RESEARCH ON CULTURE AND ART
Year:2009 | Volume:1 | Issue:2|Papers Count:7

Intellectual property is a set of human mental activities with commercial values. Through expanding communications, nowadays, the creation of work is considered as one type of vocation and the source of earning money, ‘theifore a set of rules and principles govern the relationships between the artist and its supplier. Intellectual property is divided into two general parts: artistic and industrial. In the first part, Iran has not still joined to international contracts for existing different mainly economical views. However, in the second part Iran has entered Paris convention.

The female artist in Gilan provide a major part of their families’ income. They present their free work force in the field of handicrafts, and not only add to the income of their families, but also play a major role in the maintenance of the Iranian art and culture. In this article, the author has studied the efforts of the Gilani women in creation of handicrafts, from an artistic point of view.

Rassam Arabzadeh’s carpets are different and unique on their own. They have been designed as a result of several norm deviations. These special works have given rise to so many arguments, and now there is a museum of his works, providing a panorama of his productions. In this article, six of Arabzadeh’s works will be discussed within the framework of the structuralism theory. The main focus of this approach is the use of the Prague school of linguistics, and its application in the analysis of the codes used in the design of these carpets.

The main purpose of this research is about the effects of Islamic philosophers’ thoughts on Iranian painting of Islamic period. The research’s assumptions are as follows:1) Moslem painters, as like as other artists of previous periods were following Islamic religion and traditions derived from Etheological do ctrine s of mo slem thinkers and philosophers.2) Moslem thinkers’ theories andEthèir epistopology subjects regarding hierarchy of light, have had a great effect on Moslem painters’ believes and works. And this influence is well seen in many painters’ works. This research discusses about light position in works ofpainting regarding two aspects in particular; general structure and presence of light in it.

This article deals with. Studying the ornamental design of illumination works in the museum of the sacred shrine of lmam Reza. This article topic belongs to 8 to 11 centuries, A.H., so the study of these remaining works dedicated solely to Safavid and Timurid periods. Initially a summary ofhistorical, political, social and artistic fields in the mentioned periods is provided. Then, considering their metallic quality, the metallurgy art is studied briefly and then these works will be discussed. In brief, they are defined since they include lights, chandelier, and candlestick. Afterwards the works concepts will be examined and finally as the conclusion, contrary to other illumination things and instruments,’ these designs consist of herbaceous, geometric and inscriptive other than animal and human ones. This study points to the importance and style of recording these inscriptions handwriting and its concepts. At last, it is worthy to note that the reason of choosing this museum is the abundance of these works that is due to the religious significance of illumination instruments.

Generation gaps constitute an important part of the social issues in tody’s societies. The problems and the social fallacies of this phenomenon are so blatant, that there is no doubt in the need to study this issue. One of the aspects which is worth a thorough study in this respect, is art. What role has art played in the creation of such a gap? What role can it play to fill it up? If we accept that “tradition” is one of the basic issues in generation structures, then we may accept that traditional art can also be used as a factor to connect the generations together. This paper studies the concepts of art, tradition, traditional art, and the impact of the traditional art in filling up the generation gaps, and provides its strategies.

The volume of the philosophical debates about the art and aesthetics within the framework of the Islamic cultural and philosophical heritage is not so great. While translating the Greek philosophical literature, the Islamfic philosophers did not pay complete attention to the artistic dimension of this philosophy, and many of them did not proceed from Plato’s Republic, and Aristotle’s Poetics. The reasons of such and approach have been studies to some extent, but they still require further study. The Islamic art is a result of the expansion of Islam, and the establishment of the great Islamic civilization. The aesthetics of the Islamic art is the result of the studies of philosophers and thinkers like Qazzali, Farabi, and the rest in the Qoranic verses on one side, and the result of the perceptions of the artists who were living in the atmosphere of Islamic faith and thought. The Islamic art is the result of the cooperation of all Islamic nations, among which the portion of some countries like Iran has been so outstanding. The art of these nations takes its roots in their customs and tribal interests, along with the spirit of the Islamic instructions. In this paper, we will study the relations between philosophy and art, and Hikmat and the aesthetics of the Islamic art, to pave the may for proposing the differences between the divine and non-divine art.