@article{ author = {PiraviVanak, Marzieh and Ghahramani, Mohammad Bagher and Mazaherian, Hamed and Sayyad, Alirez}, title = {Cinematic Thinking and Fragmentation of the Imaginary Cultural Geography}, abstract ={In his discussion about the cultural treasures, Walter Benjamin argues that, “There is no document of civilization which is not at the same time a document of barbarism”. The most obvious instances of cultural treasures in Benjamin’s discussion are found in the monumental architecture, and the history has always shown that the rulers have been interested in these magnificent statements by stone. Benjamin’s argument challenges the dominant theory that seeks an ideal image of these magnificent architectural works in order to confirm the glorious cultural past, and by establishing this image, it could introduce these artworks as the expressions of cultural and national identity. Before Benjamin, Nietzsche had also derided this aspiration to admire great historical artworks and their interpretation in line with the historical progress. This perspective would challenge the triumphantly interpretation which suggests history as a moving forward and progressive process, because as Benjamin points out, every progression is associated by a catastrophe. The present article attempts by employing Benjamin’s discussion and by using of the cinematic thinking’s model suggested by Gilles Deleuze, revises the role of these architectural monuments in establishing national identity. By Taking advantage of montage technique in confrontation with these magnificent cultural documents, we can move toward more open horizons for interpreting these works.  Recalling the limitations of traditional historiography paradigms, the montage thinking can challenge dominant historical narratives in relation to art works. Discovering, reinterpretation and trying to put the neglected works alongside those magnificent documents, or re-reading of those glorious documents, irrespective of dominant ideological theories, could lead to the collapse of the totalizing system. As a result, with the decaying of the totalizing system and removing the ideological aura sprayed by the hegemonic power, “the Imaginary Cultural Geography” also converts to discrete scattered fragments.}, Keywords = {cinematic thinking, magnificent architectural works, cultural documents, montage, cultural imaginary geography}, volume = {7}, Number = {13}, pages = {1-14}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-388-en.html}, eprint = {http://mth.aui.ac.ir/article-1-388-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2017} } @article{ author = {Mafitabar, Ameneh and Kateb, Fatemeh and Hesami, Mansour}, title = {Study of Four Persian Paintings of Qajar Era according to the visual perception theory of Ernest Hanes Josef Gombrich’s (Case study: “Farhad carries Shirin’s horse on his back”)}, abstract ={The perception and interpretation of artworks take place in an interactional process so that it is not possible to separate one from another. A scientist like “Ernest Gombrich” propose this issue to refute the visual perception theory. From this point of view, one should be able to recognize the oneness of the themes in representative works of art that have a similar theme, regardless of differences in style personal background of the artist or his ability to real imaging. In the next step, provided that the work of art is connected to the literary text and through a dominance over written knowledge, it should prepare us with reaching to the occult meaning behind it. In order to investigate this approach, this study seeks for answering this question: “How would it be possible to understand the oneness between literary story and the interpretation of the pictorial content in four Qajar Pesian paintings of Farhad carrying Shirin’s horse on his back, with regard to Ernest Gombrich’s visual perception viewpoint?” With a comparative-analytical method and use of documentary studies, the authors’ objective is to illustrate, in a qualitative way and through an accurate attention to the unique stance of Gombrich in the field of visual perception, in first step and through comparing four Persian paintings of Farhad and Shirin, due to the existence of essential visual components, that the oneness of theme can be established despite the differences in style and presence or absence of some elements. Although the principal indices are depicted in different ways, in second step the depiction of some of the elements has been overlooked or the pomposity of some of the details has been increased, in comparing the depiction with the story narration, but the congruency between the pictorial signs and the theme is noticeable. The drawn conclusion is that in observing the general contexture of an image, perception and interpretation were perceived simultaneously. This is the phenomenon which allows the capability to recognize the figures and reaching tenors of depiction; as in depicting of one issue, human beings can consciously and through distinction of main components identify the oneness of the themes from different representation, a problem whose significance is revealed in visualized arts through selective studying in this inquiry.}, Keywords = {Qajar, Persian painting, Ernest Gombrich, Shirin &,,,,,,, Farhad}, volume = {7}, Number = {13}, pages = {15-32}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-683-en.html}, eprint = {http://mth.aui.ac.ir/article-1-683-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2017} } @article{ author = {Nasehi, Abouzar}, title = {Comparative Study of Scientific Depiction of Alhshaysh Version in Astan Quds Razavi and its Former Counterpart’s Versions}, abstract ={Alhashaysh is a perdurable opus written by the Greek famous medicine man, and one the main resources of zoology and phytology. Most Islamic scientists and medicine men exploited this book of interest as a reliable resource in their publications. The book has been frequently translated and copied in the Islamic civilization. The most important translation was that by M. Ben Mansour, the governor of Diyarbakir of Iran West in the sixth century.  Alhshaysh version of Astan Quds Razavi has been written in a clear artistic style and contains the title of contents, the name of different plants with 680 colorful images and 284 images of animals in dry lands as well as the marine ones whose name is seldom written in syriac language. This book consists of 272 pages having 19 lines, and 25 codices (tables of contents). The book is totally 285 pages with 46 cm length and width of 29 cm. as the last few pages has been lost, it was not clear if the name of author, depicter and the date and place of publication were even mentioned. The book is kept under the number of 7059 in Astan Quds Razavi museum.  Successive coping of the book led to a unique existence of styles and various schools of arts in depiction of final version of Alhashaysh of Razavi Quds Astan by Mehran Ben Mansour. Depicter of the version of Astan Quds has copied some images, due to his commitment to the resource version or probable lack of visual dominance over the animal and plant samples, unchanged and based on visual styles and perception of the artist. The author obtained the results through the comparative study versions as well as the description and analysis historical images.}, Keywords = {Alhshaysh, Astan Quds, Pedanius Dioscorides, Scientific Illustration }, volume = {7}, Number = {13}, pages = {33-46}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-809-en.html}, eprint = {http://mth.aui.ac.ir/article-1-809-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2017} } @article{ author = {Hosseini, Hashem}, title = {Introduction to recognition of Iran’s zoomorphic ceramic statues during 6th to 8th centuries after Hijrah}, abstract ={This study aims to introduce and survey some of Iran’s zoomorphic ceramic statues during 6th to 8th centuries after Hijrah, coincident with SELJUQ, KHARAZMSHAHID and ILKHANID  periods. The main object of the present study is to identify the most important formal and decorative features of Iran’s zooid sculptures during this period. Obviously, the study of different aspects of the aforementioned dimensions as well as the reasons for the boom in the construction of these statues during specific ages can enhance our qualitative and quantitative cognition toward these special artistic works in an Islamic art body. To this goal, 24 distinguished statues were selected from Iranian or foreign museums and were surveyed on the basis of above mentioned criteria. The major research questions in this project are: What are the reasons and domains of incidence of these forms in Iran’s Islamic middle centuries? What are the most important functions and techniques used in the construction and decoration of these zooid ceramic statues in Iran’s Islamic middle centuries? What are the similarities and differences of the aforementioned statues and those made in former periods and before the incidence of Islam in Iran?  The study was conducted in a descriptive -analytic methods and data were collected in a document library method.  According to the findings of the study, zooid ceramic statues of this era are divided into two categories; category of independent or integrative application and a category with no specified application or merely decorative one. The most current decorative techniques were luster ware, enamel and monochrome glaze. Also, despite the extensive patterning from ceramic statues of pre-Islamic eras in aspects of decoration and especially figures forms, they have major differences with them. So that most figures are in arabesque, geometrical, zooid and human forms and in rare cases, they are inscription like. Of course in some cases, the above mentioned were Combined and side by side. But about the forms of these statues, besides the patterning of pre-Islamic instances, are perhaps influenced from new religious, political and cultural domains of this era such as the lifestyle of newcomer migrants or some SELJUQ kings’ names like Toqrol (in hawk statues) and Alp Arsalan (in lion statues) or some astronomical concepts.}, Keywords = {Islamic period, 6th to 8th centuries after Hijrah, zoomorphic ceramic statues}, volume = {7}, Number = {13}, pages = {47-62}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-780-en.html}, eprint = {http://mth.aui.ac.ir/article-1-780-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2017} } @article{ author = {kameli, Shahrbanoo and Aminpoor, Ahm}, title = {Study of symbolic pictures of the Sun in mihrab and mihrab form Tombstones of 4th to 7th centuries of Hijri calendar}, abstract ={Mihrab and Mihrab form tombstones in Iran are important handmade structures which have different religious-ritual functions. Mihrab is the most important place in mosque for determining Qibla and tombstone, is a Specifications plate (name, birth, death, religion) as a sign of venerating the dead person. Mihrab tombstones are very similar to the Mihrab in terms of forms. Similarities of this type of handmade structure is not only in outward form but also is very obvious in the pictures used; like Quranic verses, supplications, arabesques and heliotrope. One of the most usual designs of this kind is the picture and symbol of the sun. This study aims to identify semantic components of the sun design and attempts to answer this question: In what forms, concepts, aspects of differences and similarities was the sun represented in Mihrabs and tombstones of 4th to 7th centuries of Hijri calendar, apart from the ritual function? Therefore, an attempt was made to identify and investigate their concepts and reveal similarities and dissimilarities of the sun symbols in a comparative-analytical method. Findings of the study show that sun picture has been used in different forms such as circle, cross, lilies and roundels in these handmade. Continuity of the sun pictures in these handmade structures represents Iranian-Islamic culture which was a symbol of light and lighting in ancient Iran wisdom (Ahouramazda) and was embodied after Islam as an allegory of divine light especially in roundels. Among the pictures, circle design has the most usage in Mihrab and lilies in tombstone. Roundels and cross designs had an impressive presence in Mihrab and had not been seen in tombstones.}, Keywords = {Chan par Flower, Cross, Mihrab tombstone, Roundels, Sun picture}, volume = {7}, Number = {13}, pages = {63-78}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-732-en.html}, eprint = {http://mth.aui.ac.ir/article-1-732-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2017} } @article{ author = {Hosseini, mehdi and Boozari, Ali}, title = {Comparative Research of Sani ol-Molk’s Works, Raphael’s the Madonna of Foligno and the Transfiguration}, abstract ={Abul-Hasan Gaffari, Sani ol-Molk, was a pioneer iconographer, book illustrator and painter in Qajar Period who created many works in portraiture, book illustration and lithography. His works had deeply influence the Iranian visual arts. He was the first art student sent to Italy to study the works of the Italian masters. After return, Sani ol-Molk exhibited his sketches to his pupils, at a college which founded himself. His pupils were eminent and influential artist who created a dominant macro policy of in the next decade. Through descriptive-analysis method, the main objective of this research is to answer this question: what were the consequences of Sani ol-Molk’ educational trip to Italy and studying and copying Renascence Masters’ works? Then, this research aims to explore and compare two works of Raphael copied by Sani ol-Molk with his late portraits by means of which it evaluates this influence on Sani ol-Molk’s portraits. The enhancement of Sani ol-Molk’s artistic skills that enables him to produce spirited active portraits can be regarded among the impacts on Abulhasan Qafari’s latest paintings. The other results of Sani ol-Molk trip were the inspiration and the use of European art motives such angels and divine figures. The latter was served in late works of Sani ol-Molk to imply divine and supernatural aurora to figures. Thus, it can be seen elements in this period of the artist career that show why the painter was ordered to portraiture models.}, Keywords = {Abul-Hasan Gaffari, Portrait, Qajar Panting, Raphael t,he Art of the Italian Renaissance}, volume = {7}, Number = {13}, pages = {79-92}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-812-en.html}, eprint = {http://mth.aui.ac.ir/article-1-812-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2017} } @article{ author = {SoltanKashefi, Jalaleddi}, title = {Comparison of paintings of Tower of Babel, miniatures of Behzad and a painting by Sahifeh Banu - similarities and differences}, abstract ={Since there are distinctive similarities and differences between miniatures and paintings of Tower of babel and Khovarnagh Palace, this research aims to uncover the seemingly hidden and obscured reasons behind it. To this end, this study examines and analyzes the visual structure of Persian miniatures in comparison to Western miniatures in order to find differences and similarities taken shape in Tower of Babel and Khovarnagh Palace. Hence, in this research, first the main question to be answered is;” Does the Persian miniature like Khovarnagh Palace  own the same ideologies and values the same as Tower of Babel in Western miniatures or due to various reasons, they have got some other thinking and interpretation? As the findings of this research, it has to be mentioned that, besides the differences, Persian miniature - rooted in an ancient oriental culture –has also a lot of similarities in comparison to western cultures and civilizations; such as avoiding void, characterization, gradient and shaping, removal of perspective, the use of unreal colors, and regarding the choice of subject matter, the use of historical buildings and the attention to working class people instead of a monarchy. Ultimately, as the obtained results, it should be said that impacts occurred by different landmasses regarding the variability of religious, traditional approaches as well as the social values of “time” are all matters which should be proceeded with. Thus, the created visual atmosphere guides the addressee to investigate the similarities and differences.  And changes in races, civilizations and cultures or even in various nations have a significant role in creating aforementioned points. Given the fact that factors and elements formed in “Persian miniature”, in addition to their differences, have also similarities with “European miniature” and particularly “Western painting”, thus in this comparison and inquiry, one can point out these differences and similarities between these artworks very well. Research method: Analytic –Descriptive method. References are taken from library resources and also, in some cases, from reliable internet websites.}, Keywords = {Jameh mosque in Samarkand, Khovarnagh Palace, Persian/Iranian Miniature, Tower of Babel, Western Miniature and Painting.}, volume = {7}, Number = {13}, pages = {93-112}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-781-en.html}, eprint = {http://mth.aui.ac.ir/article-1-781-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2017} } @article{ author = {Samanian, Samad and Pourafzal, Elham}, title = {Comparative Analysis of the Illumination Components of the Frontispieces in Shiraz School Manuscripts from Injuid Period to Timurid Period}, abstract ={The present study seeks for to examining the components of illumination of the Frontispieces in Injuid and Timurid Shiraz School. The aim of the study is to explain the main reasons in change of approach and dominant styles in illuminated manuscripts throughout a century within the identical origins. In addition, the present study compares the structural and formal characteristics of illuminated Frontispieces in these two historical periods. The present research study is sought to answer the following research questions: 1- Which domains were led to composition development and illuminated details of Frontispieces in Shiraz School within the period of 100 years? 2- What were the changes applied to the patterns of the illuminated Frontispieces in the Injuid dynasty of Shiraz School and Timurid Shiraz School? The study was conducted through a descriptive-analytical method. The results of the study indicate the inevitable impact of the kingdom on the art during these historical periods. Injuid dynasty’s illumination has been covert in Iranian identity and shaped on the basis of the established motifs in the former mental images. In this regard, the Timurid illumination has been built on the fusion of heritage and cultural standards of the city which has was alien to the accepted traditions. In Timurid period, cultural and economic policies, perfectionist inclinations of Shiraz rulers, total domination on the Transoxiania, prevalence of Nastaliqe fonts and individualistic attitudes based on illumination artist’s thoughts, have led to many changes of illumination within the century. These changes are formed in terms of the color tastes, development of the geometrical structures, and delicacy of the formal and different executive techniques. In fact, promulgates a united pattern and a disciplined structure in the realm of the illumination in Shiraz School in the first half of the 9th century A.H.}, Keywords = {Frontispieces, Illumination, Injuid, Shiraz school,Timurid }, volume = {7}, Number = {13}, pages = {113-132}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-721-en.html}, eprint = {http://mth.aui.ac.ir/article-1-721-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2017} } @article{ author = {Hassanpour, Naser and Soltanzadeh, Hossein and Bazrafkan, Kaveh}, title = {Comparative Study of the Role of Foreign Architects in Iran’s and Turkey’s Contemporary Architecture during 1920-79PB (1300-57SH)}, abstract ={In early twentieth century, political leaders of Turkey and Iran who noticed the backwardness of their country comparing to Western nations sought the solution in fast modernization through a western method. Development of construction methods, emerging functions and vast projects of construction in this era paved the way for the participation of Western experts and consultants of these countries. Presence of these architectures in Pahlavi era in Iran, contemporary with the years of the first Turkish republic until the 1980 Turkish coup d’état, caused modern period architecture in these countries to take distance from their historical background. This research attempts to explore the role of foreign architects and urban planners in the development of Iran’s and Turkey’s architecture, and the way they influence Iran’s and Turkey’s modern architecture through conducting a comparative study. Identifying the role of the architects in architectural developments and the way they are influenced by local and traditional architecture in Iran and Turkey have been questioned. Therefore, the research was conducted in two stages; first, through conducting a documentary study into modern architecture of Iran and Turkey, and then through performing a comparison between Iran and Turkey. The results of the research divided the role of foreign architects and city developers in the modern architectural developments of Iran and Turkey from 1920s to 1980s into two overall epochs, dealing with the comparison of the role of the architects in the two overall periods. According to the results of this study, the role of foreign architects and urbanists, whether in architectural education or in professional activities, was the same, while in the second period such similarity was not observed as it was influenced by domestic factors. Also the foreign architects in both countries have been influenced by the countries’ vernacular architecture.}, Keywords = {Comparative Sudy, Contemporary Architecture Avolution, Foreign Architetcts, Iran, Turkey}, volume = {7}, Number = {13}, pages = {133-148}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-704-en.html}, eprint = {http://mth.aui.ac.ir/article-1-704-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2017} } @article{ author = {Najafipor, Akram}, title = {Comparative study of Prefaces written by Doust Muhammad Gvashany Qutb al-Din Muhammad sources Safavid art}, abstract ={From among art history written sources in Iran, one can enumerate two prefaces in the Safavid era were written by a decade interval. One preamble is Doust Mohammad Gvashany’s on Bahram Mirza Album (952 AH) and the other is that written by Qutb al-Din Muhammad Shah Tahmasp Album (964 AH). Many authors in the Safavid era, exploited directly and/or indirectly these two prefaces ‘ content in order for writing books on calligraphy and painting. Quinn, the +author of Historical Writing book in the Reign of Shah ‘Abbas, believes that the authors have observed certain writing principles in these two prefaces such as references, the motives and reasons behind writing them and so on. This study, in a descriptive analytic method and based on library studies, aims at introducing two valuable prefaces of Iran art history’s written resources. Also, it seeks for answering this question: to what extent have Qesekhan been influenced by Doust Mohammad in writing the preamble? And attempts are made to this end for identifying the similarities and differences claimed by Quinn in these two prefaces. Among the differences raised between these two texts, is the difference in writing style and the absence of unity in authors’ attitude. Doust Mohammad, tells the story of calligraphy and painting in its historical process whereas Qesekhan seeks to create a literary text with an art history content. Although Doust Mohammad preface lacks some criteria, the authors both follow the principles which are counted by Quinn. Since the content of preface completes the other, the comparative study of them helps to remove some of the vague issues in Iran’s art history.}, Keywords = {Art written resources, Doust Mohammad, Qesekhan, Intro Album, Safavid era}, volume = {7}, Number = {13}, pages = {149-164}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-713-en.html}, eprint = {http://mth.aui.ac.ir/article-1-713-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2017} } @article{ author = {Mobini, Mahtab and Mirzakalhor, Ali and Zakerjafari, Narges}, title = {Common Aesthetic Elements in Architecture and Music (Renaissance Case Study)}, abstract ={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.}, Keywords = {Renaissance music, Renaissance architecture, common elements of music and architecture, aesthetics in architecture and music}, volume = {7}, Number = {14}, pages = {1-15}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-836-en.html}, eprint = {http://mth.aui.ac.ir/article-1-836-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2018} } @article{ author = {HosseiniRoshtkhar, Fereshte and RezaGhelichkhani, Hamid Reza and Nematibabaylou, Ali}, title = {Comparative Study of Analogous Cross Calligraphic Style by Gholam Reza Isfahani and Gholam Hossein Amir Khani}, abstract ={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.}, Keywords = { Calligraphy, Nastaliq, Gholam Reza Isfahani, Gholam Hossein Amir Khani, Chalipa}, volume = {7}, Number = {14}, pages = {17-29}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-823-en.html}, eprint = {http://mth.aui.ac.ir/article-1-823-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2018} } @article{ author = {Pourmand, Hassan-Ali and Ebrahimi, Sar}, title = {Semiotic Criticism of the Works of Philippe Stark from Barthes’ View}, abstract ={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.}, Keywords = {Semiotics, Barthes, Philippe Starck, Product Design}, volume = {7}, Number = {14}, pages = {31-42}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-843-en.html}, eprint = {http://mth.aui.ac.ir/article-1-843-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2018} } @article{ author = {Navidinezhad, kaveh and Yazdanpanah, Has}, title = {Comparative Study of “javad rostam shirazi” and “Eisa bahadori” Methods in Isfahan carpet designing with an Emphasis on Mortifying Methods}, abstract ={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.}, Keywords = {Isfahan fine art high school, Isfahan carpet stylistic, carpet designing method, mortifying, Eisa bahadori,Javad rostam shirazi}, volume = {7}, Number = {14}, pages = {43-57}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-954-en.html}, eprint = {http://mth.aui.ac.ir/article-1-954-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2018} } @article{ author = {Najafi, Nafiseh and Afhami, Rez}, title = {A Survey on Analogy between Sustainable Design Approach and Production of Iran’s Traditional Islamic Chivalry rituals}, abstract ={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.}, Keywords = {Sustainable design, Islamic Chivalry rituals, Magnanimity letters, traditional design and production}, volume = {7}, Number = {14}, pages = {59-69}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-742-en.html}, eprint = {http://mth.aui.ac.ir/article-1-742-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2018} } @article{ author = {Lari, Maryam}, title = {A Comparative Study on the Press Pictorial Logotypes and the Cultural Codes in Constitutional Poetry in Qajar Era}, abstract ={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.}, Keywords = { Pictorial Logotypes, Qajar Newspapers, Cultural Codes, Constitutional Poetry, Intertextual Approach}, volume = {7}, Number = {14}, pages = {71-82}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-938-en.html}, eprint = {http://mth.aui.ac.ir/article-1-938-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2018} } @article{ author = {SedighiIsfahani, Zahra and NajjarpoorJabbari, Samad and KhajehAhmadAttari, Alirez}, title = {Matching the Illuminations of three Versions of Quran Qajar Period with an Emphasis on their Visual Features}, abstract ={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.}, Keywords = {Quran, Illustration, Qajar period, visual features, composition}, volume = {7}, Number = {14}, pages = {83-99}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-941-en.html}, eprint = {http://mth.aui.ac.ir/article-1-941-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2018} } @article{ author = {Kowsari, Masoud and Taheri, Ari}, title = {A Comparative Study from Viewpoints of “Ludology” and “Narrotology” to Analysis of Aesthetic Modalities of Serious Games}, abstract ={Serious Computer Games are a kind of computer games that in contrary of mainstream computer games’ industry, necessity of mercantile benefits has less importance in their circle of production. Desired aim for producing Serious Games is make obvious informational, attitudinal, behavioral and cognitive changes in players in according to definite pedagogical, educational, instructional, promotional, ideological and therapeutic goals. In this article, after suggest 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 evaluating 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 were studied in theoretical approach to "aesthetic functionalism" and through practicing analytical separating of triple layers of the text. Results shows, 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.}, Keywords = {Serious Games, Ludology, Narrotology, Aesthetic Functionalism, ",,Every day the same dream",,}, volume = {7}, Number = {14}, pages = {101-119}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-867-en.html}, eprint = {http://mth.aui.ac.ir/article-1-867-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2018} } @article{ author = {Foroghini, Maryam and Dadvar, Abolghasem}, title = {A Comparative Study of Visual Features Interaction in Safavid and Mughal Acension Paintings}, abstract ={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.}, Keywords = {Safavid, Mughal, Ascension painting, Visual features interaction}, volume = {7}, Number = {14}, pages = {121-135}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-840-en.html}, eprint = {http://mth.aui.ac.ir/article-1-840-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2018} }