HONAR-HA-YE-TAJASSOMI (HONAR-HA-YE-ZIBA )
Year:2015 | Volume:20 | Issue:2|Papers Count:8

Firdausi Shahnameh has been illustrated more than any other literary work in the history of Persian paintings. So far, many studies have been carried out on these historical paintings of Shahnameh. Most of these studies have been formalistic and have been considered to be merely representational works of written text. Those studies have been focused on form, performing techniques and style classification. Another aspect has been the field of semantics and their aim has been to obtain the semantic signification of these images by usage of Iconology or Semiotics. This research that stay on second group, Tow paintings about Alexander story from Firdausi Shahnameh have been chosen one of them related to Mongol period and another one is from Safavid period. This legendry story is about a neighbor nation that asked help of Alexander to assist against the Yajoj and Majoj –a wild people- who rushing to their territory every time, at least Alexander in cooperation with them, built a steely barrier against the aggressors. According to subject of this story which focus on social and political relations between sovereign, people and neighboring nations; Social visual semiotics has been applied to analyze the pictures. Social visual semiotics is a method to get image's meanings, in social function concept. In this way, the composition is used to interpretation the semantic signification not aesthetics. In order to explain the meaning, it will be referred to external factors of the text such as, the cultural, social, political, and the other contexts too. Eventually, we want to consider how the image in relation to the dominant discourse becomes a mean of power. Governors in order to legitimize and stabilize their power, utilized the propaganda in different ways, Of course art was the one of important media for propaganda. On the other hand, Persian painting, artworks were created with time and result in high costs; Therefore artist was always in need of a powerful patron. In other words, the Persian painting was the court art, resulting in the formation of attitudes and desires of the dominant power that had affected. For example, Painters at both picture, apply the rhetoric devices in best way to show their sovereign instead of Alexander in metaphorically format. Findings of present article state that these paintings that are located contiguous the written narrative of the Shahnameh have independent synthetic and is not only added to the text; Also in their terms had have social functions. In fact, Results from studying this paintings showed that these pictures which are diachronic and intersemiotics translations of the written narrative of the Shahnameh in the rejection and attraction process of translations own up, those aspects of Alexander character that were desired. Scene selection and composition pattern were the targeted choices at the aim of transmission ideological message of producers of the text in order to legitimize and stabilize its power. Both of the pictures reproduce the same mythological story, but, by the difference between the selections of the visual signs and the composition, each of them proposes a different discourse that is agree with the patron's aims.

Illustrated Shahnama of Shah Tahmasp, manuscript of 1538AD and one of safvid periode Masterpiece in Persian painting, composed of 258 paintings. Illustrators for stories painting, sometimes have chosen several time and place of a story to illustrate and have created a namber of works. Fereydoun, Zahak, Siavash, Zal, Anoushiravan and Kaykhosro stories are like this. Some of these paintings have images of architecture. Some of the designs depicted on the walls of buildings, which is defined in this study as mural. Mural is a visual element in paintings that the reader's mind about its relationship with the subject of image is challenged. Mural is a part of the architecture in which, painter is making a colorful or one-color monochrome. These motifs include the role of Angel, Angelica and arabesques, plants, animals and strange creatures, which smooth design and free spin of brush is their features. This type of design are divided into three categories: A- nature, B- strange creatures, C- Illumination. The purpose of this study was to evaluate the relationship with other elements of the visual elements and achieve its function in cooperation with the image based on Saussure's model. According to Saussure's model, it implies that the relationship between signifier and signified is the result of an evaluation criteria in relation to visual elements and subject in the paintings. The research question is whether the motifs used in the murals are in relation to a reference? And if there is a relationship, what places they have in narrate stories? The use of depictions of humans, angel and animals and plants in mural has created this capability that in addition to decorative effect on the composition and function, include implication and reference, and the possibility to express meaning through metaphor References. The 20 samples from the Shahnama of Tahmasp paintings with the plants and animals and strange creatures were selected for this study. To gather information, images and poetry reading at the same time in different sections has been performed. The findings of the qualitative study method has been studied, then the analysis and implementation of the signifier with the signified and their relationships at various levels has provided references and implications of the concept of painting in murals. The 20 paintings that have been analysed, in the context of 5 poem paintings and murals has not been found. Among 15 other paintings, in 1 painting, relationship between subjects of paintings with mural can be seen, but there is no indication of a poem.14 paintings include indication of poem and homolographic relationship between mural and subject of image. Based on the analysis carried out, paintings in addition to visual function to create the perfect and beautiful combination, have contributed to the subject of story. Sometimes, murals show happens in the future, and sometimes help to create space and current condition. Meanwhile, the position of painter based on true or false is critical. This feature makes more complete picture narration of the story.

After a long march of history of developments, hermeneutics, the theory of text interpretation, totally focused on understanding, has nowadays been wider scope that eventually includes artworks. Hermeneutics refers to different approaches due to its theoretical versatility and associated applied paradigms including Ricoeur’s textual hermeneutics. The latter may be best described as text-oriented interpretation which could not be dominantly focused on text as the reader has been considered being the constitutive partner in understanding the text particularly since early 20th century. Text-oriented hermeneutics roots in hermeneutical affirmation of interpretive autonomy of biblical scripture in medieval centuries and during 16th century Protestant Reformation; also, introduction of autonomous being of language in modern 20th century hermeneutics. Paul Ricoeur, contemporary figurehead hermeneut, assumed self-hermeneutics the primary intent of the practical approach he later defined as interpretative dialectic between guessing and validating. Present research aims to do a Ricoeur’s hermeneutics-analysis of illustrations of Sam Mirza’s Hafez's Divan. First chapter is dedicated to review of Ricoeur’s textual hermeneutics, the dialectic between hermeneutics and art and finally, Ricoeur’s practical philosophy regarding illustrations and paintings as a broader sense of text. Studies on fine art-hermeneutics links and certain interpretations based on Ricoeurian methodology are discussed in second chapter. Ricoeurian approach to these illustrations is not deemed impracticable; yet, textual interpretations and understandings are assumed personal according to Ricoeur’s theory of text to which discernment of accurate vs. misinterpretation is of no concern; the probable hermeneutical explanations can thus only be methodologically assessed. Ricoeur's theory of interpretation, thus, has constantly faced A two major challenges: first, traditional values of textual congruence and -plenitude have never been utterly fulfilled within his sphere of interpretation of symbols given he considers no utmost and inevitably unerring textual meaning. Second, Ricoeurian hermeneutics perfectly focuses on textuality as well as illustrative semiotics-which is the case. Promotion of the textual analysis beyond their structural significance and seeming narration of the illustrations will not make included linguistic semantic elements steadily revealing about the illustrations. Interpretations even get muddled up when it comes to Near eastern poetic texts such as Hafiz’s works due to its plural aspects of meaning as well as unique expressive form of ode which fuel the interpretive ambiguity of associated illustrations and challenge the rationality of potential semiotic deductions. Semantic ambiguity due to lack of enough illustration-associated textual evidence, and also, obvious form and content association between illustrations and the words cause illustrations to be further seen as textual components rather than independent subject matters. Closer look at illustrations of Sam Mirza's custom version of Hafiz's Divan suggests that these paintings and the textual originality may not be truly divided. Text-dependent analyses of the paintings could definitely clarify the interpretations and this is precisely where they deviate from Ricoeur’s theory because the text is already seen as the genuine interpretive backbone and major analytical tool of the paintings. Finally, author-oriented- and other context-based approaches is suggested in case the interpreter is about to achieve coherent explanations of either word-independent illustrations.

The Seljuks, a Turkic dynasty of Central Asian nomadic origins, became the new rulers of the eastern Islamic lands following their defeat of the powerful Ghaznavids at the Battle of Dandanakan (1040). By 1055, the Seljuks had reached Baghdad, established themselves as the new protectors of the Abbasid caliphate and Sunni Islam Within fifty years, the Seljuks created a vast though relatively short-lived empire, encompassing all of Iran, Iraq, and much of Anatolia. By the close of the eleventh century, as the Seljuk realm became troubled due to internal conflicts and the division of the realm among heirs, the empire dissolved into separate territories governed by different branches of the dynasty. The main branch of the Seljuk house, the so-called Great Seljuks, maintained control over Iran. Under the Seljuk sultanate, Iran enjoyed a period of material and cultural prosperity, and the ingenuity in architecture and the arts during this period had a notable impact on later artistic developments. The Seljuk cultural and artistic efflorescence continued well beyond the sultanate's political influence. Turkic Seljuk rulers adopted and supported local Perso-Islamic traditions, and Seljuk art is recognized for weaving together Persian, Islamic, and Central Asian–Turkic elements. During this period, the arts of Iran gained distinction in the Islamic world. On the other; architecture and specific sculpture are unique in complex of Iranian Seljuk arts. One of the main and most important states in the realm of sculpture art forms related to "plaster sculptures" made during the "Seljuk" is. The statues in Islamic art history (especially before the advent of Islam in Iran) quite important because comprehensive and accurate information about the Islamic Seljuk art and sculpture are obtained. In addition to its many statues of Seljuk architecture and building designs and related synthetic techniques, and also designs and arrays persistent origin and transformed in Islamic art show. Also, to answer some of the questions are related to the art of sculpture in Iran after Islam. Stucco sculptures in the genealogies and histories of Seljuk art are obsolete. This is the kind of perfection that even a clear example and embodied the, in capacities including handy - Industrial Islamic civilization has been neglected and unpopular. So these examples that are opposed to the idea of the "iconography ban" Sharia and Islamic jurisprudence have been considered in Islamic civilization by artistic –industrial capacities (of this art). There are amount of noteworthy plaster statues of Seljuks era that show this art has been developed without any resistant. This research is a descriptive –analytical and deductive methods and check history position of plaster statues of Seljuk art. Also this study with the introduction of samples and production techniques attempt to achieve its real place in Iran art history. This research introduces local, national, and native symbols used in statues and plaster works and how to review the form influenced by other cultures deals. Seljuks plaster statues are live identifying of aesthetics and artistic crafts from one of the most influence period of Iranian Islamic civilization.

There is not adequate information available about traditional instruction system in the field of visual arts in the pre-modern period. Instruction of calligraphy can be considered as traditional instruction of art in a way that its guidelines and instructional texts are remained almost intact. Instruction of calligraphy is implemented in a professor-student procedure and is accompanied with various assignments and unique and unreplaceable guidance of the professor. In the present study, the author tried to explain instruction of calligraphy as a complete version of traditional instruction of (visual) art. The fundamental question of the present study is that how traditional instruction of art in the field of visual art and in the today’s common formats could be formed in the art education Departments. The method of instructing calligraphy can be helpful in this regard. In the instruction of calligraphy, each one of the assignments, namely theoretical, calligraphy pen and imaginary, meets a part of the student’s different educational needs. In theoretical assignments, in addition to studying the calligraphy of the professor for the goal of calligraphy and visual literacy of the student, also paying attention to the hand of the professor at the time of practicing example and scraping the calligraphy pen will help him/her to mentally and visually understand calligraphy and enjoy it as well. After doing theoretical assignment, it is the time for practicing calligraphy-pen assignment and using professor’s examples. The student should achieve enough expertise in recognizing seventeen elements and non-educational elements of calligraphy by practicing calligraphy-pen assignment. Therefore, the professor can convince himself that s/he is ready to learn the final stage of assignment, i.e., imaginary T assignment. Then the professor applies imaginary assignment for the student in order to strengthen his/her creativity in forming sound compositions. At this stage, as long as the professor decides, various assignments will always be practiced and tried. In general, the theoretical assignment is used to develop the mental viewpoints of the trainee; calligraphy-pen assignment is used for making the theoretical instructions practical and operational, designing figure of calligraphy on paper with an efficient method and finding the style of writing in calligraphy; at the end, imaginary assignment is used to run the creative power of the student and develop innovative compositions in calligraphy. Therefore, the calligrapher should try to achieve divine virtue until it reflects in his/her calligraphy like mirror. For the professor and the student avoiding immoral and evil features and getting close to God to achieve spiritual virtues are considered as the main issues for learning this art as the great calligraphers mentioned in their dissertations of ways of assignment that features of calligrapher will undoubtedly be reflected in his calligraphy. Its customs, assignments and instructional methods are sufficient to meet the educational needs of art students. The course of calligraphy instruction will be completed when the professor gives the graduation certificate of the student to him/her as a permission document to work. In this regard, calligraphy professors have prepared dissertations for instructing students that are called “customs of calligraphy or customs of assignment”.

The Hoard of Kalmakarreh includes hundreds of golden and silver wares that were incidentally discovered by a local hunter in 1987 at a northwest 20 kilometer distance to Pol-e Dokhtar in province of Lorestan. The collection includes a variety of dishes, Raytheon, human and animal sculptures, masks, plaques, jewelry, … that belongs to the Neo- Elamite (first millennium BC). This research led to the identification and documentation of objects in the Museum of the kalmakarreh Cave Treasure. It also investigates and analyzes the mythological motifs and symbolic ritual objects and religious beliefs and evolution were investigated. In this research, the link is part of the cultural/historical creators of these objects. Technically, metal art and symbology with other Iranian tribes and neighboring civilizations in the historical period, and then was evaluated. Concepts and symbolic motifs and mythological creature, symbolic figures (king and hero), mythological beings (supernatural beings and animals), the elements of nature (plants, herb and water), a wonderful ceremonial tools and objects of mythological beliefs and rituals these treasures, all explanations of thoughts, ideas and beliefs of their creators and owners, and their presence is evident in the metaphysical powers. The fundamental institutional Kalmakarreh mythological narrative of creation and negation of each other in a battle of light and dark and wonderful nature that inspired the creators of these works is amazing. It should be noted that this belief has never completely died out. This trend can be seen as aggressive in Kalmakarreh art with a new face and a tone, even up to today's the struggle between good and evil, odern belief is common Lor. These things are not just a simple artwork, In each of them, but there is a world of thoughts, beliefs, industry, art, lifestyle, beliefs and lies of any kind. The main question in this article form, technique and application of this kind of things? And that the objects of decoration on them is comparable to the concept of symbolic and mythical peoples them? In this study, analytic and inductive methods with emphasis on study designs and shape of objects is done. Observation, as well as visiting museums in the country and Internet search websites in foreign museums, comparative and historical documents and texts used. Kalmakarreh Cave Treasure classification of objects based on shape and applied to two kinds of concepts and mythological motifs are taken. This type of classification is both descriptive and interpretive aspects. The application is divided into two metal containers, decorative containers (ceremonial) ' ve shared and consumed. Appearance of Neo-Elamite inscriptions on some of these objects reveals their connection with the Neo-Elamite cultural horizon. Their unique specification is that they introduce a new dynasty in the western Iran in the 1st millennium BC that, in turn, plays a vital role for archeological researches on the outset of the Iranian historical era. Samaturra (Samati) rulers (Kalmakarreh Cave Treasure owners) as one of the independent states to Elam that emirates in the south of Lorestān in the 7th and the early 6th centuries BC.

Today, sustainable development has a key role in national policy. A strong case has been made for the need for communities to pursue economic, social, and environmental policies and practices that will reduce the risks associated with present practices, that will be sustainable in long run, and that will enhance the well-being of future generation. With this approach, many universities in Iran like other organization; try to explain sustainability requirements for future to improve the situation and promote sustainable development concepts. On the other hand, the largest concentration of higher education in Iran is on formal learning and planning of sustainability which consequently focus on formal learning spaces and cause inattention to informal learning spaces. The purpose of a university is to bring together diverse people and their ideas in an environment that create potential for intellectual and social exchange in cultural context. Therefore, this research focused on importance of outdoor furniture with sustainability approach and user- centered design (UCD) method in Iran University of Science and Technology (IUST) to respond to needs of student to interaction and participation in university environment. For successful user centered design method, all the parts of process have been planned and managed. This strategic activity was performed by bringing together in a meeting all the stakeholders relevant to the development, to create a common vision for how usability can support the project objectives. In the next step, all the users and other stakeholders have been identified, who may be impacted by the outdoor furniture. In this field, observation and interview with students in university was done in real condition. Thereupon, it was necessary to elicit existing furniture problems and identify context- of- use and using situation of Iran University of Science and Technology’s outdoor environments. According to this assay, user and university requirements have been specified by user requirement interviews. The result of interviews showed inappropriate outdoor furniture in Iran University of Science and Technology. After requirements elicitation and analysis, the samples of outdoor furniture at other universities have been studied from the viewpoints of color, shape, materials and their situation in environment. This research revealed the use of harmonic materials in outdoor furniture design with existing buildings in these universities. In the creative, idea generation phase of the problem solving process, brainstorming session brought a set of design and task expert to inspire each other. Finally one idea was selected and software prototyping was provided to create a greater level of realism than paper mockups. This set furniture has been inspired from Persian garden and its cross form to create closed loop. During this study, evaluation was conducted in several stages. In each stage; requirements of design was evaluated by experts and different users to identify and fix usability problems. The final concept was examined by end- users; that was included 25 men and women from each gender. The result showed that the final outdoor furniture concept has been able to satisfy users’ expectation considerably and lead institution of university toward sustainable development.

Language is the mind device to develop human’s perception from world and metaphor is the mind tool to extend the language, so poets and artists utilize metaphors to extend language and consequently mind’s perception of reality. As we know in movement from modern to postmodern era everything including art and culture encountered a variety of changes and one of these changes was emergence of metaphor and allegory in art pieces to develop this deferent interpretation of reality. Actually the elite class suggested these kind of solutions to confront the solo and gray voice of modern art. The objective of this survey is to define details of this changes in product language. In general metaphor is originated from the Greek root “metaphora” constituted from “meta” meaning beyond and “pherein” meaning conveying, technically this word means displacement of one phrase or word with another because of the similarity between them, as if the first one is exactly the second. However from a structuralist aspect metaphor is the displacement of an element from different context in syntagmatic axe, and Syntagmatic axe in this definition is the order of element organization in each language. Beside the concept of syntagmatic axe we have paradigmatic axe that checks the order of displacement of words for each other. When this kind of displacement happens from a different and unfamiliar context the metaphor shapes in the language and causes to extend the borders of it. In the field of product design, language of products obeys from special rules and to understand these rules the linguistic principles must be studied originally and these two fields – product linguistics and general linguistics – be adopted to each other. This article which has been written with descriptive – analytic approach attempts to define metaphor from structuralist view. At first the syntagmatic and paradigmatic axes are defined, the metaphor will be discussed with the model of text analysis by Roman Jacobson, the diagram of Offenbach about product language is considered as syntagmatic axe in this field and displacement of the elements in this diagram is discussed as metaphor in product language. Actually Products are analyzed as a piece of text. Consequently from a historical perspective of view emergence of metaphors in art and product design in first years of postmodern development will be discussed. The historical perspective of the survey includes the alterations that happened from 1970 and after that in Italy as Radical Design with the leadership of Ettore Sottsass, in Germany as anti – modern and New Design, In England in the Punk designer works, Ron Arad, and in Netherland with the author-oriented approach of Droog Design. However this kind of thinking about products helps designers to have completely different points of view in every aspect of design and provides infinite possibilities for them to create new products and ideas. Utilizing metaphors in designing products not only make them more attractive and interactive but also extend the experience of daily life for users in interaction with products through the language that has been expanded.