2024-03-28T21:33:21+03:30 http://mth.aui.ac.ir/browse.php?mag_id=3&slc_lang=fa&sid=1
3-611 2024-03-28 10.1002
Scientific Journal of Motaleate-e Tatbiqi-e Honar mth 2345-3842 2538-2969 10.61186/mth 2017 6 12 A Comparative Study of Motifs in Four Ilkhanid Mihrabs in Isfahan Province (Pirbakran Mausoleum, Oshtorjan Mosque, Haftshuyeh Mosque and Oljaito) Shadi Naghib Isfahani shadi.naghib.artist@gmail.com Afsane Nazeri a.nazeri@aui.ac.ir Behnam Pedram b.pedram@aui.ac.ir Molded motifs in Ilkhanid mihrabs are masterpieces of design and implementation. The aim of this study is to describe, analyze and compare the Oljaitu mihrab, Pirbakran mausoleum mihrab, Oshtorjan mosque mihrab and Haftshouyeh mosque mihrab in terms of plants and geometric motifs, proportions, structure and geometric relationships in a descriptive-analytic manner. Identification and comparison of the four aforementioned mihrabs have not been studied so far. This work tries to answer the following questions: 1)What are the types of motifs used in these mihrabs ?2)What are the visual and aesthetic values of motifs in these mihrabs ?3)Which motifs were used mostly on these mihrabs? 4)What are the similarities and differences between the motifs of the four aforementioned mihrabs? In most of studies in the literature, general description of the mihrabs and date of construction have been considered but the decorative motifs, golden ratios, structure and geometric relationships have not been investigated. This comparative study reveals similarities and differences of the motifs and their features used in this course. The results of this study indicate that the general form of the mihrabs as well as most of their motifs have special structure and geometric relationships and are designed based on the golden ratio. The molded motifs of the mentioned mihrabs have been implemented with thickness and intricacy, with the exception of Oljaito mihrab in which the motifs are less prominent and more elegant. Various kinds of arabesque have been also used in this era. Repetition and symmetry creates rhythm, movement and coordination in the motifs. Considering the mihrab motifs together, we can find out the development and evolution from a simple basic pattern to the more complex designs. Ilkhanid mihrab Oljaitu Pirbakran mausoleum Oshtorjan mosque Haftshouyeh mosque motifs geometric structure. 2017 3 01 1 14 http://mth.aui.ac.ir/article-1-611-en.pdf
3-587 2024-03-28 10.1002
Scientific Journal of Motaleate-e Tatbiqi-e Honar mth 2345-3842 2538-2969 10.61186/mth 2017 6 12 The Relation between an Artist’s Contemplation on Beauty-Witnessing and Enhancing the Efficiency in the Process of Artwork Creating Farhang Mozaffar f.mozaffar@aui.ac.ir Ahmad Aminpoor aminpoor@aui.ac.ir Ahmadreza Okhovat okhovatnoor@yahoo.com Mahnaz Ehteshami sanayedasti@gmail.com One of the main steps an artist must take during the process of creating an artwork is to acquire a perception of beauty which will affect the creation of his artwork. Considering the relation between human and beauty in Islamic ideology is as the relation between a perceptive and the perceived. The artist, especially considering his responsibility in introducing beauty to the society, must be able to enhance his ability to see beauty by using conceptual tools, prior to creating a work of art. Researchers have always been interested in the issue of how important and necessary is knowledge to an Artist, but the issue which remains ambiguous is the manner a bouts of perception in relation to substantiating the ability to see beauty (beauty-witnessing) so as to reach a systematic solution for enhancing this ability in the artist. It has been tried in this article to investigate the issue above, by analyzing and extracting logical propositions from Qoran verses and accounts/hadiths, as well as benefitting from Allame Seyed Mohammad Hossain Tabatabai’s opinions. Accordingly, a detailed and meticulous perspective on the quiddity and essence of beauty and the quality of perception indicates that beauty is the manifestation of existential traits by the existing that makes it the responsibility of the intellect to see it; activation of the intellect relies on the quality of contemplation. A contemplation may lead to beauty-witnessing that approaches to subjects according to the existence. The solution for an artist contemplation is achieved on the basis of traits and structures of such contemplations.   Beauty Artist process of artwork creation contemplation witnessing beauty-witnessing telelogy 2017 3 01 15 25 http://mth.aui.ac.ir/article-1-587-en.pdf
3-557 2024-03-28 10.1002
Scientific Journal of Motaleate-e Tatbiqi-e Honar mth 2345-3842 2538-2969 10.61186/mth 2017 6 12 A Comparative Study of Brick Kufic Inscription Construction in Five Seljuk Buildings of Isfahan maryam massahi khorasgani maryammassahi@yahoo.com Kufic inscription is one of the prevailing inscriptions in most of the mosques and minarets of the early Islamic centuries. The style of Kufic inscriptions was appropriate to be implemented by the technique of pre-cut brickwork. Therefore with the brickwork prosperity as the material of structure and ornaments of the facades in Razi style and especially the Seljuk era, the brick Kufic inscriptions were the specific ornament of different buildings. The purpose of this article is to recognize how these inscriptions were constructed in some monuments with different functions in Seljuk Isfahan. The main question here is regarding the technical and formal items which were considered in implementation of brick Kufic inscriptions. Therefore similarities and differences of these inscriptions were evaluated through comparing five buildings belonging to Seljuk era in Isfahan, such as the Minaret of Paminar Mosque in Zavareh, mihrab of Barsian Jame Mosque, northeastern Entrance of Isfahan Jame Mosque, Gar Minaret and the sidewalls of Zavareh Jame Mosque.  The method of this research is descriptive- analytical research and the data have been collected through observations and documentary studies, and with the help of some experts of the two fields of architecture and calligraphy. After drawing the inscriptions and setting them on the tables, the job of matching and comparing them has been done by considering the common theoretical foundations between calligraphy and inscriptions. Research findings indicate the emergence of commonalities in the content, time and location. The overall composition of inscriptions in linage and proportions of letters have some predetermined principles and rules, and most of the cases have been written with simple Kufic and this confirms the persistence of these writing modes in accordance with the executive principles. The height of inscriptions and the amount of vertical extensions were different depending on the position and extension of the inscriptions. Brick Kufic inscription Kufic calligraphy Seljuk mosque minaret. 2017 3 01 27 40 http://mth.aui.ac.ir/article-1-557-en.pdf
3-527 2024-03-28 10.1002
Scientific Journal of Motaleate-e Tatbiqi-e Honar mth 2345-3842 2538-2969 10.61186/mth 2017 6 12 A Comparative Study of Men’s Clothes in Travel Memoirs and Drawings of Safavid Period mansour vali ghojogh mansourghojogh@yahoo.com hm_ pouya@yahoo.com European expeditionary groups who visited Iran in Safavid period wrote about various topics of Iran’s society in Safavid period and left reports as travel memoirs which later were considered seriously in reviews and studies of historians. Persian painting has always been a precise and appropriate tool for researchers and painters. Savafid painters also helped a lot in recognizing some parts of the cultural and social history of that time through representing the details of men’s clothes. These details are useful in showing how to wear the different parts of men’s clothes; since men’s clothes were composed of various layers and components. The present research aims to answer the questions regarding how men’s clothing in Safavid era is reflected in travel memoirs and drawings of this period and to what extent they coincide with each other. Whether we can use the travel memoirs to study the men’s clothing in Safavid period? And whether these travel memoirs are reliable to study the clothes? For investigating this issue and hypotheses based on, the most important travel memoirs written in Safavid period have been studied and their contents regarding men’s clothes have been investigated comparatively with drawings of Safavid period. This research is a theoretical one and a mixed method of descriptive-analytical-comparative has been used and the data is collected from library documents. The results of this research imply that the contents of Europeans’ travel memoirs in this period can be considered as a written and reliable source about men’s clothes in Safavid period; particularly with drawings of this period, they can be regarded as valid documents. Safavid painting drawings travel memoirs men’s clothes 2017 3 01 41 55 http://mth.aui.ac.ir/article-1-527-en.pdf
3-533 2024-03-28 10.1002
Scientific Journal of Motaleate-e Tatbiqi-e Honar mth 2345-3842 2538-2969 10.61186/mth 2017 6 12 A Comparative Study of Zulu Goddess and God the Father in Durban’s Mural Painting Based on Bhabha’s Third Space Theory ashraf mousavilar a.mousavi925@gmail.com maryam keshmiri maryam_keshmirey@yahoo.com Homi Bhabha emphasizes that hybridity is the result of a movement of the two discourses of colonizer and colonized towards each other in the third space. The result would be a totally new object (hybridity) which can change the discourse of power and cause a new movement in society. This study has been done to explore the third space and its influences on visual arts, and it is tried to define the mural of Nomkhubulwane as a product of a clash between the Christian colonizing discourse and the mythological colonized one of Zulu tribe in the third space. The main question is whether this mural is a hybrid product or merely a simple combination of native and foreign elements. Through this comparative study, the artistic expression of the mentioned mural has been considered based upon both the colonized and the colonizer’s visual as well as symbolic values. The comparison is based on descriptive and analytic methods with an emphasis on the rich mythological and traditional art of this tribe and those of Christianity. The required data have been gathered from library documents emphasizing the literature on mythology in South Africa’s universities. This research considering both the ideas and beliefs of the natives and colonizers as well as the social movement that took place after this mural (the struggles against HIV and for defending the native girls’ rights), proves that the mural not only is a combination of the native and foreign artistic elements, but also it presents Bhabha’s ideas on transitions in socio-political discourse.   third space theory contemporary art of South Africa post-colonial art Nomkhubulwane. 2017 3 01 57 70 http://mth.aui.ac.ir/article-1-533-en.pdf
3-556 2024-03-28 10.1002
Scientific Journal of Motaleate-e Tatbiqi-e Honar mth 2345-3842 2538-2969 10.61186/mth 2017 6 12 Studying the Importance of Hunting Motif during the Early Qajar Period Based on Artistic Evidences yadollah heidari Baba kamal yadolah.heydari@gmail.com mohammad ebrahim zarei Mohamadezarei@yahoo.com esmail hemati azandaryani Hemati30@yahoo.com Hunting was one of the most important aspects of human life in ancient times; when human considered hunting as an aspect of his own subsistence strategy and his life was dependant on it.  As time goes by, the importance of this subsistence aspect reduces; so that special places were considered as a hunting ground for entertainment. With the arrival of Islam in Iran, this process continued as in the past and culminated in Safavid and Qajar period. In Spite of abundant hunting motifs in Qajar era which imply the necessity of this subject and the importance of hunting in this period, there has been no comprehensive study regarding this issue, so the present article is the first attempt on this subject. Accordingly, it has been tried to study historical texts and archaeological evidences and identify the status of hunting and hunting grounds of Qajar period and its importance in the life of Qajar kings. It can be assumed that due to social and political conditions during Qajar period, hunting ground patterns and motifs were directly adopted from ancient times. One of the most important hunting ground motifs in ancient times which contributed in creation of hunting motifs of Qajar period is the hunting motif of boar and deer on both sides of the great arch of Taq-e Bustan attributed to Khosrow II, Sasanian king (628-590 A.D). In numerous works of art in this period manifested of hunting motifs is clearly visible, and in historical texts of Qajar period can be faced with numerous explanations in this field. Some of the artistic themes in this period that Qajarians borrowed from safavid period in creating hunting ground motifs are flowers and plants, and plants and trees in the background that seems they represent the actual hunting ground and also the dog image was affected by western art. However, the purposes of creating the mentioned motifs were different. Another point that can be seen in the study of hunting ground motifs in this period is that they are affected by reliefs and probably paintings, because we can see many common elements between them.   early Qajar period hunting hunting ground motif. 2017 3 01 71 86 http://mth.aui.ac.ir/article-1-556-en.pdf
3-580 2024-03-28 10.1002
Scientific Journal of Motaleate-e Tatbiqi-e Honar mth 2345-3842 2538-2969 10.61186/mth 2017 6 12 A Comparative Study of Pari and Hamoon’s Encounter (in Mehrjui’s Movies) with Lacanian Symbolic Order Mahrokh Alipanahlou malipanahlou@gmail.com Seyed Saied Zavieh sssazavieh@yahoo.com In the present research it is investigating two outstanding movies of Iranian cinema through the philosophical-psychological theories of Jacques Lacan. Pari and Hamoon are both made by the Iranian prominent filmmaker, Dariush Mehrjui. The protagonists of both movies are characters who represent psychological perplexity and disorderliness of the modern individual. In his theories, Lacan deeply analyzes these perplexities by introducing such concepts as “name of the father”, “object of desire”, “objet petit a”, “Other” and the famous theory about three stages of self-formation which are “imaginary order”, “symbolic order” and “real order.” The main objective of this study is to find out how Pari and Hamoon, two modern rebellious individuals, are able to find a way out of Lacanian symbolic order. Other minor points of this paper are first studying the solutions hired by these characters in achieving the real order and returning to imaginary order; second, comparing and contrasting their strategies in confronting the elements of name of the father in the society; and third, surveying their different methods of achieving their object of desire. In this research, first of all the Lacanian concepts and theories have been described and interpreted and consequently through text analysis, the deep implied meanings of the both texts along with the two main characters have been studied to test the applicability of Lacanian theories in cinema. Since there is no way out of symbolic order for human beings, as Lacan stated, Pari and Hamoon’s rebellions and deconstructions have been doomed to failure. They are able neither to confront the real order nor to return to the imaginary order. It can be said that although the type of failure of the two characters are different, they both are destined to live on in the symbolic order.   Pari Hamoon Jacques Lacan symbolic order real order. 2017 3 01 87 96 http://mth.aui.ac.ir/article-1-580-en.pdf
3-633 2024-03-28 10.1002
Scientific Journal of Motaleate-e Tatbiqi-e Honar mth 2345-3842 2538-2969 10.61186/mth 2017 6 12 A Semiotic Study on Social Interpretations of Hafiz Poetry Presented in the Litographic Illastrations By Mirza Ali Qoli Khoie Aboutorab Ahmadpanah ahmadp_a@modares.ac.ir Mirza Ali Qoli Khoie, the famous illustrator of lithographic books of Qajar era, has presented interpretations of Hafiz poetry according to cultural and social needs of his own age in his illustrations. The lithographic Divan-e-Hafiz of 1269 AH is one of the first illustrated ones which was prepared to publish widely. Therefor the discursive positioning of Ali Qoli in this book is very important. This research deals with the question regarding what the discursive positioning of Ali Qoli is in his illustrations for Divan-e-Hafiz and how it was made. In this regard, 11 ilustraitions of Ali Qoli for Divan-e-Hafiz have been classified into three catagories, and each illustration has been studied according to semiotic approach. Semiotic studies, considering the interactive relationship between the statement-maker and the statement-reader, suggest various functions for images. Some of the semotic aspects in Ali Qoli’s visual discourse have been discussed in this study. The aim of this study is to investigate the interpretations that Ali Qoli presented in his illustrations of Hafiz poetry, which have a social theme according to the nature of Ali Qoli’s work. Studies indicate Ali Qoli unlike Hafiz is not presenting amphibology and has made a very objective and referential image of the poetry. The result has made and presented a very simple and humanly face for Hafiz. In Ali Qoli’s illustrations, the poems get intelligible according to the presence of the human body of Hafiz. And “dialogue” is the basis of the images. The human body of Hafiz is in a dialogue with a mortal beloved which is an emphasis on a non-heavenly interpretation of Hafiz. But when it comes to dialogue with the King or the sage, Ali Qoli presents a passive, patriarchal and authoritarian image of Hafiz. This Image is corresponded with the mentality of the people and intellectuals of Qajar era, considering the structure of national identity and authority as the first priority of the country. illustration Mirza Ali Qoli Khoie litograpy semiotics. 2017 3 01 97 109 http://mth.aui.ac.ir/article-1-633-en.pdf
3-652 2024-03-28 10.1002
Scientific Journal of Motaleate-e Tatbiqi-e Honar mth 2345-3842 2538-2969 10.61186/mth 2017 6 12 The Study of 5 Selected Works of 9th to 11th Century AD Nishapur Pottery Comparing with Minimalism Ideas Behrouz Soheili Esfahani behrouz.soheili@yahoo.com Mohsen Marasy .marasy@shahed.ac.ir Among multiple discovered Nishapur pottery works of 9th to 11th century AD, there are samples which differ from the others in aesthetic aspects. Their creators may have followed other aesthetic rules presumably. In these cases, there are not lots of ornamentation, vibrant colors and prevalent motifs of their period. And also empty spaces and a kind of stillness play an important role in them unlike previous ones. In short, minimalist characteristics have been applied in their embellishment. The 5 pottery works which are selected by purposive sampling and compared with the ideas of minimalism in this study are selections of this Nishapur potteries group which indicate the aforementioned characteristics. In this article, which has been done through descriptive-analytical method with comparative approach, it is tried to answer this question that whether the Nishapur selected pottery works correspond with aesthetic features of minimalism. The researchers classified the ideas of minimal art on the basis of Loredana Parmesani’s thoughts at first into 18 and then into 10 categories and then provided a self-made questionnaire based on Delphi method of sampling and distributed them among 5 art faculty members of Shahed University in order to determine the amount of correspondence between these pottery works and minimalism ideas. Afterwards, the percentage of correspondence was presented by quantifying the information. The results of this study clarify that the amount of correspondence between these pottery works and minimalism ideas is significant and about 78% to 84%. Therefore, they can be considered as minimalist artworks about 900 years before minimalism emergence. It is necessary to mention that all of the 10 properties don’t exist even in very famous minimalism works entirely. Considering this 900-year difference between these two phenomena indicated that the reasons of this similarity have mutual ideas, similar aesthetic rules and tendency to simplification and reduction. The results also indicated that among the minimalism Ideas, 2 properties of “simple form and non-use of multiple forms simultaneously” and “minimum color” exist more in the samples with one hundred percentage. The results also emphasize on the importance and necessity of recognition of Iranian culture and art in order to identify its aesthetic criteria. pottery- Nishapur- minimalism- aesthetic 2017 3 01 111 122 http://mth.aui.ac.ir/article-1-652-en.pdf
3-614 2024-03-28 10.1002
Scientific Journal of Motaleate-e Tatbiqi-e Honar mth 2345-3842 2538-2969 10.61186/mth 2017 6 12 The Action of Social Factors Affecting Formation of Iranian Modern Graphics in Qajar Era nafiseh asnaashary asna792.as@gmail.com Taghi.Ashori@gmail.com Graphic design has always had a social nature, so that its formative process has had an implied and clear correlation with miscellaneous social factors. These factors are considered as preconditions for the modern formation stage of this art. The key question of this paper is regarding the dominant social factors in graphic design formation in Iran. Theoretically this paper is related to sociology and is underscoring the formation stage of modern graphics in Iran. This paper enjoys analytical method and is based on library data bases. The approach of this paper is according to Jonnet Wolfs theory on the effect of art. According to Wolfs theory, the effective factors in production of art include technic, social institution, art career, raising of artists and supporting organizations. The objective of this paper is to recognize Iranian modern graphics formation not in a vacuum condition but instead created on a basis of different social, political, cultured and industrial factors and some other related events. The conclusion is that although in the aftermath of some changes in social conditions, apparently the graphic designers were relieved of social production of art, never they were relieved of direct and indirect social effects. Accordingly, the fact is that graphic design has always been a public product effected by social structures of its own society; the structures which have a great role in this art production and have been an essential prerequisite in producing and developing it. graphic design Iranian modern graphic social factors printing industry. 2017 3 01 123 134 http://mth.aui.ac.ir/article-1-614-en.pdf