Motaleate-e Tatbiqi-e Honar
Year:2014 | Volume:4 | Issue:7|Papers Count:9

The continuous happening of natural processes has provided various landscapes on the earth. Due to its special dynamism, Iran has landscapes in which notable differences are observable. Difference in landscape has led to various lands in the natural arena of Iran and consequently special social structures have been created in it each of which has particular rules and organization for its stability. Some components of such stability pertain to different aspects of their art such as hand-woven carpet. As a local art, such carpet has particular dimensions of spatial identity in social lands of Iran that, while having common features in all mentioned lands, has obvious disparities derived from disparity of spatial identity in each of them.Accordingly, this study aims to explore new dimensions of spatial influences on such art by using systematic analysis as well as Niche space and Lound method in the field of interdisciplinary studies, and answer the following question: how much have the landscape differences resulted from environmental processes influenced the formation of Iranian social lands and the art of hand-woven carpet of such people?The results of this study show that one of the important factors in the organization of Iran’s lands, especially central Iran, is their changing environmental components. This is obvious in the artistic disparities of such societies to the extent that disparity of carpet art has emerged with different degrees in them. In this regard, there is most disparity in urban societies whereas the least disparity belongs to rural societies.

The present paper attempts to compare the role of narrative canons in the development of story and drama focusing on some prevalent theoretical patterns in organizing the voices and composing the opus. The polyphonic narrative points to a literary or dramatic text in which a few different discoursal threads explain and display an event simultaneously. In this kind of literary narrative, the narrator plays two or more roles and applies various narrative levels to organize and develop the event. Therefore, the narrator’s voice seldom appears in a dominant position over other characters’ voice in the literary or dramatic world but it is perfectly along with other voices. Assuming that one may find some creative aspects of the narrator as an organizer of various narrative levels in the Iranian contemporary literature, the present research offers an analytical comparison of the polyphonic aspects in The Last Play of the Lady (2009), a novel by Belqeis Soleimani, and Afra or Day Passes (2006), a play by Bahram Beizai. In this regard, we have referred to the most crucial tenets of Mikhail Bakhtin concerning the polyphonic literature and considered the special position of novel amongst various modern literary genres. The qualitative evaluation of the polyphonic items confirms the realization of polyphonic experience in the two samples based on the existence of numerous group voices, monopoly rupture in narrator role as a cast, flexible and fluid strains of the literary or dramatic narration and the way of voice distribution among the two works.

Compared to its past, a fundamental transformation occurred in making various glazes and utilizing coloring materials for ceramic works and pottery during the Islamic era in Iran. Numerous terms for such materials are seen in the ancient texts written by scientists and authors of that era but a complete and full identification and introduction of them has not yet been presented. The important point is that a lot of ceramic production techniques and its raw materials are brought in those texts, study of which sometimes provides proper solutions for technicians. But the applied terms in them are conventional words that are not used much today. This has made understanding of these texts difficult for the readers since scientific words are mostly used for these materials in today’s research sources. Hence, it seems that identification of these terms is quite essential in facilitating the reading of ancient texts which provide great help in restoration of traditional arts.Primarily, this article deals with analyzing and introducing new words for the raw materials in coloration of glazes. Then, identification of ancient words used in the Islamic era is introduced via using ancient texts. Finally, comparison of ancient and new terms is done by qualitative analysis of the data that is an answer to the following questions: what coloring materials did our ancestors use for glazes? are those materials applied today in production of glazes? In addition to providing the synonyms for many old terms that could aid in reading old texts and achieving the ancestors’ production methods for various types of glazes, the results of this study show that the diversity of ancient words for each glaze coloring material was more than the diversity of new terms but a lot of those words are forgotten today and have been replaced by new chemical science terms. Also, it is mentioned that the new identified compositions were not used in ancient glazes and thus the terms for them have no equivalent in the past.

Despite numerous efforts for improving the process of architecture design in recent decades there has been seldom proposed clear solutions for architecture design in line with helping the nature. Thus, it seems necessary to explore, compare and analyze the available samples and works of great architects in order to derive their design strategies in confrontation with nature and gain some clues for enticing the imagination of designers for using them. Based on the assumption that analyzing and comparing two different attitudes to nature in architecture design can provide some nature-oriented strategies, this research aims to compare the dynamic form-oriented approach of the Spanish academic architect, Santiago Calatrava, with space-oriented approach of the Japanese experimental architect, Tadao Ando, to the nature. Meanwhile, in addition to investigating the masterpieces of the two architects, some of the nature-derived components of their designs are elicited and classified. This research is descriptive-analytic and uses a comparative method. Indeed, using such method as well as library and electronic sources, the authors try to investigate the responses of the two architects to natural factors like natural forces, context, type of the advancement of their architecture into nature, the quality of using light etc. Exploration and comparison of nature-inspired approaches in their works reveals the contextual feature of nature of which each architect has a different reading according to his personal, scientific, cultural and social background. Also, while classifying the patterns of using nature in their works, a number of elements and strategies for better application of nature to entice the imagination of designers have been proposed; strategies like selection of site inside the nature, infiltration of light into the building, physical penetration into nature, visual penetration into nature, combining the space with natural elements, creating dynamic landscape, inspiration from trees, birds, animals and animate beings, and integration and connection with surrounding environment.

In Qajar period, foreign countries (Europe and China) dominated markets of Iran and other Muslim countries with their inexpensive exports. With growing imports in the 19th century (13-14 AH) many native industries of Iran declined. Potteries and ceramics of the Qajar period were not exception to such influences and their production was limited to domestic markets and in many cases they were influenced by imported samples.The aim of this paper is to analyse and compare types of ceramics (15 domestic samples and 18 foreign samples) in Qajar period and investigate the impacts of imported ones on the design and motif of Iranian samples. In this regard, the following question is raised:What influences have the foreign ceramics had on motif and design of domestic potteries and ceramics in Qajar period?These effects are considered in four categories: blue and white potteries (especially ones made in Nain), Enamelled porcelains inspired from Chinese imported samples, potteries imitated from Iznik samples and polychrome ceramic wares.Research results show that in the first three groups of this classification the direct effects on design and motif are quite obvious. However, in some cases, indirect effects can be observed as well. But in the fourth group, these effects are almost indirect. That is to say, they reflect the influence of European painting principles such as nudism, using perspective principles, European landscapes and scenes of human life on Qajar painting.The method of this article is descriptive-analytical and the data has been gathered via library and field methods.

In the past, Takyeh was a place with different functions such as residence of Sufis and poor people as well as a place for Ta’zieh ritual. Takht-e-Foolad of Isfahan is one of the places in which many Takyehs were built from pre-Safavid to contemporary era. It is one of the oldest cemeteries in the Islamic world. In the past, Takyehs of Takht-e-Foolad were a place for residence of Sufis and scholars as well as a place for seminary and then a place for burying these persons. Thus, there has been built tombs for them and gradually other people were buried there as well. In this research, we aim to study the architecture of these Takyehs from Safavid to Qajar eras. The aim of this study is to introduce Takyehs of each era, the features of their architecture and the comparative study of them in this area in Safavid and Qajar eras.The main question is: What are the similarities and differences of Takaya of Takht-e-Foolad of Isfahan in these two eras? The research methodology is historic-descriptive and collection of data includes both library and field observation of Takyehs and then qualitative analysis of the data is carried out. From the findings of this study we can indicate to the similarity in hierarchy, the fabric of tombs, the kind of arches, the structure of roofs, the kind of used materials, the similarity of decorations and their place in Takaya of these two eras. Differences between them are in the prominence of portal and use of inscription in Safavid era, and the use of flat roof, curved arcs, stone, lithography and placing of tombs on platform in Qajar era.

The Sassanid ribbons, as one of the most important features for the recognition of art in that era, are seen abundantly on bas-reliefs, clothes and silver bowls. We can see some samples of these ribbons in the early Islamic period. The purpose of this research is to identify such ribbons and their influence on Islamic art. According to this purpose, the following questions are raised: What are the main features of the Sassanid ribbons? Have the Islamic ribbons used on the paintings, textiles and silver vessels been taken from Sassanid samples? In which Islamic periods have these ribbons been more prominent? This research tries to prove the influences of Sassanid ribbons on Islamic art by collecting information from libraries and documents and using the analytical-comparative method which compares the application, function and features of Sassanid ribbons with Islamic ones. To achieve this goal, some mentioned ribbons were presented and a comparative analysis was done between the patterns with ribbons related to Sassanid period and the ones related to the early centuries of Islam and the impact of Sassanid ribbons on Islamic art with nearly equal characteristics was investigated. Thus, features such as “raging and spread from beginning to the end” are used exactly in the Islamic period, and in the feature “royal peculiar being” only the concept of king has changed to the caliph or emir. Any way, sanctity and special position of these ribbons have been preserved. By showing the reasons of these influences, the condition of entrance of Sassanid ribbons into Islamic world is explained. Such adoption can be observed in different artistic fields from the beginning of Islamic period up to the late Seljuk period. However, the role of Umayyads, Abbasids, Samanids and Al-e Buyeis is more significant in these influences.

The staggering development of technology and industry and fading of spirituality in the human life in recent decades have led to more attention to metaphysics and search of meaning for life whose consequences have been manifested the most in cinema. In Iran, paying attention to spiritual and holy affairs increased during the imposed war. Meanwhile, Morteza Avini was one of those who tried to propose a new type of cinema which matches the spiritual aspects of Holy Defence. Thus, instead of using traditional method of narrative, he applied new methods based on intuition and illumination and used the name intuitive cinema for it. The gradual prominence of spirituality in cinematic works caused new cinematic genres like religious, conceptual, metaphysical and transcendental to be born in the arena of Iranian cinema.Accordingly, the main issue of this research is a comparative study of intuitive and conceptual cinema. Thus, first, the notion of intuitive cinema has been explored with regard to Avini ideas. Then, different definitions and views about conceptual cinema and similar genres have been proposed and its features have been investigated by providing several examples. Finally, the two cinematic genres were compared.This study applies analytical-library method as well as documentary investigation and comparative analysis. The results of this study show that the production of conceptual cinema and definitions of intuitive cinema, though having fundamental difference in their attitude towards spirituality, are similar in some issues such as positive and benevolent attitude towards the world and also reminding the existence of God to the audience.

Diversity in design, size and role of filigree works in museums and written historical sources raises questions one of which is what artistic and historical periods have the most effect on the change of form and design of filigree works? And from what period has the present filigree making become prevalent? Answering such questions, the researchers have chosen two time spans of pre-Islamic and post-Islamic filigree making due to specific cultural, religious and political characteristics of such periods.Then, focusing on performative and decorative techniques, form and design of existent works in the two periods were investigated and compared separately and diachronically via descriptive-analytic method.In addition to documenting the formation stages of motifs from the third millennium (BC) until the end of Qajar time and stating the construction technique of filigree works, the findings of this study after comparing show that twisted and untwisted laces used in ornaments of ancient Persia have entered the arena of art-industry as an independent art called filigree after passing fundamental transformations. After that, such art passed different stages of its evolution in Safavid, Afshari, Zandieh and Qajar eras.