RESEARCH LETTER OF VISUAL ARTS
Year:2011 | Volume:1 | Issue:1|Papers Count:7

In this article, the position and interactive relation between ceramics and industrial design with a more emphasize on theoretical domain, styles of industrial design and production are discussed with an aim to elaborate and define its creative and applied aspects. As the capabilities of ceramic are mostly ignored by the product designers as compared with other materials, proving the value equality of ceramic with that of metal and plastic has been made from the viewpoint of its unique features through technical and character comparison among various categories of materials. Due to the fact that ceramic is a multidimensional material, therefore, defining and emphasizing on the importance of its technical and artistic nature is considered as the important goals of this article. This has much similarity with the multidimensional feature of the industrial design profession. The study of creative application method of ceramic in product design by using its unique feature and its coexistence with other materials are the applied and significant aspects through this article. In addition, ceramic, due to technical specific feature, traditional nature and agreement with environment enjoys an ability to be adapted with attitudes such as sustainable design, emotion-oriented design and minimal and single-oriented designs. With regard to these cases, the period of product life (in particular its last period) is of specific significance. Amid these, the method of material selection by designer has a key role with a considerable impact on the duration of product life and its applications.

This article is an attempt to present an introduction to the Fatimid government in Egypt and visual arts in particular the evolutionary course of Kufic script at that territory. The method of research and data collection was mainly based on using library sources. In collecting the data, efforts were made to translate the Arabic texts and in some case the Latin texts into the Persian or review the respective Persian texts. In the course of 209 years of sovereignty in Egypt, the Fatimid spent at least half of their government period in a constructive process in different political and social areas and devoted their time to the development of art. Experts and authorities to some extent have ignored the Egyptians’ arts and its flourishing state at Fatimid age. Therefore, it is necessary to make a multilateral review of what the Fatimid produced in the artistic domain. There is no doubt that the age of Fatimid was the age of thriving state of Islamic art in Egypt in which Islamic art and architecture reached their peak of glory. Though the materials presented in this article is short but it can familiarize us with the new findings of researches on the Fatimid›s art. At the end of the article, we will see that the origin of the primary Arabic script is the same Nabti script, which in the course of time underwent certain changes in particular at the early days of Islam and was known as Kufic script. The Fatimid Shiite of the Egypt along with Iranian and Arab artists has had the highest rate of professional work on the promotion of aestheticism of Islamic art and Kufic script.

Obtaining from a descriptive/analytical research and based on a professional experiences of the author, this article surveys and discusses the negative atmosphere existed historically in portrayal works and graphics as well as represents the existing standpoints around it. The relationships between Gestalt’s visual perceptive principals including background and pattern, similarity, contiguity, unity and continuity and the negative atmosphere are also explained. Then, William’s designing principal (contiguity, alignment, repetition and contrast (resulted from aforementioned quintuplet principals are expressed illustratively. Furthermore, Von Restorff’s effect and its relation with this negative atmosphere are addressed. Finally, the state and importance of this negative atmosphere in graphic works such as signs, posters, book covers, advertisement in press and so forth are elucidated. In all of the foregoing works, the negative atmosphere is as dominant as positive atmosphere being the shape of work.

About a century after Safavid period, the tendency towards Shiite religious motifs culminated at Qajar court. In those ages, the effort of Qajar kings to justify and confirm their sovereignty as a result of support extended to religious ceremonies and activities and agreement with religious trends made religion one of the strong social base in the public culture to bring art under its influence, (the art which had found an opportunity to reflect beliefs of the public culture. The art of Iranian painting, which was frequently being supported by the courts, found also a public position. It was such that the public painting could reflect the people’s beliefs in religious motifs in the public and religious places such as Hoseiniyeh, Tekyeh and sacred shrines. At that age, one important factor, which had a great impact on the religious minds of painters and naturally the growth and evolution of religious painting, was playing Ta’ziyeh because of Shiite beliefs of the society of that age. The prevailing motifs in the visual arts of Qajar period in particular after Fathali Shah served as a reflection of aestheticism and an image of events being performed in Ta’ziyeh. While referring to the factors influencing the growth of painting at Qajar period, this article is an attempt to review the wall-painting of religious places which are under the influence of Shiite motifs in Ta’ziyeh and tries to show what kind of interaction had been in place between the dramatic form and visual form of religious beliefs in religious wall-painting of that age.

This article is an attempt to study the implicational mechanisms involved in motivating functions of texts by using layer phenomenological method and studying different layers of the texts including: lingual and visual layers and analyzing the signs of multimedia texts of hand made and machine made carpets’ propagations. The authors believe that the texts have ideological functions through reference to inter-text network of culture and projection of settled and historical values in parts of culture on commodity under propagation. They produce belief towards that commodity (carpet) and show it as a natural and real belief. The texts under consideration are samples of billboards related to the propagation of hand made and machine made carpets, which were posted through December 2008 to January 2010 in Tehran. The authors have tried to study the mythological and ideological implications of these propagations through studying the inner text layers and inter-text relations and the network of implications, thereby they have tried to study some aspects of the contemporary culture. The research showed that the propagation of hand made carpets tries to motivate its addressees via production of phenomenological values through implication of concepts of nobility, aristocracy and wealth. At the same time, in the case of machine made carpets (with the exception of one case), the main method is to motivate the presentation, to escape from cultural static norms by displaying non-static conditions, lack of gravitation, passion and lust and also resorting to scientific dialogues.

The Land Art took shape as a new trend following the minimal-oriented and conceptual artistic currents in 1960’s. Many of the Land Art works in 1970’s show motifs which have roots in primitive communities and ancient cultures. The Land artists were dissatisfied with the formation of the latter modern art which was emerged as a minimal-oriented art. Inspired by primitive motifs and rites, they presented their arts in the nature and regions far from cities. In land Arts, various types of shapes are observed in spiral, circular or line forms whose method of presentation in the natural bed-ground are similar to the arts of primitive communities. The rituals related to worship the angels; astronomy and understanding of time and entity are also manifested in the Land Art. This article intends to cultivate the influence of primitive motifs on “Land Art” and primary samples of existing motifs in this art. Considering these questions (what is the relationship between the Land Art and Primitive Art? and what are the roots of old models of existing motifs in the Land Art?), efforts are made to search for the primitive and ancient motifs in Land Art. Responding to the above-mentioned questions, this hypothesis is put that the motifs related to primitive and eastern rituals have a prevailing presence in the Land Art. The Land Art is a return to primary samples and concepts which had existed in primitive and eastern arts. The type of this research is of the qualitative one and its methodology is descriptive and the written and visual data collection was made in library and field forms.

The main orientation of artistic education, which is introduced by art production, is to create learning situations in which learning happens through integration of perceptual knowledge, conceptual knowledge and procedural knowledge in order to make artwork. The most eminent theoretician who emphasizes on this approach in the field of educating art is Howard Gardner. Gardner’s theory sought to broaden the range of human abilities, which are considered as multiple intelligences. According to Gardner, in order to develop students’ abilities, none of them should be neglected; one of these ways is to get students involved in a group of correlated activities to produce artistic works. Gardner asserted that different kinds of intelligence can be used dependently or independently in creating and appreciating artistic works and the result is placing more emphasis on different artistic forms. Concept of producing artistic works will be clarified by defining its different aspects in this field such as; value and idea and further it will be proceeded by its role among propounded approaches in the realm of teaching art.