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.
