Motaleate-e Tatbiqi-e Honar
Year:2018 | Volume:7 | Issue:14 |Papers Count:10

Two arts, architecture and music from the beginning of history, have always had a lively presence in human life, in so far as it is difficult to determine the priority of each of them. The comparative study of these two artistic fields brings together common elements in architecture and music and their relationship with each other. It should be noted that the spatial range studied in this study is Italy and Central and Western Europe. The aim of the research is to answer these questions: Is there any relationship between music and architecture principles and aesthetics of the above-mentioned period? And the assumption is that there is research. However, in this era in which architecture influenced the music, are there any common factors between these two fields of art? It is assumed that architecture and music have also influenced many common factors existing between them. Investigating the matter through library studies based on descriptive method using documents library and study architectural sample image and audio samples of music stude is done. The result of the comparative study of architecture and music in the world confirms the hypotheses in the present study and shows that these two domains have commonalities in common, and demonstrates that these common characteristics of the movement in the Renaissance, which indicates their interaction is mutual.

Mirza Gholam Reza Isfahani (D. 1304 Ah) Qajar era’ s calligrapher, is a comprehensive personality with own way in Iran’ s calligraphic history, who is a unique calligrapher in Qajar era. Mirza Gholam Reza has been proficient at all common dengues and templates in calligraphy, and especially he has created a new way in black homework template. Gholam Hossein Amir Khani (B. 1318) is one of the most famous calligraphers in the contemporary era and also one of those artists that has picked up the combined way in different periods of his art life. Furthermore, in his works, there seen the trace of those great masters’ works like Safavid era famous calligrapher Mir Emad-Particularly Qajar era calligrapher Mohammad Reza Kalhor. In chalipa, we encounter clear differences in studying the works of Mirza Gholam Reza Isfahani and Amir Khani. Therefore, in this article, we study two crosses that have the same text. The goal of this article is to comparatively study and identify the style in the works of Gholam Reza Isfahani and Gholam Hossein Amir Khani. In this article, attempts were made to extract the used rules in writings of those two works due to the superficial similarity to specify the common aspects and structural differences. The comparison is according to what exists in calligraphy tradition; that is, firstly it studies the material calligraphy, then words and at last words compound and seats style of calligraphy in these two works. Since, in a chalipa work, important points and rules are hidden in the structure, the identification of this structure can help to extract correct information from Chalipa and Nastaliq calligraphy. This research is an applied research and has been done with descriptive-analytic method and the comparative approach, data collection is librarian method and the analysis is done through a qualitative to non-narrative method.

By textual critic, one can access to a greater knowledge of the subject matter. Among the types of criticism, Semiotics and through different theoretical views, Barthes’ Semiology points of view have been selected. Barthes continues Saussure Semiotics and promotes his univocal vision. He explicitly indicates three levels of meaning; denotation, connotation and myth. Concerning the development of Post-modern, attempts by designers to utilize metaphors and metonymies in product design, some designers achieved more success and got more attention to their designed products. Among those designers, Philippe Starck has been selected as an index designer. The question in this research is that which semiotic traits of Philippe Starck’ s works had made them special all around the world and different from other products? So this paper is an attempt to review and analysis of the Starck’ s works based on Barthes point of view. This study is a descriptive, analytical and comparative research whose data were collected through library and documentary. Part of the design selected and analyzed from the perspective of Semiotics Barthes said; the results shows that Starck tries to create new and innovative situations for his users and activate their minds to be creative and have some new experiments with his products. To get this purpose, he displaces Barthes’ levels of meaning. Typically, diverse products first start with Denotation, then Connotation and ultimately myths, but Starck experiences different ways in his works and uses these semantic levels in another way. This will challenge the minds of the audience and thus make the product lasting.

This article aims to introduce and study of “ drawing methods” in “ Eisa bahadori” and “ Javad Rostam Shirazi” works and also “ Isfahan fine arts high school” . This high school was the most important artistic place for educating of traditional arts, especially carpet designing. They were the first generation of Isfahan fine art high school carpet designer. This study tries to show how they did their artistic works and what were their methods, also try to answer to this question what are the similarities and differences between their methods? This is the first study to review their works with this view point. Detailed analysis of their works shows their usage nine steps in their works. The most important points are their methods for drawing “ eslimi” and “ khatayi” motives, each one of these artists have their personal method. Animal and birds motives are very decisive in understanding each method. The results of the study show they use four techniques: Conceptual motives, element composition, changing motives size and duplication of elements in their works. Rostam shirazi’ s methods based on drawing stuffy eslimid, big cluster, round flowers with many petals and grape leaf flowers. Eisa bahadoris method based on usage animal motives and combining that with khatayi and eslimid motives. He loves drawing several types of animal from unusual view point angle with soft outer lines and this is in contrast to Rostam’ s methods with exaggerated and violent lines and states.

This paper aims at studying art and traditional production in the rituals of Chivalry and their views on creating products. It also introduces sustainable design approach. And, in this comparative study, the similarities and differences between these two approaches have been discussed to find out their similarities and the potential for using it in today design approaches. For the possibility of using this view for today’ s design and production. In this study, the views and opinions of this traditional society in relation to the design and production are examined. This category of resources in the current situation of Iran and in Middle Eastern countries are very useful due to the change from tradition production to modern production and its damages. And the principles and practices of cultural reproduction are helpful for damaged Iran’ s contemporary design and production. This analytical and descriptive study was conducted using the resources and library data. And the method of logical reasoning to analyze the data. The most important hypothesis of this study is that Chivalry rituals has some similarities to view points of sustainable design which can be used in order to institutionalize this approach among Iranian designers, because of the similarities to their traditions & their field cultural. The main question of this paper is; what similarities and differences are between these two approaches. The result shows that there is similarities between Chivalry rituals and sustainable design which can be used to produce a new way to take advantage of this knowledge and traditional.

Iranian graphic designers made their first efforts to create modern logotypes, called Sar-Onvan (Subtitle), in Qajar era. These works, which are considered as important parts of the background of Iranian graphic design, worth adequate attention; through studying them, we may discover their special visual expressions leading us to a better understanding of the specific social situation in Qajar period. The other side of this comparative research focuses on the Constitutional poetry having direct relations with the primary discourse of the time. The main objective of this study is identifying the relation between pictorial logotypes and the cultural codes in Constitutional poetry is. This comparative study is a quantitative research with an intertextual approach. The human, animal, and vegetal codes as well as those which are related to some specific places and objects have been surveyed. These logos guide viewers from direct implications to the more implicit ones. This survey discusses the key question of how the main discourse of Qajar era, hidden in Constitutional poetry, is reflected in the logotypes. The conclusions may be divided into two parts, simplified as the visual expressions and the representation of the cultural codes. The findings show that the graphic designers used traditional Persian calligraphy, but they employed some techniques to achieve new visual expressions; these methods are simplification, highlighting, exaggeration, and rearranging the letters. Although the pictorial parts of the logos have been illustrated according to the title of the newspapers, the images excel them; the illustrations occupy more space and their artistic qualities are superior. The other finding of this research shows that the archaic cultural codes were reproduced in Constitutional poetry as well as the press logos; as a part of the dominant discourse of the time, the pictorial logotypes represented new forms and concepts of the ancient cultural codes.

The Quran’ s illumination forms are important parts of the Iranian illumination art. This research considers the recognition of the visual features of Quranic illumination in Qajar period. The motif, color and combination of the important factors of Quranic illumination are used to classify the illumination. These factors have been selected of the Qajar period in three versions of the illumination in the Qur’ an of the Qajar School is being studied and matched. These Quranic manuscripts are kept and encoded with (4), (41), (47) in the Malek National Library and Museum. The Calligrapher and the illuminator of (47) are Ashraf-al-Kottabe Isfahani and Fatah-Allahe Naghash, respectively. On the other hand, Calligraphers of (41) and (4) are Hussein Arsanjani and Alireza Partvoo Isfahani. The main aim of this research is to achieve the visual elements that are seen in the perfectionist style of Qajar Quranic illuminating art. The main question of this research is “ what are the visual features of the Quran Qajar period, and how are these characteristics analyzed and explained? ” The research method is descriptive-analytic. And the method of collecting information is field research and library one. The findings of this research indicate the difference in the type and reduction of the diversity in Eslimi and Khataei motifs; the luxury and expansiveness of the illumination in the primary and sometimes end pages of the Quranic verses of this period. The addition of elaborate and elegant crown-like symbols, and the plurality of narrow margins in the composition and application of brilliant, pure colors, especially the golden color, in the extensive range, is one of the important features of the Quranic illuminations.

Serious Computer Games are a kind of computer games that, in contrary to mainstream computer games’ industry, necessity of mercantile benefits, has less importance in their circle of production. Desired aim for producing Serious Games is making obvious informational, attitudinal, behavioral and cognitive changes in players in accord to definite pedagogical, educational, instructional, promotional, ideological and therapeutic goals. In this article, after suggesting a definition for serious games, we examine similarities of and differences between two theoretical traditions of game studies – Narrotology and Ludology – in analyzing computer games. Then, we study influence of aesthetic features of computer games in realization Serious Computer Games’ functions. To explain different aesthetic features of computer games, we applied theoretical framework of “ aesthetic functionalism” . According to central Idea of this theory, aesthetic properties in media texts emerges through considered applying of non-aesthetic properties that shapes textual structures. From this theoretical point of view, we evaluate explanations of Ludology and Narrotology theoretical tradition about non-aesthetic textual structure of computer games in a comparative manner. In this article, we suggest that studying textual structures of computer games is considerable in three separate (but interconnected) layers of “ signal” , “ narrative” and “ procedural” . Various non-aesthetic properties stimulate aesthetic properties in each layer. In final section of this article, the game “ Every day the same dream” as a case study of serious game was studied in theoretical approach to “ aesthetic functionalism” and through practicing analytical separating of triple layers of the text. Results of this study show that applying non-aesthetic properties in “ signal layer” of the game serves three aesthetic functions. In addition, applying non-aesthetic properties in “ narrative layer” serves three aesthetic functions too. Finally, “ procedural layer” of the game serves two aesthetic functions. Accumulation of these aesthetic functions serves to realization of main function and completion discursive boundaries of the text as a serious computer game.

Ascension (heavenly journey of Prophet Muhammad) is one of the most important religious issues that its representation was especially important in manuscripts of Islamic countries. In Timurid and Safavid periods, many painters worked in this field and famous people such as Kamal al-Din Behzad and Sultan Muhammad created fine works in the field. Due to the cultural relations with Safavid and Mughal court, Iranian painter transferred this art to India and ascension painting spread in India. The present theoretical and fundamental research aims at studying the evolution of Iranian Ascension paintings representations after spreading in Indian art. This study mainly investigates how Safavid and Mughal ascension paintings affected Indian paintings and how they were affected by Indians through comparing and contrasting visual features. The results of this research which is a descriptive and analytical research and is based on electronic and library resources suggest that the visual features of Mughal ascension paintings due to the duplication of Iranian books at first has been much in compliance with Iranian paintings and were accepted because of common cultural fields in india. But gradually with independence of Indian painters from Iranian painter teachings, the local elements appeared in Indian paintings. So that, in some cases they were out of the original story and Islamic essence and were combined with elements of Indian culture. In later periods, Mughal ascension paintings style spread to other Islamic countries including Iran and affected on ascension painting of this countries.