading, understanding and deconstruction in the postmodern era, the critique of the position of criticism in the achievements of postmodern discourse has a cross-border approach to each other's borders. A negation that addresses invertebrate invertebilities and the method of deconstruction that reproduces the work of art, as well as the deconstructionist approach Derrida proposes, are infinitely multidimensional and semantic in paradoxical contradictions. Accordingly, the question of how the rebellious reproduction of the work of art in the postmodern age corresponds to the concepts of deconstruction and deconstruction, seems to be the reproduction of the monolithic overlapping overlapping of the critical boundaries in the approach of negation and deconstruction and deconstruction To show. On this basis, the present study aimed at studying the dominant discourse in the postmodern period, by analytical method (based on the analysis of dialogue, eclecticism, communicative space, interpersonalism, and descriptiveness), to study the controversial reproduction of the monolithic sign in the postmodern deconstructionist approach Pays The result of the rebellious reproduction of the Monaliza is to visualize the opposites in a paradoxical way, and by destroying texts and opposing meanings to discourses such as this and that, conversation and polygonum in a chain of signs Which produces meaning, because the negation is a critical method, which, by incorporating the works and previous texts, establishes the conversation of being founded on the contradictions that are simultaneously expressed in the attitude of breaking the foundation, Lays down Hence, practices, defamation, deconstruction, and the breakdown of shared deconstructions in contemporary discourse, which oppose dialogism.In the course of the interrogation of reading, understanding and deconstruction in the postmodern era, the critique of the position of criticism in the achievements of postmodern discourse has a cross-border approach to each other's borders. A negation that addresses invertebrate invertebilities and the method of deconstruction that reproduces the work of art, as well as the deconstructionist approach Derrida proposes, are infinitely multidimensional and semantic in paradoxical contradictions. Accordingly, the question of how the rebellious reproduction of the work of art in the postmodern age corresponds to the concepts of deconstruction and deconstruction, seems to be the reproduction of the monolithic overlapping overlapping of the critical boundaries in the approach of negation and deconstruction and deconstruction To show. On this basis, the present study aimed at studying the dominant discourse in the postmodern period, by analytical method (based on the analysis of dialogue, eclecticism, communicative space, interpersonalism, and descriptiveness), to study the controversial reproduction of the monolithic sign in the postmodern deconstructionist approach Pays The result of the rebellious reproduction of the Monaliza is to visualize the opposites in a paradoxical way, and by destroying texts and opposing meanings to discourses such as this and that, conversation and polygonum in a chain of signs Which produces meaning, because the negation is a critical method, which, by incorporating the works and previous texts, establishes the conversation of being founded on the contradictions that are simultaneously expressed.
Original Article
mahin sohrabi nasir abadi; fateme nadr pur; musa heydari yeganeh
Abstract
In a significant number of Qajar-era photographs the signs of traditional art are visible. These photographs are as the documents and evidences which demonstrate the presence of the traditional art in the heart of the lives of the people of that time; reading of these artworks gives us considerable information ...
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In a significant number of Qajar-era photographs the signs of traditional art are visible. These photographs are as the documents and evidences which demonstrate the presence of the traditional art in the heart of the lives of the people of that time; reading of these artworks gives us considerable information about the role and the position of traditional art in the life style and the social identity of Qajar era; To raise the awareness of this neglected fact seems to be necessary. In this applied research, in which the information has been gathered through library and internet, 11 photos selected from available photo collections have been criticized and analyzed through semiotics and based on the semiotic system of "Charles Sanders Peirce" in order to find the why and how of the presence of traditional art in them. The result of the semiotic study of the photographs using Peirce's three-way classification of semiotic system, confirms that when the photographs are taken with the aim of introducing the artwork, the presence of traditional art contains an iconic aspect. On the other hand, when photographs were used as a decorative and functional object in court and middle-class life, the presence of traditional art is treated as the symbolic sign. Whilst in photographs the process of traditional art is considered and the art work is not directly present, the presence of traditional art is placed in the category of index signs.
Original Article
nafiseh Asna ashari; Mohammad taghi Ashuri
Abstract
As a novel branch of Iranian Painting, Court Portrait and Iconography initiated by Fath-Ali Shah were some kind of advantage taken of the medium of image aiming at propaganda launched in favor of Gajar kings, hence there seems to be an intersection between these works and graphics which proposes the ...
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As a novel branch of Iranian Painting, Court Portrait and Iconography initiated by Fath-Ali Shah were some kind of advantage taken of the medium of image aiming at propaganda launched in favor of Gajar kings, hence there seems to be an intersection between these works and graphics which proposes the main question of the paper: how does the reviving of the ancient pictorial communication by Fath-Ali Shah command, intersect with graphics? Looking at the court artworks remained from Gajar kingdom such as different kinds of paintings, rock paintings and even coinage, one realizes that most of them have been of ulterior motive, seeking propaganda, as they may seem ornaments at first, in terms of social influences, they carried the idea of legitimating the government and in one word, projecting the power face. Therefore, they, based on their applied identities, can be considered graphical. The current study is a qualitative historical research.
Original Article
Alireza Sheikhi; Alireza Beytollahi
Abstract
Kerman Malek Mosque is one of the oldest mosques which was constructed in Turan-Shah l period who was a Seljuq dynasty Governor from 1084 to 1096 AD. In masque chamber of Imam Hassan, there are four Stucco altars while three of them are on the roof and they are related to Seljuq dynasty period ...
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Kerman Malek Mosque is one of the oldest mosques which was constructed in Turan-Shah l period who was a Seljuq dynasty Governor from 1084 to 1096 AD. In masque chamber of Imam Hassan, there are four Stucco altars while three of them are on the roof and they are related to Seljuq dynasty period and the other one is related to Buyid dynasty time and it is located inside the mentioned chamber and placed under those altars. Despite the great antiquity of these altars, their decorations have not been studied scientifically and specifically yet. Besides, there are questions about the structural- visual elements of the decorations and the type of them and the form of Inscription on every altar and the mutual influences between Inscriptions and Motifs and their dominant features. After the mentioned investigations, the altar Motifs can be categorized into three groups including the geometric Motifs, plant Motifs and plant intertwined geometric Motifs. In the Inscription of altars, there are different types of calligraphies such as Sols, Moshajar, Movaragh, Mozahar, Moaghad and Moshabak while in background of each, some plant Motifs even the brief ones can be seen. In general, when the altars are considered next to each other, some formal and structured relationships can be found between the altars while some of them show the symmetry between the four altars. But, others disturb this symmetry; therefore, the general layout and general appearance of the altars fluctuate between symmetry and asymmetry. These relationships can be defined in four titles of the commonalities and three to one relationships, commonalities and two to two relationships and also specific differences and unique features. In this study, to achieve accurate responses, descriptive- analytical and comparative methods were used. Data collection was done in the library by using authoritative sources such as books, theses, scientific papers, along with field research including imaging and measuring altars.
Original Article
Hosein Razavi fard; Hasan ali Pur mand
Abstract
The visual capabilities of the Nastaliq calligraphy have made it to be the most widely used calligraphy in the script of manuscripts from the ninth century AH. In the contemporary era, the possibility of innovation with this calligraphy in various forms of Ketabat, Chalipa, Katibeh, Gheteh Tarkibi and ...
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The visual capabilities of the Nastaliq calligraphy have made it to be the most widely used calligraphy in the script of manuscripts from the ninth century AH. In the contemporary era, the possibility of innovation with this calligraphy in various forms of Ketabat, Chalipa, Katibeh, Gheteh Tarkibi and Siah Mashgh has caused the creation of numerous calligraphy artworks in a variety of compositions and so its link with visual arts has become more apparent. But It seems that the traditional calligraphy has not yet entered the subject of scientific criticism, which is commonplace today in visual arts so the field of critique of Nastaliq artworks has not progressed and strictly needs to be reviewed and developed. Undoubtedly ancient masters have had a high visual and aesthetic perception and their adherence to the principles and rules of calligraphy, albeit indirectly, could be considered by his special attention to the issue of evaluating calligraphy works. But the fact is that these principles, although have sufficient rules for teaching and executing a successful work, do not have the exact criteria for critique and evaluation of the effect. On the other hand the traditional Calligraphy Principles and Rules are an ancient legacy of calligraphy education, and it is supposed to enter the critique on the Nastaliq calligraphy it has the potential to adapt to modern scientific critique methods such as technical and structural critique and comparative critique. With the analysis of critique in the art world, we find that understanding the artwork of Iranian calligraphy, other than the conceptual understanding of the readers, of its text, is based on its visual and aesthetic perception of the entire work.it Has a high ability to critique and through this, systematic principles can be formulated to critique the works of calligraphy. From a practical point of view, the purpose of critique in calligraphy is to extract the principles and measures by which they can make calligraphy works in the artistic value scale and define the scope for their judgment. This research that is organized by analytical and descriptive methods and library studies, In addition to critically analyzing the principles and rules of the Nastaliq calligraphy and examining its compatibility with the rules of contemporary art critique, intends to achieve the development and systematization of a method for criticizing the works of Nastaliq calligraphy, using the principles of arts and the principles of Gestalt theory. At the end of the paper, By compiling and presenting a combination model for criticizing calligraphy works by the Nastaliq script, this conclusion is reached that the methods of critique by the principles and rules of calligraphy, the principles of visual arts, and the principles of Gestalt theory, each enable to active a part of the capabilities of the calligraphy artwork; In other words, these methods complete each other so referring to one of them alone, causing a flaw and ambiguity in the critique process.
Original Article
seyyed Mohammad Taghi Bafeghi; Javad Hatami
Abstract
This study concentrated to importance of teaching methods applications in poster design curriculumimplementation. The major research questions were categorized in three them: 1. Personalitycharacteristics of lecturer 2. Academic abilities of lecturer 3. Teaching abilities of lecturer. Theresearch method ...
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This study concentrated to importance of teaching methods applications in poster design curriculumimplementation. The major research questions were categorized in three them: 1. Personalitycharacteristics of lecturer 2. Academic abilities of lecturer 3. Teaching abilities of lecturer. Theresearch method was qualitative and interview technique has been used. The interviewee were 13post graduate students of poster design discipline at art universities of Iran and criteria to stop theinterview was data saturation.The results of this research are: lecturers prefer the unique and styleteaching in curriculum implementation, lecturers have not lesson plan, they did not implement allof the syllabus, lecturers have not enough experience in teaching, they are ignore the formativeevaluation, and implement the poster design curriculum via non related lecturers.
Original Article
Ahmad Gholamzade Kalaei; Kuros Samanian
Abstract
The tomb of Shah Abbas II beside the holy shrine of Hazrat Masumeh (PBUH), in terms of architectureand ornaments, is one of the characteristics of the Safavid period buildings. The stone plinths aredecorated with colorful flowers. The use of stones in Iranian architecture, both in Islamic era andbefore ...
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The tomb of Shah Abbas II beside the holy shrine of Hazrat Masumeh (PBUH), in terms of architectureand ornaments, is one of the characteristics of the Safavid period buildings. The stone plinths aredecorated with colorful flowers. The use of stones in Iranian architecture, both in Islamic era andbefore it was considered alot. Decorations and paintings on the stone can be seen alongside a varietyof Safavid architectural decorations, such as oil painting and gilding.The purpose of this research isto identify and analyze materials and techniques for the implementation of these designs on the rockduring the Safavid period and compare the results with the monuments of this period.In this research,after introducing the studied decorations, the identification of pigments and fasteners has beeninvestigated, by using devices. The FTIR brand Bruker, the Germany-made model of Tensor 27, witha wavelength range of 1 cm-1 to 400 cm-1 4000, was used to identify organic matter, adhesives andclips. The Bruker XRF device, the Germany-made model of S1traser, was used to identify the elementsin the specimens.For further identification of some pigments, an optical microscope (OM) equippedwith polarizing light was used. White color: Bleaching Lead, Red: Cranberry Plus Ocher, Blue: Azure,Green: Copper Rustin in addition to Malachite and Gold: Gold Metals are identified pigments that aretypical colors of the Safavid wall paintings. Gold metal is used in gold-paste style. The identificationof the ocher pigment was performed using a polarized light microscope. The presence of egg yolkin the examined specimens increases the likelihood of the painting technique being tempered. In allsamples, there was found a trace of linseed oil that could be used as the final coating of decorations.Comparison of the results of this study with the results of some other outstanding mural paintings ofthe Safavid, shows the complete match of the pigments of these buildings.
