Motaleate-e Tatbiqi-e Honar
Year:2020 | Volume:9 | Issue:18 |Papers Count:8

Investigating and identifying the historical evolution of Islamic monuments indicate the continuity of traditions, in a way that Iranian-Islamic architecture has used traditions and patterns of the previous eras and evolved in each era compatible with changes and needs. This research studies mural decorations in two buildings of the Safavid era, Pirnia House in Naein and Ganjalikhan Caravanserai in Kerman. As these murals are considering as the finest examples of Safavid decorations and since the time of their built was close, these questions arise: what are the similarities and differences between their decorative elements? And whether there is a common feature in the contents of these two buildings? Few numbers of studies have been conducted in this subject, especially about GanjaliKhan building, and also deterioration of these wall paintings, show the necessity of a large-scale comparative study. The purpose of this research is to review and analyze these motifs based on their descriptions and comparisons. In addition to describing the visual aspects of decorations and the principles of aesthetics, this report tries to elaborate the overall structure, descriptions and details of these wall paintings and present them in analytical and comparative tables to show their similarities and differences and provide a basis for future studies. In this study, the comparative-analytical research method is used to evaluate and study these three themes of murals and collecting the information is done by field and library research method. The results show similar structure and composition of murals in both buildings and support this hypothesis that a common pattern has been used in these decorations that reminds the painting traditions of that era. Also, by considering the similar approach in designing both buildings, it seems that there is a common pattern in designing and implementing the motifs of two buildings.

This study investigates the correlation between Cartier Bresson’ s “ decisive moment” theory and “ Gestalt therapy” psychological theory formulated by Frederick Perls. They believed that each human being observes and perceives the nature of being according to his or her inner needs and from an individual point of view; therefore, in order to achieve a liberating and pure creation process, it is necessary that the mental structure, the sensory actions, and especially the seeing, align with consciousness focusing on the current domain, so that the individual is ready to record them at all times and to be attentive and loyal to what is happening, and to be faithful to this. The purpose of this paper, which has been carried out by descriptive-analytical and comparative method and its data was gathered by the documentary and library manner, is to analyze the two aspects of Gestalt Therapy and determine the moment by defining these two theories. Also, it tries to find out what factors are identifiable by the adaptable contexts of a mental health-related approach and the aesthetic perspective of visual aesthetics, and what structural similarity provides a comparative context for the two contexts. Based on the results obtained, improving one’ s communication skills and visual acumen requires the unification of the psychic layers deeper in the human entity and understanding the mechanisms of the human organism in now and the present. In other words, perception the being in time, the ebullience of existential consciousness, mental readiness, constant alertness and innate honesty, in addition to explaining the hidden nature of events, reveals facts about the origin of the thoughts and desires of the actor, which do not only make the human psyche in order, but also due to peerless creativity, we are less likely to see diminished and repetitive imitations in the art world.

Pictorial Rugs are one of the most important achievements of rug designing during the Qajar period and a relatively large collection of these rugs is a collection of Houshang Shah rugs, which at that time became the bedrock for Shah on time illustration in the form of Houshang Shah. During the Qajar period, this representation was repeated on a large scale (in terms of number and geographical distribution) on pictorial rugs. The formation of these works at the time of the Qajar period and their volume and variety led this research to study why and how King Zamaneh was represented under the name of Houshang Shah during the mentioned period. The present study tries to answer the following questions by considering these versions of Houshang Shahi’ s rug in the Qajar period and selecting one of them: Why did the rug weaver of Qajar era consider two characters from two completely different paradigms to be the same? What is the reason? The present study chose a comparative approach and selects the comparative mythology method and the Georges Douzil’ s trifunctional theory for studying the case of this research. Studying the case of this research is based on scholar resources and direct narrative texts, to analyze the data of this research in a systematic and methodical way. The result of this study, knowing that the design of Houshang Shahi rug is derived from the archaic discourse of its own times, shows that the designer of this particular rug has tried to design society’ s welfare by designing a classic system and establishing objective relations among members of the classes. It depends on the systematic unity of these classes. And this unity depends on the existence of a ruler that is self-sufficient in all fields, so that he can connect all elements of society and create an integrated whole.

Baysonghori Shahnameh and Ibrahim Mirza’ s Haft Awrang are two prominent works of Iranian paintings that have been illustrated in the great Khorasan region for more than a century, but almost in a geographical area. Given that, buildings’ decorations are worn out and destroyed over time, the illustrated manuscript containing buildings can serve as a visual document to identify architectural-related decorations in a geographical area. The questions that arise are, what is the position of the architecture and its decorative elements in the paintings? What are the similarities and differences in the architectural decoration of these two editions? The purpose of this research is to compare architectural decorations in two versions of painting indexes in Khorasan with more than a century interval. This research was a descriptive-analytical and comparative study and the data was gathered by the library research method. Six of the 22 paintings of the Baysonghori Shahnameh and 12 of the 28 Haft-Awrang architectural paintings were selected by purposeful sampling. The results show that the importance of architectural monuments in the Baysonghori Shahnameh is greater and the full screen is devoted to visualization of the building, but in the Haft Awrang paintings, the building is often part of the image and formed in combination with the natural elements. The inscriptions of the Baysonghori Shahnameh are the major element of the architecture of the building. But in the Haft Awrang they have a simple structure and are mostly decorative. The variety of colorful geometrical and plant motifs is more visible in the Haft Awrang. In the Haft Awrang wall paintings have a more prominent place, but in the Baysonghori Shahnameh the wall paintings are much dimmer.

This research tries to determine the aesthetic position of writing by focusing on the contrast of “ writing/image” in the works of Cy Towmbly and Fereydon Ave. Its main issue is finding the writing position based on the relationship between image and text under the aesthetic action of selected artists. This study was carried out by analytical-comparative method. The purpose of the study is reading, adapting and parallelizing Derrida’ s binary oppositions with the focus on the contrast between speech and writing of two artists in order to provide a basis for reading and of course comparing their individual styles. Interconnected classified concepts such as text and speech, presence and absence, looking and touching are selected from Derrida’ s ideas. Studying the similarities between the action and the product of aesthetic action of Cy Towmbly and Ave based on Derrida’ s ideas shows that both texts are used as neural scribble and intertwined lines, affecting and the pressure of the pen s troke, support infrastructure, scribbling the spontaneous writings and the use of scribbling as a barrier to representation. However, there are subtle differences in this tendency and using cultural factors, myths and various rituals between the two artists. The results show that the way of illustrating the works of two artists by crossing the hierarchy of images and writing, and relying on the aspect of the pressure of the pen stroke, uses it writing as the signifying process, presence and absence game and indefinable boundaries of drawing/painting conflicts. Both have dis tanced from purely visual arts differently based on aes thetic function of writing and with the spontaneous hand movements and touching the way of creating artworks.

Marriage certificates are classified as linear documents that have been written in both the scroll and booklet forms since Qajar era. These documents apart from their potential value and rich history contain valuable information regarding Qajar-era visual tastes and the principles governing writing, the arrangement and beauty of manuscripts. Each of the scroll and booklet types of these documents has their own unique system. This study investigates the scroll type of marriage certificates. The arrangement of these documents is inspired by the Qajar Qur’ an as well as the books of this period. The rules of drawing up the certificates in all examined samples are not fixed, except in general cases, each has its own structure. The layout is similar in most cases, but some changes in the ornamentation of the head are visible which are designed for each certificate. The square of the head is usually decorated with motifs such as flowers, chickens and embroidery. The authors attempted to answer these questions: What is the geometric system governing Qajar marriage certificates? What effect did the geometry principles of Abulvafa Buzjani, the fourth century A. H scientist on designing the manuscripts? The results of this study show that the rules of Buzjani geometry were observed in drawing tables and decorating the square of the head in the marriage certificates of that period of time. Determining the boundaries of the margins is in this way: the size of the table surfaces is a multiple of the whole, and the right margin is always larger than the left margin. Most likely, this classification was done to set the place of witnesses’ signature. The present study investigates three marriage certificates belonging to the Qajar era, by the descriptive-analytical method. In these do-cuments, nine principles of Buzjani’ s geometry system which include drawing octagonal in square, drawing square in a square with one half area, dividing lines into equal parts, drawing square, drawing parallel lines, drawing spiral, splitting segments, drawing right angle, and quadrilateral knot are investigated.

Throughout history, the reflection of the works of painting and graphic traditions of the cultures and nations on each other are constantly seen. These influences have been clearly visible during the reign of Timurid and the Herat school of painting, as the intellectual, cultural, literary and artistic structure of Iran has been affected by Central Asia. A sample of these illustrative effects can be found in the Manuscript of MirajNameh Shahrukhi (840 AH) with Buddhist traditional images and paintings from the Far East. Considering that in the version of the MirajNameh Shahrukhi, the verbal and non-verbal systems have complemented each other and the verbal system has adhered to numerous traditions in the story of the ascension and somehow contains the mythological concepts, these questions are arisen: 1. In which part of the MirajNameh Shahrukhi’ s paintings, painters have used visual intertextuality, specially the Far East, in the combination of visual elements and visual qualities of paintings? 2. How can we identify the same content and mythical infrastructures and the structural and formal similarities in this illustrated version and comparing them with the visual traditions of the Far East by the mythological approach? This paper was carried out by using the descriptive, analytical, comparative method and the data was gathered by using library resources. The main purpose of this study is first to identify and introduce similar motifs in hell pictures of the MirajNameh Shahrukhi and pictures associated with a Chinese Sutra called “ Holy Book of the Ten Kings” from the East Asia (China), then detecting similar myths in these pictures and revealing common content and mythical infrastructures of the pictures of this edition. Analysis indicate the commonalities in the formal elements of pictures in both bodies of study, including instruments of torture and punishment for sinners, and the similarities in the hidden myths section in pictures which can have a similar role.

During the turbulent period of forming political, social, and historical revolutions in the face of western art and culture, Qajar painting goes through old and new elements, and settles in a wide range of challenging and new concepts. One of these concepts is the functioning of the body which acts as a powerful semiotic sys tem in Qajar painting and in the direction of producing meaning, in dealing with “ non-culture” . Non-culture is one of the basic and practical terms in Yuri Lutman’ s cultural semiotic approach, which is opposed to culture. For Lutman, the most central concept is the semiosphere with the dual space: in such a way that the meaning is produced from the opposition of the dual concepts in this space. Therefore, this research aims to examine and compare the type of function and position of Fath-Ali Shah and Naser al-Din Shah’ s bodies in opposition to “ Non-culture” , with the purpose of using “ body-signs” in Lutman’ s cultural semiotics approach. The purpose of this study is explaining how both kings’ bodies are portrayed as their own bodies in the culture, in the face of another body within the “ non-culture” . This study is carried out through comparative-analytical method. The result of the analysis indicates that the cultural bodies of both kings in the discourse system of semiospheres in the face of “ non-culture” have unequal status towards each other. The image of Naser alDin Shah is constantly appearing towards another body within “ non-culture ” , and in the dialectic of his own body/ another body, is considered as “ close-body” , despite Fath-Ali Shah who avoids it. As a result, with the influence of “ non-culture” , the image of Naser al-Din Shah is more exposed to change and transformation than Fath-Ali Shah, and the cultural body of king gradually fades.