@article{ author = {Afhami, Reza and Ahmadian, Seyedehbentolho}, title = {The Figural Composition and Subject in Iranian Miniatures: A case study of Shah Tahmasb’s Shahnama}, abstract ={Shah Tahmasb’s Shahnama, one of the richest collections of Persian painting, has been a valuable source of images for researchers. Cooperation of the famous Persian artists participating in the preparation of this manuscript has demonstrated the importance of this piece of art. The purpose of this article is to find a visual based on the connection between the subject and the composition concerning paintings in this manuscript. In this study, there are two important questions; how is the configuration influenced by the subject in each miniature and has there been a specific pattern for designers to follow in order to start painting for each topic? An analytical - comparative method of research along with fieldwork- library data collection has been chosen. In this study, first, all images have been categorized based on their topics and then structure analysis of all images has been done to achieve the main composition for each miniature. In the next stage, a set of basic patterns is achieved using Gestalt theory and the comparative data leads to the formation of a specific structure.}, Keywords = {Theme, Configuration, Structure, Shah Tahmaspi Shahnama, Safavid Minature}, volume = {5}, Number = {10}, pages = {1-16}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-171-en.html}, eprint = {http://mth.aui.ac.ir/article-1-171-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2016} } @article{ author = {karimi, parastou and shateri, mitr}, title = {The Story of “Bahram Gur and Kanizak” in the Mirror of Literature and Art}, abstract ={Many ancient Iranian stories are artistically emblazoned by poets as well as painters and artists. The story of Bahram Gur’s hunting trip with his slave girl- Kanizak- is among a number of anecdotes about the life of the Sassanid king that has been told differently by various sources. Comparisons of the details have taken distinct art forms and descriptions. With poets like Ferdowsi and Nezami, who have chronicled the diversities and common grounds of this subject; we are able to appreciate the effect and the possible influence of their poems on the art forms. In this research, which was based on descriptive and comlerative methods, after further review of Ferdowsi and Nezami’s expressions of the story of Bahram and Azadeh, the related images have been categorized in two parts: the pre-Islamic artifacts/relics and the Islamic period. Images depicted in ceramic, metal, and tile works were separately evaluated and noted to correspond with the lyrical works.It is also shown that this anecdote has been famous during a long period in a vast area. The resemblance between details in Ferdowsi’s descriptions and pre-Islamic  images suggests the likelihood of error in dating those artworks or the probability that Ferdosi had access to images as the resource. About the Islamic period it is shown that Ferdosi’s narration of this story has been more famous than other narrations including Nizami’s.}, Keywords = {Bahram Gur, Shahnameh, Haft-Gonbad, paiting, pottery Metal, tile}, volume = {5}, Number = {10}, pages = {17-34}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-221-en.html}, eprint = {http://mth.aui.ac.ir/article-1-221-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2016} } @article{ author = {Hisseini, Mehdi}, title = {Introducing Models of Teaching for Visual Art Criticism Courses}, abstract ={Art criticism, defined as informed dialogue about the work of art, and an attempt to elucidate its meaning, is an activity based on principles, methodologies, procedures and theoretical frameworks which altogether make the practice of criticism possible. There are various, and mainly subjective, approaches to the art criticism practice. This variety makes it remarkably difficult to elicit and define inclusive and practical models for teaching art criticism systematically. Although educators still disagree about the nature and methods of teaching art criticism, they have nevertheless developed a number of valuable and functional models. With a descriptive approach, this article examines four major models for teaching art criticism, all developed in the U.S. Universities, and mostly based on the tradition of analytic philosophy. Edmund Burke Feldman’s model includes four stages of description, formal analysis, interpretation and evaluation. With an emphasis on personal and emotional encounter with the work of art, Tom Anderson defines his model based on seven interrelated procedures: reaction, representation, formal analysis, formal characterization, personal interpretation, contextual analysis, and synthesis. In Inductive method of teaching art criticism, Robert D. Clements suggests a scientific approach in which the main phases are observing main facts, devising a hypothesis, and testing the hypothesis against the new evidence. Noël Carroll’s model, in an endeavor to expand and augment Feldman’s, comprises stages of description, categorization, elucidation, analysis, interpretation and evaluation. He places evaluation at the top of critical operation. Although teaching visual art criticism as a creative act cannot be reduced to prescriptive formula, a systematic methodology might pave available the grounds for the sparks of imagination as well as the development of critical thinking skills.}, Keywords = {Art Criticism Education, Metacriticism, Feldman, Anderson, Clements, Carol}, volume = {5}, Number = {10}, pages = {35-50}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-380-en.html}, eprint = {http://mth.aui.ac.ir/article-1-380-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2016} } @article{ author = {emadi, mohammadreza and Ashoori, . Mohammad Taghi and KafshchianMoghadam, asghar}, title = {Mohammadreza Emadi* Mohammad Taghi Ashoori **Asghar Kafshchian Moghadam}, abstract ={The murals painting designs have always had a interwoven relationship with place and the citizen. In the current period, the murals paintings in public spaces of Isfahan in most cases triggers on the citizens’ sense of place as the main audience for this kind of work which is not in conflict with the principles governing the structure of their historical background. For the same reason, in this research with the objective of studying the painting form and content, in the mural painting art, the versatility offered by the identity component of the public spaces of Isfahan in the current period is given to the citizens. Therefore, the main question is how to adopt the identity component place with mural painting designs using mural paintings; and the other question focuses on the respondent’s perception of values. For this purpose, by utilizing the intertextual approach, the relationship between the polygonal wall painting depicting the location and the citizen’s perception of the environment is addressed by analyzing the range of prior texts and intertextuality. The findings indicates that a major part of the citizen’s perception is related to their surronding and constituent elements, like the mural painting designs which are taken from the ideas that directly linked with concrete and tangible realities in the physical environment, nature of activities, individual, and social relationship. For the same reason, lack of adaptability of most mural painting works in designing and implementation of designs suiting to a location in the current public spaces of Isfahan is rooted in conflicts causing form and content disruptions in the place identity component, like prior texts and intertextuality in time synchronization.}, Keywords = {Isfahan, Mural painting motifs, Audience-oriented, Beauty & image, Adaptability & identity place, Current period}, volume = {5}, Number = {10}, pages = {51-66}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-292-en.html}, eprint = {http://mth.aui.ac.ir/article-1-292-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2016} } @article{ author = {Attarian, Koorosh and Momeni, Koorosh and Masudi, Zohreh}, title = {The study of Courtyard Proportions in Safavid Mosques of Isfahan}, abstract ={Numbers and geometrical divisions, due to the inherent charming principles in their background are considered by the ancients. But in recent architecture after the first Pahlavi era to the present, less attention has been paid to the numeral relations and proportions and has not benefited from an exact reproduction of the original proportions to achieve beauty. The authors of the study aimed to examine the descriptive analysis of the proportions of the courtyards of the mosque built in Safavid dynasty. Safavid mosques of Isfahan since it was considered that Iranian Islamic architecture reached its peak in this period and Isfahan was the capital of these kind of manifesting itself. This study reviewed the changes in the proportions and features of the Safavid mosque courtyard to reveal what proportion or ratio exists between the sides of the courtyard of the mosque there. The mosques of the Safavid dynasty were divided into three categories at the history and governance perspective. Of each period, three mosques were analyzed based on the distribution of the selected period. Research method in this research is inductive that due to the non-randomness of the samples study, the analysis used semi- experimental method and also dimensions and scales of mosque courtyards were studied proportionally. The data collection method of research is librarian method and also study documentation and the analysis of maps and image data of buildings. The results show that the ratio between length and width dimensions courtyard of the mosque is closer to 1.118 proportions and Iranian Peymon proportions has been used in the overall dimensions of the mosque courtyard.}, Keywords = {Safavid, Isfahan Mosque, Courtyard of Mosques, Proportion }, volume = {5}, Number = {10}, pages = {67-82}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-192-en.html}, eprint = {http://mth.aui.ac.ir/article-1-192-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2016} } @article{ author = {shabani, atiyeh and mahmoudi, fattaneh}, title = {Comparative Atudy of Turfan and Warqa – Golshah’s paintings in Seljuk Era}, abstract ={Warqa – Golshah is the first illustrated story that ever has been written in the fourth and first half of the fifth century. This story is a collection that embodies a mixture of love and epic. First Manichaean sources that researchers reached in East Central Asian region is Turfan paintings. Turfan Manichaean paintings can be seen in two distinct styles:  1. Asian style painting in particular, an Iranian-style visible in Islamic period   2. Chinese style, in fabrics and wall paintings in China. The purpose of this study is to evaluate the characteristics of the Manichaean miniature in Turfan and Warqa – Golshah paintings in Seljuk period. Therefore, some paintings that are less damaged were studied and analyzed to determine the characteristics of the Seljuk’s era painting. The research question is that what elements of Turfan Manichaean paintings are in Warqa – Golshah paintings in the Seljuk period? Research Methodology is Descriptive analysis and to improve the hypothesis a comparative method of the visual elements of paintings was used. After comparing Warqa – Golshah paintings  with murals found in Turfan, it was found that the continuation of the motifs, themes, and decorative elements in the paintings, faces, expressions and clothing of Turfan Manichaean murals in the Muslim Seljuk period,  and miniature paintings  of  Golshah that were studied in this research, is quite evident}, Keywords = {Seljuk painting, Manichean art, Turfan, Warqa – Golshah.}, volume = {5}, Number = {10}, pages = {83-96}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-186-en.html}, eprint = {http://mth.aui.ac.ir/article-1-186-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2016} } @article{ author = {mehdizadeh, alirez}, title = {Paintings analysis of the “conquest of Khaybar”: Related to Timurid, Turkmen and Safavid periods}, abstract ={Khyber event has a dominant, important and symbolic position for the Shiites. The event is represented on the painting version of various eras in different ways. In this study, three paintings of the conquest of Khaybar were analyzed which were related to Timurid (historical sketch), Turkmen (KHAVARAN-NAME), and Safavi periods (Falname) based on Shiite discourses (Twelve Imams). Shiite discourse is a coherent body of concepts, beliefs, and traditions which has dominated thoughts, feelings, words and actions, and has shaped them, and reasonably it is expected that is realized in the Shiite-themed paintings. Hence, in the study of desired paintings, these questions are arisen, “which painting represents Shi’a discourse of conquest of Khaybar event? Does the mere representation and presence of Shiite personality in these paintings can be considered as the Shia paintings? Also, specifying the discourse represented in every painting and identifying the main characteristic of Shia paintings are considered as the objectives of this research. Therefore, the content and form of the paintings have been examined and visual elements and symbols used in each painting are described and analyzed in line with the Shiite discourse. The research method is comparative-analytical-descriptive, and information was collected by using the library method. It can be concluded that one of the important characteristics to identify and assess the main paintings of Shia is the representation of the themes based on of the Shia dialogue, which should be emerged in the content and form of works. Among the analyzed paintings, this important feature is emerged in the painting of conquest of Khaybar in the Safavid period (Falname), which for this purpose, specific painter, signs, symbols and measures are employed.}, Keywords = {the Conquest of Khaybar Paintings, Timurid, Turkmen and Safavid Periods, Shiite Discourse, Shiite Paintings}, volume = {5}, Number = {10}, pages = {97-108}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-405-en.html}, eprint = {http://mth.aui.ac.ir/article-1-405-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2016} } @article{ author = {Eskandarnejad, Ghazal and Khaki, Mohammadrez}, title = {The Effects of Socio-historical Factors in Iranian Qajar Dynasty on Development of the Nassery Era’s Ta’zieh}, abstract ={Ta’zieh is one of the religious forms of the Iranian drama which has been flourished in Qajar dynasty and more specifically in Nassery era according to the researchers of the Iranian drama field. They believe that the main reasons for this development in Qajar dynasty are sustainment of the Shi’ite religious authority from Safavid dynasty on and establishment of temporary as well as permanent Tekies (places for religious ceremonies) such as the Tekie-ye-Dolat. However, some researchers suggest the efficacy of the country’s socio-historical conditions in this type of drama. Although such viewpoints have been restricted to some cases, they confirm the effectiveness of these conditions on formation of this kind of traditional-ceremonial drams. Appearance of Sociology in the 18th century and the development of the social sciences in the following centuries made the critics present a sociological interpretation of various art forms. The aim of this study is to determine the socio-historical characteristics of the Nassery Era and to explain the sociological reasons for the considerable development of the Ta’zieh in this period of time. This study is a descriptive-analytical study conducted using the theories of the sociology of art which provides an irrefrangible relation between the art and the socio-historical conditions of each era. The aim of the present study is to investigate and present the view of society in Qajar dynasty and its effects on flourishing of Ta’zieh in Nassery era.}, Keywords = {Art sociology, Ta’zieh, Safavid Dynesty, Qajar Dynasty.}, volume = {5}, Number = {10}, pages = {109-120}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-210-en.html}, eprint = {http://mth.aui.ac.ir/article-1-210-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2016} } @article{ author = {mousavilar, ashrafosadat and mafitabar, ameneh}, title = {Comparative Study in the Painting Components of Qajar Period and“Emad al-Kottab” Shahnameh}, abstract ={The Qajar paintings can be categorized into two main periods: the first period, initiated at the beginning of the reign of Fath-Ali Shah and continued until the reign of Naser al-din Shah. It focuses on the combination of ornamental and Persian painting forms with the achievements of naturalist art such as perspective principle and its important feature is the total domination of Persian art. In the second period, initiated from the reign of Naser al-din Shah and the arrival of those artists who had been trained in Europe, the painting is based on the representation of the naturalist art of the west and its main feature is an attempt to exactly imitate the principles of atmospheric perspective. The “Emad Al-Kottab” Shahnameh is a product of the second period; although it belongs to the Mozaffar Al-din Shah period as the last handwritten and illustrated version of Shahnameh, it reflects faithfully the pictorial traditions of the first half of Qajar period. The question here is what Qajar school’s paintings of Emad-Al-Kottab Shahnameh are based on? The present research is aimed at comparing illustrations at Emad-Al-Kottab Shahnameh with components of the first and second Qajar painting schools. To do so, and after remarking Qajar painting elements, five Persian paintings from Emad-Al-Kottab Ahahnameh are selected and investigated through a descriptive-analytic methodology. Two illustrations are first delineated, then, three paintings of Emad-Al-Kottab Shahnameh are compared with their counterparts at other Qajar Shahnameh, including Davari Shahnameh. As the investigations show that although Emad-Al-Kottab illustrations are created through the second half of Qajar reign, elements such as faces with no individuality, the dominance of ornamental elements, use of clear warm colors, and simple landscapes reveal influences of the first Qajar school. A comparison of Emad-Al-Kottab illustrations with those of Davari Shahnameh, which was created right before Emad-Al-Kottab, rejects any other reasoning, including the influence of taste of that time and the impossibility of the entrance of western art techniques into the book’s illustration.}, Keywords = {Comparision, Qajar, Painting, Shahname, Emad al-Kottab, Mohammad Davari.}, volume = {5}, Number = {10}, pages = {121-139}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-248-en.html}, eprint = {http://mth.aui.ac.ir/article-1-248-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2016} } @article{ author = {QayyoomiBidhendi, Mehrdad and Goldar, Fatemeh}, title = {The History of Art based on the Artist in Two Worlds: The Beginning of Art History in the West and Iran}, abstract ={In the West, the history of writing on art goes back to the classical antiquity but writing art history began with Giorgio Vasari’s 16th-century pioneering work on the artists’ biographies. In the present article, the authors follow the preliminary conditions that led to the birth and development of art history in the western world. The first important comparison is between the birth time of art history’s writing in the West and in the Iranian world, and the second is related to the axis on which art histories in the two worlds have been organized. We know that the first art histories in Europe were organized on the basis of artists’ lives. This pattern remained as the dominant model of art history for many centuries. Thinking on the neglected dimensions of art in this pattern led some of the art historians to new patterns of art history, including the idea of “art history without names”. On the other hand, in Iran, a genre of writing that can be called a kind of art history began in 10th AH/16th AD century. Art historiography in Iran was in the form of adab (principles) treatises, tadhkirahs (biographies) and prefaces to albums of calligraphies and miniatures. Most of these works were organized on the basis of persons, especially artists. Warp and woof of the art history in these treatises is a network consisted of the longitudinal axes of master-apprentice chains and the transverse axes of contemporary apprentices of each master. Art critique, explanation of art principles, and some marginal notes on the social and cultural context complete this network. One can find some resemblances between these early art historical texts in the two European and Iranian worlds. The most important resemblance is their organization on the basis of artists. However, they have many radical differences rooted in their different view of the world, human being, art, past and present.}, Keywords = {Art history, Tazkira, Art treatise, Album Preface, Renaissance}, volume = {5}, Number = {9}, pages = {1-12}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-116-en.html}, eprint = {http://mth.aui.ac.ir/article-1-116-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2015} } @article{ author = {Balandeh, Mahmou}, title = {The relation of improvisation in music & Social character of improviser}, abstract ={This research investigates the relation of social practices and behavior of the musician or singer with the quality of his improvisation in the field of music. Using analytic method and field study, it explores the views of two groups of interviewees in the form of two separate statistical communities. The first sample consists of outstanding teachers of music in sixties and nineties which deals with the behavior of the musician from his own perspective by using the results of questionnaire (1). The second sample consists of students in the music school and free classes of music which studies the social practices and behavior of musicians from the perspective of students by using questionnaire (2). This study aims to validate the hypothesis that improvisation is an intrinsic art and is highly dependent on personal characteristics of the musician and singer. The analysis and comparison of the answers of the two groups indicates that social practices, the behavior of improviser, the manner of speaking and social assimilation of the improviser all have significant relationship with the quality of the musician or singer improvisation. Moreover, the analysis of findings show that there is a significant difference between personal characteristics of the improvisers and accompanists and, consequently, besides instructing general skills of music, the students should be classed into two groups of soloists and accompanists based on their personal features and intrinsic abilities, and each group should follow a special educational program. The main aim is to recognize the relation of social behavior of the improviser with the ability of real-time creation of music and using it in the process of scientific instruction of music students.}, Keywords = {improvisation, behavior, social practices, improvised music}, volume = {5}, Number = {9}, pages = {13-24}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-89-en.html}, eprint = {http://mth.aui.ac.ir/article-1-89-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2015} } @article{ author = {Nazeri, Afsaneh and Darouei, Parisa and Asgari, Karim and Ghaei, Saleh}, title = {The Relation between Visual Associations of a Random Fixed Cardboard Piece and Introversion-Extroversion as well as the Level of Creativity in a Group of Visual Artists}, abstract ={The mental visual association of a vague and shapeless form may happen for anybody but only an artist can make an objective form out of it through drawing.  This article studies the relationship between the visual associations of a random cardboard piece as the pattern drawn by the artists and the type of their personality as well as the level of their creativity. The samples consist of 80 artists in different educational levels including BA, MA and PhD in the Art University of Isfahan and Isfahan Painters Association that were selected by convenience sampling. A white piece of cardboard with an identical random form was given to samples on which they were asked to draw their visual association. Then, they were asked to answer a questionnaire made by the researcher along with Eysenck personality test and Torrance creativity test. This research is a quantitative study using correlation method and its data was analyzed drawing on descriptive-statistical and deductive techniques as well as SPSS software. The results of this study show that there is a significant relation between the type of personality, creativity and visual association; that is, the samples with higher level of creativity had higher personal sensitivity and were more extrovert relative to lower-creativity samples. The results also show that among various themes acquired from visual association of the cardboard piece only the association of “the man in hat” has a significant relation with the form of the piece so that the samples with higher level of creativity drew different themes whereas samples with lower level of creativity tended more to draw “the man in hat” theme. Moreover, amongst the samples, extrovert persons outnumbered other groups. The most prominent difference between extroverts and introverts lies in the association and drawing of “the man in hat” theme in which extroverts outnumbered other groups. There is also a significant relationship between the feeling of motion and various visual associations which may be due to the state or form of the piece. Hence, it could be suggested that there is a significant relation between the type of personality (introversion or extroversion), creativity and visual association among visual artists.}, Keywords = {creativity, extroversion-introversion, visual associations, artist.}, volume = {5}, Number = {9}, pages = {25-34}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-125-en.html}, eprint = {http://mth.aui.ac.ir/article-1-125-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2015} } @article{ author = {Hassanzadeh, Hessam}, title = {A Comparative Study of Graphic Design Curriculum of Undergraduate Program in Iran and Selected Art Universities in the World}, abstract ={Curriculum is an essential component of any educational system and there is significant correlation between efficient curriculum and able graduates. Using comparative method, this paper investigates and analyzes undergraduate graphic design curriculum in Iran and ten art universities in the world. Recent developments in the field of graphic design have offered new approaches for the education of graphic design. Thus, reviewing and updating of graphic design curriculum is unavoidable. The main question of this study is how much current undergraduate graphic design curriculum in Iran corresponds to other universities’ curricula. The aim of this study is to find out the similarities and differences in the undergraduate curricula of graphic design in Iran and the under-study universities in order to state the factors which should be considered in their revisions, if the revisions are necessary. Regarding the objective, this paper is applied-developmental and its method is descriptive-analytical-comparative with qualitative and quantitative approach. Its data is gathered via library source and by referring to books, articles, Ministry of Science’s curriculum and the sites of under-study universities. The results of this research and statistical analysis show that the revising of current undergraduate graphic design curriculum in Iran is essential because due to dedicating more than half of the curriculum to non- professional courses the expertise view is not so strong in the graphic design courses and, consequently, this curriculum has not sufficient coherence for training able graphic designers. In revising current curriculum three basic factors should be considered: 1) avoiding non-professional courses in the field of graphic design and focusing on teaching professional courses, 2) focusing on the theory of graphic design and related issues, and 3) paying attention to new technologies in graphic design production and cyberspace graphics.}, Keywords = {Iran’s educational system, bachelor of graphic design, curriculum, world art universities}, volume = {5}, Number = {9}, pages = {35-45}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-1816-en.html}, eprint = {http://mth.aui.ac.ir/article-1-1816-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2015} } @article{ author = {}, title = {A Comparison of Relationship between Text and Picture in the Selected Iranian and Contemporary American-European Illustrated-Fiction Books Based on the Theory of Maria Nikolajeva and Carole Scott}, abstract ={Illustrated-fiction books are special forms of art that are the combination of text and picture. The relationship between text and picture in this genre is diverse and variegated, and has different effects on the audience; however, little research has been done about it. The goal of this research is to compare text/picture relationship in the selected Iranian and contemporary American-European illustrated-fiction books with respect to the elements of story. The unit of analysis is word, sentence, paragraph, single spread, double spread, context, picture and the whole story. This research is based on Maria Nikolajeva and Carole Scott’s view. Yet, it is not merely limited to their theory. Therefore, besides descriptive-interpretive approach, it has also applied the interpretive-abstract approach. The investigation of the works is done via Mayring’s (2000) deductive and inductive content analysis. As the consequence of such a reading, the theoretical framework of the mentioned categories is elaborated more. For the first time, some significant and effective findings are obtained with regard to illustrated-fiction books which remind the society of children literature some of the ways through which text and picture are interwoven in this type of literature as a specific form of art. Regarding the interaction of text/picture, this research demonstrates that Iranian and contemporary American-European stories have significant differences. In the contemporary American-European stories, the interaction between text and picture is more artistic, meticulous, dynamic and full-fledge. Contrary to contemporary American-European stories, this interaction in Iranian works seems less subtle and narrative, and there are deficiencies which seem to be the result of separation of writer and illustrator. Among these works, there are similarities such as linguistic independence of text and picture that perhaps reflects the general and fundamental aspects of relationship between text and picture in the illustrated-fiction books.}, Keywords = {text/picture relationship, illustrated-fiction books, Iranian and contemporary American-European, Maria Nikolajeva and Carole Scott}, volume = {5}, Number = {9}, pages = {47-62}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-1817-en.html}, eprint = {http://mth.aui.ac.ir/article-1-1817-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2015} } @article{ author = {Mohammadifar, Yaghoub and Mohammadian, Fakhrodin and SharifKazemi, Kahdijeh}, title = {A Comparative Study of the Relation between Sculpture and Bas Reliefs of Butkara Site in Pakistan and Historical Period of Iran}, abstract ={Sculpture was born in ancient civilizations. In the past eras, due to abundant raw material, especially stone and wood, glorious statues were made which have a significant share in representing various human cultures. Butkara is an ancient site in the eastern borders of Iran which was used by Buddhists in different reigns from 3rd century (BC) to 2nd century (AD). Undoubtedly, most neighboring lands had various kinds of cultural and artistic interactions with each other. Thus, we can consider the amount of such interactions in Butkara site and Persian civilization. Since the most important objects discovered by archaeologists in this area in recent years are Stopas, bas reliefs and various statues, the amount of cultural and artistic interactions in these regions can be found out if we study such objects exactly and compare them with the sculpture of Persian historical period. Such exploration can explain various unsaid issue about the emergence, contacts and expansion of artistic aspects and clarifying a number of ambiguities in this ancient site; in a word, it leads to a new insight for understanding this issue. Hence, the following question is raised: although Butkara was governed under the auspices of an independent government and its artistic styles were under the influence of Buddhist religious thoughts, Greece and Kushani state, why we cannot separate it from the culture and art of Iranian historical period? It seems that though Butkara site was outside political borders of Iran, its proximity to the ancient and great civilization of Iran made its artists and governors pay a lot of attention to the culture of Iran. This matter, in turn, led to Iran’s prominent share in the formation of Butkara culture and art, especially sculpture. Of course, it is most probable that there was a mutual relationship between the two. The data of this study was gathered via library. The aim of this study is to explicate the rate of interaction between sculpture and bas reliefs of Pakistan’s Butkara site and Iranian historical period.}, Keywords = {Butkara, sculpture, the historical period of Iran.}, volume = {5}, Number = {9}, pages = {63-78}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-1818-en.html}, eprint = {http://mth.aui.ac.ir/article-1-1818-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2015} } @article{ author = {Jahani, Mehdi and choobari, leil}, title = {A Comparative Study of Kurgani Stripes’ Pattern in the Kilim of Shahsavan Tribe and the Kilim of Sedentary People of Ardebil Province in the Late Qajar Time}, abstract ={In their arts and handicrafts, Shahsavans of Moghan who are the inheritors of Central Asia culture and art have been influenced by their ancestral originalities as well as neighboring civilizations. In step with immigration and the expansion of their summer lands they have used vastly the ideas and thoughts of the artists whom they met in the creation, processing and distribution of motifs and decorations so that the share of each land’s artists is vividly seen in their works. In the late Qajar time, their cultural transactions entered a new phase. Such changes can be observed in the motifs of hand-woven objects, especially kilims, better than other cultural and artistic domains. Comparing the pattern of Kurgani stripes in Shahsavan kilims with the works of sedentary people woven in the late Qajar time in the province of Ardebil, this study aims to find an answer for these questions: what are the visual features of each of them and which similarities and differences do they have? Thus, the aim of this research is the identification and analysis of features triggering the similarities and differences in such works. The type of this study is qualitative and, regarding its comparative nature, it uses descriptive-analytic method. The date has been gathered via library and field work. The visual analyses have been carried out by referring to 8 indicative and 16 comparative samples of motif details. Comparative findings of motifs imply that Shahsavans are under the influence of sedentary people regarding the composition of patterns and simplification of motifs. On the other hand, they have influenced such people considering decorations and elaborate ornaments. Economic, environmental and social factors as well as tribal immigrations play very significant role in such exchanges.}, Keywords = {Shahsavan, sedentary people of Ardebil, kilim, Kurgani stripes.}, volume = {5}, Number = {9}, pages = {79-93}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-55-en.html}, eprint = {http://mth.aui.ac.ir/article-1-55-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2015} } @article{ author = {Saber, Zeynab and Shayganfar, Nader}, title = {A Comparative Study of Representation of Shore in the Works of Nima Yushij and Bahman Mohasses}, abstract ={In the modern art of Iran, painting discourse and poetry discourse (in spite of the ancient artistic tradition) are independent from each other. Nevertheless, poetry and painting sometimes join together; for instance, in the connection between the poetry of Nima Yushij and the painting of Bahman Mohasses. The aim of this paper is to study this connection and also find out the hidden common experience in the works of these two artists. Moreover, via exploring the meaning of “shore” in their works, the roots of the two artists’ experience of modernity is also investigated.  The method used in this study is comparative which is based on comparing the discourses of poetry and painting and analyzing the literary themes employed in them. This research aims to show that shore is considered as a deeply lived experience originated from the environment of the two artists which is represented in two different media. The analysis of such representation shows how objective and subjective experiences are conformed to each other. Moreover, “shore” is construed as a metaphor bearing with itself the meaning of modern matter in two aspects. First, fluidity as a metaphor of modern life is displayed in the image of shore and sea in the works of Nima Yushij and Bahman Mohasses. Second, the coastline as a border between sea and land, water and soil, and fluid and solid is a rebellion against dualist certainty.}, Keywords = {Nima Yushij, Bahman Mohasses, shore, lived experience, modernity, fluidity.}, volume = {5}, Number = {9}, pages = {95-103}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-1819-en.html}, eprint = {http://mth.aui.ac.ir/article-1-1819-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2015} } @article{ author = {Khanpour, Arezoo and Anzabi, Naimeh}, title = {A Comparative Study of Glass-Working Motifs of Seljuks in Iran and Fatimids in Egypt during 12th-13th Centuries (A.D)}, abstract ={Glass-working was one of the dominant arts in the Islamic period. In the time of Iranian Seljuks and, contemporaneous with them, Egyptian Fatimids, this art was so innovative that such an era is considered as the glorious period in the history of Islamic glass-working in the two countries. In addition to contemporaneity of Seljuks and Fatimids, economic and cultural relations between the two regions can be considered as the reason behind various kinds of similarities observable in the glass-working of the two regions. Thus, the identification of such similarities is the main aim of this study. The main questions of this study are as following: Which characteristics can be used as the main factors for identifying the glass-works in the two regions? Can the motifs applied on glass-works be considered as identifying factors? The paper investigates the similarities as well as differences between Iran and Egypt in terms of glass-works’ motifs in order to achieve the factors which can be used for distinguishing the glass-works of the two regions. Finding the answer, some of the glass-works of Seljuks and Fatimids during 12th-13th centuries (A.D) are selected and studied. Finally, the results of this study show that, before this time, motifs were not used so much on the glass-works. The influence of Islamic spirit on the art of these two regions led to the creation of calligraphic motifs like prayer for the owner of the vessel, name of the artist and the person who ordered it on the glass-work. Similarities observed in terms of forms and decorations indicate some kinds of technological interactions between Iranian and Egyptian glass-workers during the period under study. Yet, there are obvious differences in some cases which are due to different characteristics of the two regions.}, Keywords = {Islamic glass-working, Seljuks, Fatimids, glass-work, motifs.}, volume = {5}, Number = {9}, pages = {105-120}, publisher = {Art University of Isfahan}, url = {http://mth.aui.ac.ir/article-1-178-en.html}, eprint = {http://mth.aui.ac.ir/article-1-178-en.pdf}, journal = {Scientific Journal of Motaleate-e Tatbiqi-e Honar}, issn = {2345-3842}, eissn = {2538-2969}, year = {2015} }