BAGH-E NAZAR
Year:2021 | Volume:17 | Issue:93|Papers Count:10

Problem statement: Urban billboards are one of the most effective advertising media and due to the way that visual elements are used in them, they play an important role in attracting the audience. The use of visual metaphors in this advertising medium is very important and its recognition depends on understanding the interaction between visual elements and the way the message is conveyed. Little research has been done on visual metaphors in the field of Iranian advertising, and therefore their performance has been less studied in this field of art. Research objective: The purpose of this study is to investigate the visual representation of metaphor in terms of structural features in advertising billboards in Tehran. In this regard, a social semiotic approach based on visual mechanisms has been adopted. In addition, metaphorical analysis of interactive meanings is also examined. The main research question is whether the visual metaphors used in advertising billboards can be considered in accordance with certain visual mechanisms. Research method: The research method used is descriptive-analytical. The purposeful selection of the statistical population includes 35 billboards in Tehran, the main design of which are visual metaphor. Conclusion: The metaphors used in billboards have played the role of messaging through the interaction of visual elements, which are compatible with the visual mechanisms of the social semiotic approach, and their representation consists of certain structural features. The results of the analysis of the purposeful statistical population consisting of 35 billboards in Tehran, show that all billboards comply with one of the mechanisms. The actional mechanism-which is realized by substituting the conventional element with an unconventional element-has been most used, and on the other hand, the classificational mechanism that have numerous visual elements; has been less used.

Problem statement: The long affinity between “ literature” and “ painting” in illuminated manuscripts has had an old and deep effect on the form and structure of Persian Painting. In the middle of the Safavid era, creating single-leaf miniature expanded increasingly. It seems that in this era, the connection and struggle between the medium of painting and literature found a new form; Therefore, examining the works of Mo’ in Mosavver, as the last real representative of the Isfahan school of painting, is of great importance in this regard. Research objective: The purpose of this study is to show how the historical connection between “ literature” and “ painting” evolved in at the later years of the Isfahan school of painting through a formal and structural evaluation of the relationship between “ image” and “ text” in the works of Mo’ in Mosavver. Research method: In this study, the paintings of Mo’ in Mosavver were examined using an analytical-comparative approach and the findings of this analysis were interpreted with a historical approach in the evolution of Persian painting in the middle of the Safavid era. Conclusion: The image of the “ pregnant moment” in the illuminated manuscripts of Mo’ in Mosavver represent a type of “ implied temporality” that reminds us of the sequence of verbal narrative actions. also in single-leaf miniature of Mo’ in Mosavver, a higher level of homogeneity can be observed between the medium, the content and the method of perception, since, apart from the narration, these works are limited to the arrangement of objects and beautiful figures. The traces of aesthetics deepening based on these works can be recognized in the miniatures of that era. These traces are seen where the number of figures and narrative micro-scripts are reduced in the images of these paintings and the painting focused more on illustrating the “ pregnant moment” . As a result, it seems that in Mo’ in Mosavver’ s works, the connection and struggle between the text and image can be considered as a movement from “ text” towards “ image” , his movement, which is also seen in the Isfahan school, found more chance for growth and expansion outside the court’ s conservative taste to create glorious and elegant illuminated literary manuscripts. This led to the creation of paintings with mimetic and stronger sensory aspects. At the time, this was reflection of a movement towards independence and further separation of the painting medium and from verbal narration.

Problem statement: The Razavi Holy Shrine Complex is one of the most prominent buildings in Iran from both religious and structural perspectives. However, the initial spatial layout of its very first building and the process of its physical expansion has not been studied yet. Thus, investigations on its initial structure and the primary stages of its expansion will significantly contribute to a broad understanding of the existing structure. Research objective: This study looks for the footprints of the initial building around the tomb, in the existing complex, intending to identify the spatial layout. Research method: Through an “ interpretive-historical” approach, this study investigates the initial spatial layout of the holy shrine around the tomb. To this end, a hypothesis has been made: the spatial layout of the initial mausoleum of Imam Reza (A. S. ), which was more complex than a simple (single) grave, has followed the spatial and morphological layouts of the Sassanid architecture. This hypothesis is firstly considered according to historical texts; through morphological investigations, it then looks for the footprints of the initial building around the tomb. The discovered layout is finally compared to several Sassanid and Early Islamic palaces. Based on these three investigations, the findings are ultimately reconciled. Conclusion: The results obtained from the investigations show that the structure of the initial building of the Razavi Holy Shrine Complex that is rooted in the Humayd Ibn Qahtaba’ s Palace, has possibly followed the architectural design of the Sassanid Palaces; the cruciform geometry (Dar-Al-Siyadah) beside the porch-shaped space (Dar-Al-Huffaz) bears a great resemblance to the spatial layouts of the Sassanid Palaces.

Problem statement: One of the main issues in social psychology is the study of values. “ Value as a guide of behavior” is a fundamental principle in social psychology. The history of this principle is almost one century. The study of values has also been incorporated into other disciplines, one of which is architecture. Since the 1970s, in the architectural realm, “ design as a reflective practice” has represented this view, nonetheless, the discussion of values is yet to be studied in Iran’ s architecture. This research sought to answer the following question: “ What are the main values of the experts of Iranian Architectural Design Society and What are the origins of these design values and what is the dominant value paradigm of this society” . Research objective: This study aimed to identify the prevailing pattern of values and intellectual and practical frameworks of the designers of the Iranian Architectural Design Society. This article seeks to clarify and examine the values, origins of values and ideas and practices consistent with the values of expert designers in society. Research method: The current research was a qualitative field study, in which the data was collected through in-depth semi-structured interviewing and analyzed using the grounded theory. “ MAXQDA 2018” was used to analyze the data. Conclusion: Results indicated “ Novelty” is the core value of expert designers, after which “ environmental, historical, traditional and social values” is of high significance to these designers. “ Contextual Futurism” is the term used to introduce the final set of values in its paradigm form. Designer values are shaped by the personal endeavor, academia and work in the profession. The acceptance of the elite is more important than the satisfaction of the users and the general public.

Problem statement: The study of the relationship between cinema and philosophy is one of the most important fields of interdisciplinary studies. Using the philosophical ideas of Western philosophers to read the works of Eastern artists can enhance the achievement of the values of artworks. Martin Heidegger’ s view and the use of his thoughts in reading the Acinematic works of Mohammad Reza Aslani is one of the new interdisciplinary topics between cinema and philosophy. Heidegger believes ‘ poetic-being’ is differentiated from other beings and emerges in language as “ the house of being” . The truth in poetic language is happening and emerging from being to becoming, furthermore the mentioned happening, from the origin of the art work to poetic dwelling of the artist in his work is an ongoing and current dynamic process. If we consider Acinema as a poetic art, a noticeable similarity with the vision and notion of Heidegger would be appeared. According to Lyotard`s view, the French contemporary philosopher, Acinema is an unconventional current in cinema in which two current, excessive movement and stillness. Mohammad Reza Aslani, as a filmmaker with his poetical and philosophical background, has builds up a movement in his films that by focusing on stillness concerning a deep thought through the world of images, reminds us the Heidegger`s idea of specifying the happening of truth. In one of his movie called ‘ Jâ m-e-Hassanlou’ (Hassanlou`s chalice, the story of a person who asks) that produced in 1967, he has tried to decipher the engravings on the chalice by the poetic description so as to build up an emerging of truth which Heidegger explained in his philosophy. It is worth to mention that Hassanlou`s chalice is amongst eminent artifacts of ancient Iran. Research objectives: Introducing Mohammad Reza Aslani`s Acinema as an epitome of truth`s happening in work of art based on Heidegger`s philosophy. Research method: The methodology of this research paper is based on descriptive-analytic approach where in gathering information, library method is used by referring to the visual works of Mohammad Reza Aslani, the contemporary Iranian filmmaker. Conclusion: Aslani, relying on the identification of Acinematic movement and by emphasizing on images with stillness, builds up a happening of truth in his works including two aspects of truth: happening and emerging of truth in the work itself and appearing of truth by the work itself.

Problem statement: According to researchers, lifestyle has a great impact on the introduction of behavioral patterns and mental tendencies and lifestyles of people in a society. In other words, the concept of lifestyle specifically represents the quality of life of individuals in a society. There have not been many studies on the architecture of Iranian residential houses in the Qajar era and its relationship with lifestyle. It also seems to be important due to climate changes and the diversities in residential architecture during the long Qajar period. This article tries to study the space discourse in relation to the lifestyle in Qajar era aristocratic houses of Mazandaran. Therefore, the main approach of this research is to understand the space in relation to lifestyle and its impact on the architectural space of houses. Because the houses of ordinary people are affected by the climate, the houses of the aristocracy have been studied. Research objective: This study aimed at investigating the effectiveness of the lifestyle of the aristocratic Qajar era people on the areas and spatial relations of their houses. Research method: Research sources are based on library and field studies, which are available in two categories: documentary and oral. To select the samples, all Qajar houses in Mazandaran that had documents and the possibility of field studies were examined. Conclusion: Lifestyle is categorized into social, economic, and cultural components and the impact of each of these components on the spatial relations structure of the samples was studied. After examining the placement of the spaces in the studied houses, by drawing a Justification graph by the space syntax software, they have been analyzed. The houses of each Qajar era were compared with each other and it was concluded that even the houses located in a similar period of the Qajar era were different in terms of type and number of spaces, depth of spaces and there are also differences in how spaces relate to each other and this difference was due to the social relations of the family, job and livelihood, etc. of the residents, which can be categorized based on these differences in different patterns.

Problem statement: A high number of tribal and rural carpets in Qazvin Province belong to different ethnic groups living in the area. Having continued their old tradition of weaving carpets in this area, Armenians are among the most important tribes and their cultural and tribal features can be seen in their handicrafts. On the other hand, climatic features have also played a major role on their culture and art after the shift to sedentary lifestyle. The aforementioned backgrounds raise the question that what features the combination of ethnic and climatic factors have resulted in for the Armenians hand-made carpets in Qazvin region. Research objective: identifying the carpets with Armenian plan in Qazvin, regarding their design and pattern, is the main aim of this research. This differentiates both the carpets with Armenian plan in Qazvin from the other carpets in the region, and the same plan in the other regions of Iran. Research method: most data used in this research is gathered through field study and for some of the historical observations, documents are also used. Research method is descriptive and analytic based on the application method. The data has also been analyzed through qualitative analysis. Based on the field study, all the available carpets with Armenian plan in the region of Kharaghan in Qazvin are in the universe of this study and 13 carpets from this region are chosen as samples. Conclusion: A common and general feature of the carpets with Armenian plans woven in the region of Kharaghan is the dependence of their plan and design on the carpets from Armenia. This feature is more frequent in Kharaghan in comparison to the other regions of Iran. The most particular features of the plan and design of the carpets with Armenian plan in Qazvin are the geometrical structure with broken lines, and emphasis on specific shapes like a church, cross and star which are rooted in this tribe’ s culture. The most common Armenian plans have thistles, dishes, flowers medallion and vases.

Problem statement: the manifestation of the intellectual structure of social classes of the society the artist belongs to, would be possible through social evaluation of the literary and artistic works of art which lights the way to reach the maximum possible conscience and collective worldview. New Governors is an outstanding work of art written in the intense atmosphere of the constitutional era in which not only reflects the written works and ideas of the author but also represents the worldview of a particular social class. Research objective: By evaluating the play New Governors, this article is intended to comprehend the essence of worldview and conscience of the class that created it, and consequently the dominant intellectual and social system of that era, and look at the revolution itself more deeply than just a purely historical study. One also can understand the comprehensive ideas causes the historic transformations and creations of prominent works of art from that time to the present. Research method: From a sociological point of view, this study has used the library method and has reread the text of the play in the framework of the basic theories of sociological critique by looking at the writings of Lucien Goldman and considering the class and economic systems of the constitutional era. Conclusion: In the view of the Iranian intellectuals, the worldview and signification are to see the many shortcomings and sicknesses of Iran and the way out of it is collective conscience and unity. By describing and comprehending the structure of the play, a representative has been selected for each of the classes, who in their fictional struggle scene, each of the opposite groups did their actions and reactions, but in the end the scales did not weigh in favor of the supporters of the law, therefore the end of the constitution and the intellectual class has been warned. Modern concepts, words, and semantic structures, such as freedom or theater which have been borrowed from the ideas and writings of earlier intellectuals, have not yet been institutionalized in Iranian social history and are on the verge of extinction in a fragile view like the isolated intellectual class itself. At the end of this study, other scholars interested in evaluating literary and artistic works of art were invited to rethink the cultural and historical foundations of Iran to reveal the structures of social thought of later periods to the present day in the study of various works of art.