Motaleate-e Tatbiqi-e Honar
Year:2012 | Volume:2 | Issue:3|Papers Count:8

Based on the relation between the men’s jobs and their clothes during Safavid dynasty, the present study attempts to investigate the form of head wears. For this purpose it compares the descriptions in written sources with the frescoes of the Chehelsotoon palace in Isfahan. Because of a lack of proper descriptions or pictures in written sources, travelers’ notes are also taken as sources in this study.The structure of Safavid dynasty was like a pyramid which places the king at the top. Each member of government had his own head wear which reflected the status of its owner. Taj Heydary, symbol of ghoorshis or ghollars in the wars, was the most famous head wear made of redsoghralat with twelve parts. After Shah Ismail and Shah Tahmasb, it became a royal symbol worn by the princes. They used to decorate it with jewels and feathers and called it Toomar Taj.Mandilwas another head wear worn by players and dancers. It was made of Zarboft clothes with stripy or flowery designs. Holly people also used to wear a simple white Dolband.Another type of head wears, called Borak, made of leather and clothe was worn by Shaters and Jazayeris.This study concludes that one can find a proper government organization reflected in the head wears in Safavid era.

This essay deals with the Taoist (Daoist) aesthetics and its specificities. It is hypothesized that knowing Taoism will help us understand Chinese landscape painting. The present essay attempts therefore to show that Taoism has founded the theoretical basis of the aesthetics of Chinese landscape painting. According to Taoist teachings, painting, in its best, should be the medium of the Tao. That’s why it is aimed to clarify the fact that the painting is the adequate medium to “express” the Tao. The texts of Taoism tell us that the Tao cannot be communicated in language, yet Taoists saw in painting a powerful medium to convey the Taoist wisdom. An analysis of the composition of landscape painting shows us how the pictorial image could represent this wisdom adequately. Finally, it is concluded that the application of light and diffused colors, the ubiquitous vacuum and emptiness, and the absence of linear perspectives in Chinese landscape paintings indicate the influence of the Taoism in the Chinese artistic creation.

The “new art history” is a radical, critical and social interdisciplinary academic field which refers to historical, social, political and institutional “context-based” approaches formed in contrast with the idea of “art for art’s sake” and 20th century formalism (1875-1968). Formalism itself was born in opposition to Romanticism, and rejected the emphasis on content and context. It led at last to another aesthetic revolution which was a result of liberation from aesthetic despotism. The “new art history “ arose in 1968 within those notions of “art for society” developed, however in an unfinished and therefore unnoticed form, in the early 20th century by thinkers such as Arnold Hauser. The “new art history” followed their path because a tendency for replacing art in political and social contexts, in post-cultural studies such as post-Marxist, post-feminist, post-colonialist and analytical psychological theories, was indeed motivated by the idea of “Zeitgeist”. The methodology of the present study is based upon analysis, interpretation and evaluation of certain ideas, approaches and theories under the same titleas well as a new comparative/ analytical point-of-view based on Hegel’s dialectic interpretation. Also adifferent comparison will be made between two important historical periods, in case of contrasting with thesis or Formalism of 20th century and antithesis or considering content or context-based approaches in the 21st century, making a new synthesis of content and form in the contemporary world. The present study aims to prove manifestation of historical self-awareness of artists (philosophers, historians and critics) and entering into history domain (from comparative points of view which here is paying attention to social aspects of art) resulted from awareness; in position of knowledge and wisely determination appearing through a historical process with passing from deliberately experience way (based upon thought and not merely sense and form). In this way, a historical fate leads to a historical change in arts.

Shahnama’s stories have been illustrated by various artists in all periods of Iranian painting, and one frequent story to be illustrated there has been that of the battle of Fereydoon and Zahhak. In the Iranian context of Zahhak’s role as a destroyer of humanity, it will be pointed out that Zahhak’s Avestan counterpart isAzhiDahaka, who cruelly rules Iranshahr. Fereydoon strikes Zahhak down with his ox-headed mace; but does not kill him; on the advice of an angel, he binds Zahhāk and imprisons him in a cave underneath Mount Damavand.The present essay attempts to make a comparative study of seven versions of “Fereydoon and Zahhak” battle, illustrated in Safavid schools of painting. Since, in Safavid era, book illustrations were made in Mashhad, Tabriz, Isfahan and Shiraz, samples for analysis have been selected from these sites. Methodology of research is based upon a structural analysis of documents.After making a comparative analysis of the structure of folios, the most common properties discerned were their use of spiral compositions, emphasis on guidelines, square index and golden ratio, as well as the painter’s faithfulness to the text. However, they were different in the focal points of the pictures and the dynamic figures and colors.The present study aims to clarify the differences and similarities between graphic and structural compositions of illustrated folios of ‘Fereydoon and Zahhak battle’ in Safavid schools of painting.

This paper is a discourse analysis of “decontextualization” and “detextualization in “Naqsh-e-Jahā Square” in Isfahan. It ’is worth mentioning that decontextulization here is used to express transforming the original context of the text or being transformed-here the Square - and the formation of the new relations among the text and the new contextual elements, and as a result changing its function (s).This process might also be called “museumization”. “Detextualizatin” is used for transforming the text itself, in a way that some of the constituents, elements or structures inside the original text are replaced by some others in the text. The process of detextualiztion is somehow a shift of the dominant function of the text, from the function of “museum” to everyday use, i.e. “museumization”. These two processes, which occur diachronically, are studied together with some examples.

In this essay, authors have analyzed a textile sample kept in Moghaddam Museum of University of Tehran. The main purpose of this study is to analyze the motifs and weaving techniques as well as identifying the fibers by SEM and the pigment types by Fourier transform infrared spectroscopy (FTIR). Electronic microscope observations (SEM) show that the fabrics are silk and the weaving technique is Twill. The piece has Kufic inscriptions which can be dated back to Seljuq era, around 6 HA (12thcentury A.D.).It is among the rarely known Iranian textiles with (S) spin. Some experts believe that the textiles woven with (S) spin belong to Egypt. However, with regard to the lack of Iranian textile samples belonging recognizably to this era, a detailed study on such a valuable sample is evidently necessary.

This article is a comparative study of the hero’s journey in the myth of Gilgamesh and the film named The Deer. Mythologists use different morphological patterns for applying to various literary and cinematic texts.This study aims to investigate to what extent this pattern of the hero’s journey could be found in two works, one literary and the other cinematic. It seems that the film The Deer is similar to the myth of Gilgamesh in its content. In the absence of mythological studies on Persian new wave cinema, the main idea is to use Campbell’s model in an archetypal approach.According to the archetypal approach, three phases are recognized in the hero’s journey as “departure”, “initiation”, and “return”. The present study will analyze these three phases and will conclude that Campbell’s model is well applicable to both works while the film named The Deer shows more resemblance to Campbell’s model than the myth of Gilgamesh.