@article { author = {Bolkhari Ghehi, Hasan}, title = {Concept of beauty and beautiful in Avesta and Pahlavi's texts}, journal = {Journal of Fine Arts: Visual Arts}, volume = {25}, number = {2}, pages = {5-12}, year = {2020}, publisher = {University of Tehran College of Fine Arts}, issn = {2228-6039}, eissn = {2538-5178}, doi = {10.22059/jfava.2020.291044.666346}, abstract = {Concept of beauty and beautiful in Avesta and Pahlavi's texts The word "hunar"(art) in Avesta and Pahlavi's texts, especially in Gathas which are the most reliable part of Avesta, has been explained in an article called "concept of word huunar (art) in Avesta and Pahlavi's texts". The Gathas are 17 Avestan hymns which is believed have been composed by Zarathusthra (Zoroaster). Whereas art has a relation in essence with beauty in Iranian-Islamic culture, I decided to study both words and concepts of beauty and beautiful in those texts, too. On etymological and ablaut retrospection in form, I tried to study the concept of beauty in Avesta and Palavi's texts. I also consider all the words which contain beauty or its concept in their forms or meaning in Zoroastrian texts. It is a theory which says there is a relation in essence between art and beauty with geometry and regularity, in Avesta and Pahlavi's texts and in continuance, in Iranian- Islamic culture. In this article I tried to collect all the words that have beauty and beautiful meaning in Avesta and Pahlavi's texts. Some are as below: ha-zaosha, sra, sraogena, abusti, afrank,brazyak, brah, Farrah, Sra, Sresta, Srao, Sraogena, Sraotanu, Srayanh, Srayata, Srayan, Srira, aiwi-xsoiqna, Xvaini, Xvainisaxta, Xvaeui, Zusta, Fraderesra, Huraoa, Horaoanh, Hutasta, Abusti, Ardwisarā, AFrank, Arastak, Arastakih, Arastar, Arayistn, Andacak, Handacak, Winarisn, Winard, Arus, Arust, Barazisk. At the end of this study I conclude that beauty in Iranian culture includes a wide variety of words which root in a religious culture. So in Iranian culture, the terms art and beauty defined within religious culture for example, Islamic culture. One of the most important issues in Iranian Islamic aesthetics is geometry and order. In Greek wisdom the relation between order, beauty and geometry is very clear, especially in Pythagorean votes, Plato and Aristotle. The word cosmos, which means order, actually expresses beauty. Islamic culture, after being introduced to Greek culture through the translation movement, became familiar with the relation between beauty, order and geometry. But two crucial factors were effective in accepting the relationship between geometry and beauty, at first Quran and at second, Iranian culture. The Qur'anic verses stated the relation between beauty and geometry: "Indeed, We have created all things according to a measure (AL-QAMAR: 49)" and "Who perfected everything He created"(AL-SAJDA: 7). This article explains the relation between geometry and beauty in pre-Islamic Iranian culture. Therefore, it can be said two Factors are involved in the relationship between beauty and geometry: Islamic culture and Iranian pre-Islamic culture, not necessarily Greek culture. Another point to note is the word geometry which is originally Persian, not Arabic word. The root of this word (geometry or in Arabic language hindesa) is in Pahlavi language, Hindachek (measure), which has been discussed in this article. Another important point in this article is those words are in the Pahlavi language and express the concept of beauty. This clearifies that the concept of beauty has spread throughout the history of its life.}, keywords = {beauty,Beautiful,Avesta,Pahlavi's texts,Etymology}, title_fa = {مفهوم‌شناسی اصطلاحات «زیبا» و «زیبایی» در متون اوستایی و پهلوی}, abstract_fa = {در پژوهشی با عنوان «مفهوم‌شناسی کلمه هنر در متون اوستایی و پهلوی» کلمه هنر در متون اوستایی و پهلوی و به‌ویژه گاثاها ، توسط نگارنده مورد تحقیق و تأمل قرار گرفته است. در ادامه آن پژوهش و از این رو که هنر نسبتی ذاتی با زیبایی در فرهنگ اسلامی- ایرانی دارد، مقاله پیش رو، دو اصطلاح زیبا و زیبایی را مورد بحث و تحقیق قرار می‌دهد. بر بنیاد رویکرد ریشه‌شناسی لغات یا علم مطالعه تاریخی واژه‌ها و نیز بررسی تحول شکل و مفهوم واژه‌ها، این مقاله قصد درک مفهوم زیبایی در متون اوستایی (شامل یسنه‌ها، یشت‌ها، وندیداد، ویسپرد وخرده اوستا و به ویژه گاثاها که بخشی از یسنه‌ها محسوب می‌شود) و نیز پهلوی (به ویژه در دینکردهای اول تا دهم، و بندهش) را دارد. علاوه بر آن هدف مقاله، تحقیق کامل در باب واژه‌هایی است که مترادف مفهوم زیبایی و دربردارنده آن، در متون زرتشتی بوده‌اند. روش تحقیق تاریخی-تحلیلی با تاکید بر تبارشناسی واژه ها است و پژوهش نشان می دهد همچنانکه کلمه هنر بیان مطلق جمع فضائل در فرهنگ ایران باستان است و این معنا به‌واسطه هو (در ابتدای هونر) حاصل شده است اصطلاحات مرتبط با زیبایی (من‌جمله هوچیهر) نیز نسبتی تام با خیر و نیکی دارند. بنابراین زیبایی مساوقتی تمام با خیر و خوبی در فرهنگ ایرانی دارد.}, keywords_fa = {زیبا,زیبایی,اوستا,متون پهلوی,اتیمولوژی}, url = {https://jfava.ut.ac.ir/article_78782.html}, eprint = {https://jfava.ut.ac.ir/article_78782_de8bd7b0b50aba0746c0c140ade4a953.pdf} } @article { author = {yaghooti, sepideh and rahbarnia, zahra and morsali tohidy, fatemeh}, title = {Transformation of the subjective concept of "play" in interactive arts, based on Gadamer's views. (Case Study: The Onde-Pixel Interactive arrangement implemented at UNICREDIT PAVILION, Milan)}, journal = {Journal of Fine Arts: Visual Arts}, volume = {25}, number = {2}, pages = {13-22}, year = {2020}, publisher = {University of Tehran College of Fine Arts}, issn = {2228-6039}, eissn = {2538-5178}, doi = {10.22059/jfava.2020.239953.665718}, abstract = {Throughout the history of the philosophical life of art, some philosophers have used "play" to explain their philosophical and aesthetic views, but most of these scholars emphasize on the subjective aspects and corresponding subject matters. In the meanwhile, using Heidegger's concepts in the process of understanding, Gadamer attempted to illustrate the role of two-way involvement in the artistic experience, based on the concept of "play" and, cleanse the arena of art of subjective and modern epistemological perspectives at the same time. Considering the Gadamer's hermeneutic approach to audience’s interpretation and understanding of the artwork, several features of “play”, including: substantiveness of the play, seriousness in play, non-separation of subject-object, new creation and events, confinement in the rules of the play and free will at the beginning of the play can be extracted from his aesthetic views. To explain his talk about aesthetic comprehension, Gadamer has used the parable of "play". The aim of mentioning the issue of play in "truth and method" is to become familiar with the existence of objects which show that the dual divisions of subject and object are not enough to understand the world.. In fact, using this concept, Gadamer tries to display it since as the play is not merely a product of the subjectivity (the subjects of the play) of the actors, the hermeneutic understanding and experience is not just a product of human mental activity. As the actor can freely play a role in the play on the one hand, he is not free due to the participation in the play on the other hand. He should play this role within the framework of the rules and content of the play. The artist and the person who understands the work of art are not completely free in the face of hermeneutic experience. They act through the traditional framework which covers them. On the other hand, the play metaphor for Gadamer means the function in the context of the structure. The play is created when it is regular and bilateral or multilateral. In this case, the work of art is not a mere object and the reader is not a mere subject. Meanwhile, new arts, especially interactive art, have added to the flow of objectivity by inviting to enter the work through play and enjoy the experience of the work. In fact, Gadamer has raised these features in the context of performing arts in order to make the ontological features of the play tangible for audience. The present study is an attempt to investigate the feasibility of expanding the concept of play in interactive arts where the relationship between the audience and artwork has entered a new domain of participation. Drawing on the descriptive-analytical method and the library data collection methods, the present applied study mainly aims to apply the Gadamer's hermeneutic views about "player" on the interactive arts. Therefore, one of the interactive artworks (by Miguel Chvalier) presented at the UNICREDIT PAVILION exhibition in Milan in 2016 was selected as the case study.}, keywords = {interactive art,Play,Gadamer,Audience,subjective turn}, title_fa = {استحاله مفهوم سوبژکتیو «بازی» در هنرهای تعاملی با تکیه بر آراء گادامر (پیکره مطالعاتی: چیدمان تعاملی Onde-Pixel به اجرا درآمده در پاویلیون یونی کردیت میلان)}, abstract_fa = {در طول تاریخ حیات فلسفی هنر، برخی از فیلسوفان نظیر کانت ، شیلر و ویتگنشتاین از تمثیل «بازی» در تبیین دیدگاه‌های فلسفی و زیباشناسانه خود استفاده کرده‌اند؛ اما بیشتر این اندیشمندان بر جنبه سوبژکتیو و ناظر به سوژه تأکید دارند. دراین میان، گادامر کوشید تا جنبۀ مشارکت و درگیری دو طرفه در تجربۀ هنری در یک کل را، با بهره‌گیری از مفهوم «بازی» نشان دهد و از سوی دیگر منظر سوبژکتیو و شناخت‌شناسی مدرن را، در سپهر هنر بزداید. گادامر برای ملموس ساختن ویژگی‌های هستی-شناختی بازی نزد مخاطبان، شاخصه‌های یاد شده را در بستر هنرهای نمایشی مطرح کرده است. پژوهش حاضر با هدف امکان‌سنجی گسترش مفهوم بازی در هنرهای تعاملی، که در آن رابطه مخاطب و اثر، وارد مرز جدیدی از مشارکت می‌شود، شکل گرفته است. این تحقیق با بهره‌گیری از روش توصیفی-تحلیلی و شیوه گردآوری اطلاعات کتابخانه‌ای درصدد است تا نظرات هرمنوتیکی گادامر درباره وجه «بازی‌مند» اثر هنری را بر بستر هنرهای تعاملی بگستراند؛ از این‌رو مفاهیم یاد شده را در چیدمان تعاملی Onde Pixel در نمایشگاه سال 2016 میلان، بررسی کرده و به این نتیجه دست یافت، آن‌چه از مفاهیم بازی در اثر هنری در آرای گادامر مشهود است، در بستر مفهومی هنر تعاملی نیز قابل تعمیم است.}, keywords_fa = {واژگان کلیدی: هنرتعاملی,بازی,گادامر,مخاطب,چرخش سوبژکتیو}, url = {https://jfava.ut.ac.ir/article_78783.html}, eprint = {https://jfava.ut.ac.ir/article_78783_de322761361c2f772044f6990b5bed1b.pdf} } @article { author = {Asadpour, Ali}, title = {Tree scape: Recognizing the notion of "tree" in the Achaemenid Seals}, journal = {Journal of Fine Arts: Visual Arts}, volume = {25}, number = {2}, pages = {23-36}, year = {2020}, publisher = {University of Tehran College of Fine Arts}, issn = {2228-6039}, eissn = {2538-5178}, doi = {10.22059/jfava.2018.241134.665733}, abstract = {Research on Achaemenid art is still a fresh and difficult subject. Due to the weakness of the remaining Achaemenid artistic documents, seals are among the most useful materials that have abundant data. This can help us to improve our understanding of Persian in the Achaemenid era. In addition to the beneficial aspect, the tree has also been of aesthetic and ritual value in the Achaemenid thought. The tree's notion can be found in the following two visual and key sources. The first and most used are seals that include a significant portion of the images of the trees. The second type is embossed designs and glazed tiles in architectural monuments that have the least variety of images for examining the tree in Achaemenid art in measuring seals. The purpose of this research is to recognize the notion of "tree" in the Achaemenid Seals based on the typology of trees and to examine the relationship between the species of the tree with the theme or the content of the seals, which is not a matter of much concern. The present paper is based on the hypothesis that "the representation of the tree in the art of seals making with the theme of seal" is not the only element for ornament's scene. The strategy of this qualitative research is descriptive-analytic approach. The results of this study showed that, in general, three recognizable species of trees can be found in these stamps: "palm date trees", " conifer or needle leaf trees" and "fruit trees". Palm trees with or without dates are designed in a realistic way with plenty of detail and axial symmetry. Payment techniques and aesthetics of the trees include a variety of court styles to designer personal tastes. In general, cylindrical seals are a more suitable substrate for palm trees, and this is also consistent with the subject matter of these seals. Because the palm is considered as a symbol of fertility and prosperity, the royal address is also considered, and its significance is so much that in some cases the sign of a wing or winged body disc can be seen above it. Needle leaf or conifer trees are seen in samples of the style of imitation, the main theme of which is its seal, the domination of a crowned man on animals. These trees are designed in hunting and hunting scenes, with simple and parallel hatches. In non-court hunting scenes, the presence of shrub or conifer trees can be seen more. In general, in non-cylindrical seals that have more popular themes and are closer to everyday life, the presence of such tall trees is a cylindrical seal. However, fruit trees have a very small contribution to the studied seals. Fruit trees or flowering trees are appropriate to the designer's style. In addition to the ornamentation, the trees have two key functions: a) the tree as the symbol of the kingdom in the court scenes; and b) the tree as the symbol of nature in the scenic scenes.}, keywords = {Typology,Palm,strawberry,Landscape,cylindrical seals,tree- scape}, title_fa = {منظر درخت؛ بازشناسی انگارۀ «درخت» در مهرهای هخامنشی}, abstract_fa = {پژوهش در هنر هخامنشی همچنان موضوعی بکر و دشوار است. با توجه به ضعف مستندات هنری باقی‌مانده از روزگار هخامنشی، مهرها از جمله سودمندترین بن‌مایه‌هایی هستند که داده‌های فراوانی دارند. هدف این پژوهش بازشناسی انگارۀ «درخت» در مهرهای هخامنشی مبتنی بر گونه‌شناسی درختان و بررسی رابطۀ میان گونه درخت با مضمون یا محتوای مهر است که موضوع چندان پرداخته‌شده‌ای نیست. راهبرد این پژوهش کیفی با رویکرد توصیفی- تحلیلی است. نتایج پژوهش نشان دادند که به‌طور کلی سه گونۀ قابل تشخیص از درختان در این مهرها می‌توان یافت: «درختان نخل خرما»، «درختان برگ‌سوزنی» و «درختان میوه». درختان نخل با یا بدون خرما به شیوۀ واقع‌گرایانه با جزئیات فراوان و تقارن محوری طراحی شده‌اند. تکنیک‌های پرداخت و زیبایی‌شناسی درختان تنوعی از سبک درباری تا سلایق شخصی طراح را دربردارد. درختان برگ‌سوزنی در نمونه‌هایی به سبک تقلیدی دیده می‌شوند که درون‌مایه اصلی مهرهای آن، بیشتر تفوق مردی تاجدار بر جانداران است. این درختان در صحنه‌های شکار و تعقیب و گریز، به‌وسیله هاشورهای ساده و موازی طراحی شده‌اند. درختان میوه یا درختان گل‌دار، متناسب باسلیقه طراح هستند. درختان افزون بر جنبۀ آذینی دو کارکرد کلیدی دارند: الف) درخت به‌مثابۀ نماد پادشاهی در صحنه‌پردازی‌های درباری و ب) درخت به‌مثابۀ نماد طبیعت در صحنه‌پردازی‌های منظره گرا.}, keywords_fa = {گونه‌شناسی,نخل,برگ‌سوزنی,منظره‌ پردازی,مهرهای استوانه‌ای,منظر درخت}, url = {https://jfava.ut.ac.ir/article_78784.html}, eprint = {https://jfava.ut.ac.ir/article_78784_8bb94b68465137e377a3102fac978843.pdf} } @article { author = {gholami, saba}, title = {An Analysis of Kol-e Jubor Statue in Tagh-e-Bostan}, journal = {Journal of Fine Arts: Visual Arts}, volume = {25}, number = {2}, pages = {37-42}, year = {2020}, publisher = {University of Tehran College of Fine Arts}, issn = {2228-6039}, eissn = {2538-5178}, doi = {10.22059/jfava.2019.257607.665935}, abstract = {In examining the art of the Sassanid era, an independent issue entitled sculpturing generally does not arise, In the Sassanid era, despite the great importance of art, we do not see the individual human faces, apart from building units of great dimensions and the statues dating back to Sassanid Empire are the busts that were used as a part of monument ornamentation and installed on ornamental engaged columns. One example of this decoration is used in Manor House in Hajiabad. Sculpturing in the Sassanid era mainly includes rock reliefs and plastering applied to architecture or monument ornamentation. In the plastering decorations, either the statues are used as column or a motif for decorating the capitals. In some cases such as Kakh-e-Kish (Kish Palace), the busts relevant to Sassanid Kings were installed on the walls of the palace. However, the presence of the distinct and independent statues with non-human dimensions have been documented merely, and two exceptions include Shapur Statue in Shapur Cave (Ghaar-e-Shapur) and a severely damaged and enormous statue in Tagh-e-Bostan in Kermanshah, known as Native name, Kol-e Jubor . It was noted earlier that the statue stood in the water for many years, and such immersion severely damaged it. The statue’s overall figure represents the body of a man, standing with his hands on the sword, Another theory proposes that the object held in the hands is a staff which seems very likely to be the shape of a ruler’ staff may probably be seen here as a symbol . most of the historians that have studied the statue believe that it dates back to the era of Khosrow II. One the one hand,In addition to examining the fact that the art of making figurative and imposing motifs reappears late in the Sassanid era , it would not be possible to assign the exact date of the statue to Sassanid era due to afore-mentioned severe injury. On the other hand, with the accurate survey and comparison of the statue to the rock reliefs in Taq-e Bostan and in accordance with some important evidences such as attire, Study the clothes at the end of this period and compare it with the dress of the figure and sword and its location near the Crowning Ceremony of Khosrow II, it could be said that the statue dates back to the late Sassanid era. Thus, through an accurate survey of the attire in the late Sassanid era and a comparison of the statue with other rock reliefs of Khosrow Parviz in the form of the rock reliefs and capitals found in Taq-e Bostan, Abshuran, and Bistoon, By comparing the statue and Khosrow II’s rock relief in the upper part of the the large vault (arch) of Tagh-e-Bostan, it would be possible to realize the apparent similarity of the two statues the article seeks to discuss and review the statue’s found in the Taq-e Bostan application, identity, and its attribution to the late Sassanid era and Khosrow II.}, keywords = {statue,Taq-e Bostan,Khosrow II,Attire,capital}, title_fa = {معرفی پیکره کل جو بردر طاق بستان}, abstract_fa = {در بررسی هنر دوران ساسانی عموما مبحث مستقلی با عنوان پیکره‌‌‌‌تراشی مطرح نمیشود، مجسمه‌هایی که از دوره ساسانی به‌دست‌آمده است، نیم‌تنه‌هایی هستند که به‌عنوان بخشی از تزئینات بنا به‌کاررفته‌اند و بر روی نیم ستون های تزیینی نصب می شده اند. هنر پیکره تراشی در دوران ساسانی بیشتر شامل نقش برجسته ها و یا در قالب گچبری در معماری و تزئین بنا بوده است. اما به وجود پیکره‌ای منفرد با ابعاد غیرانسانی تنها در دو مورد اشاره شده است، پیکره شاپور در غار شاپور و پیکره‌ای به‌شدت آسیب‌دیده در طاق‌بستان کرمانشاه که با نام بومی کل‌جو‌بر شناخته میشود. پیکره نمایانگر فردی است، ایستاده و شمشیر به دست گرفته. بیشتر مورخان پیکره را متعلق به خسرو دوم دانسته‌اند، به دلیل آسیب‌دیدگی فراوان از انتساب پیکره‌ی طاق‌بستان به دوره ساسانی نمی‌توان با اطمینان زیاد سخن گفت، اما در این نوشتار سعی شده است بر اساس مطالعه و تطبیق فیگور پیکره با نقوش برجسته طاق بستان ، لباس، شمشیر و محل قرارگیری آن در جوار نقش تاج ستانی خسرو دوم و مقایسه پیکره با نقش‌های دیگری از خسروپرویز و دیگر شاهان ساسانی در نقش برجسته‌ها و سرستون‌های یافت شده در طاق‌بستان و آبشوران و بیستون در مورد احتمال انتساب پیکره و هویت آن به اواخر دوره ساسانی بحث شود.}, keywords_fa = {کلیدواژه‌ها: پیکره تراشی ساسانی,نقش برجسته ساسانی,طاق‌بستان,خسرو دوم,فیگور}, url = {https://jfava.ut.ac.ir/article_78785.html}, eprint = {https://jfava.ut.ac.ir/article_78785_d0e6f60a2e8cbd1d740504f3f5d72a14.pdf} } @article { author = {najafi pour, akram and Talebpour, Farideh}, title = {Explaining the Social status of the Safavid artists based on Arnold Hauser's Opinion}, journal = {Journal of Fine Arts: Visual Arts}, volume = {25}, number = {2}, pages = {43-52}, year = {2020}, publisher = {University of Tehran College of Fine Arts}, issn = {2228-6039}, eissn = {2538-5178}, doi = {10.22059/jfava.2019.270898.666095}, abstract = {Writing art history based on the introduction of artists in the Safavid era, also the attention to the artist's individuality and his reverence in the books of general history points to the fact that the position of artists of the book designing in particular of painters has changed in comparison with the previous Safavid era. Arnold Hauser of art sociologists believes that the social excellence of the artist occurs when the artist is aware of his intrinsic talent and moves on from a skilled worker who has always tried to imitate his master. He states that artists with social security and economic stability can experience a relatively long-term social status. It seems that painters have always been featured as skilled craftsmen during the history of Islamic art, but according to the history of written art in the Safavid era, it appears that this community as an artist in Golestan Honar and General History Books shown. Based on the written sources of this period, and based on the views of Arnold Hauser, this paper seeks to extract the components that influence the position of painter artists on the basis of which the components prove that: Is the Safavid painters from a person as a skilled craftsman Has he achieved the status of an artist? This article aims to provide a clear and vivid picture of the status of artists( Artists mentioned in their written sources of the history of Safavid art as artists of the book designing) in the Safavid era society. In this regard, the status of the artists in the course is based on Arnold Hauser's sociologist's opinion. This research is based on a historical analytical method of development research and, based on historical sources and library method, concluded that: things that Hauser considers effective in the formation and transformation of an artist is generally not in Details can be adapted to the Safavid community. According to Hauser's indices and their correspondence with the components that Safavid historians have been referring to artists, it can be inferred that both the artists of the book of the Safavid periodicals and the historians were aware that the artist was due to talent And the intrinsic genius that made him distinct, created artwork. It made self-awareness, heresy and freedom of action in the art, and then brought it credibility, respect, fame and wealth to the artist. It can be inferred that the artists of the book of the Safavid period came from the skilled worker to the status of the artist. The history of the Safavid era has always been researched from the perspective of the content and structure of the researchers, but less than this angle. Study of the indicators that affect the social conditions of the artists will lead to a better understanding of the Safavid art and will clarify the dark angles of Iranian art history in relation to artists for future researchers. Additional supplementary information added from this article also adds to the research already done}, keywords = {artist,skilled worker,Safavid period,Arnold Hauser}, title_fa = {تبیین جایگاه اجتماعی هنرمندان عصر صفوی بر اساس آرا آرنولد هاوزر}, abstract_fa = {نگارش تاریخ هنر بر مبنای معرفی هنرمندان در دوره صفوی، نشانگر آنست که موقعیت هنرمندان کتاب‌آرای در مقایسه با ادوار پیشین تغییر کرده است. آرنولد هاوزر از جامعه شناسان هنری معتقد است، که تعالی اجتماعی هنرمند هنگامی رخ می‌دهد که وی به استعداد ذاتی خویش آگاه باشد و از کارگر ماهر(مقلد از استاد) گذر کند. نقاشان در طول تاریخ ‌هنراسلامی همواره به عنوان صنعتگر ماهر هنرنمایی کرده‌اند، در اینجا مفروض است که در دوره صفوی در هیأت و مقام هنرمند، جلوه‌گر شده‌اند. این نوشتار با استناد به نظریات هاوزر، در پی استخراج مؤلفه‌های مؤثر بر جایگاه هنرمندان نقاش از منابع‌ مکتوب این‌دوره است تا بر مبنای آن مؤلفه‌ها به این سوال پاسخ دهدکه آیا نقاشان عصر صفوی از فردی به عنوان صنعتگرماهر به جایگاه هنرمندی دست یافته‌اند یا خیر؟ این پژوهش با روش تاریخی تحلیلی، در زمره تحقیقات توسعه‌ای قرار می‌گیرد که با استناد به منابع تاریخی و کتابخانه‌ای انجام شده-است. بر اساس نتایج به‌دست آمده، مواردی که هاوزر در شکل‌گیری و تغییر وضعیت هنرمند موثر می‌داند را به طورکلی می‌توان با جامعه صفوی انطباق داد. هنرمندان دوره ‌صفوی از استعداد و نبوغ ذاتی خویش آگاه بودند و این خودآگاهی، اعتبار، احترام، شهرت و ثروت را برای آنان به ارمغان می‌آورد.}, keywords_fa = {هنرمند,صنعتگر,دوره صفوی,آرنولد هاوزر}, url = {https://jfava.ut.ac.ir/article_74924.html}, eprint = {https://jfava.ut.ac.ir/article_74924_bdee050ca6b848d0291df784e1114408.pdf} } @article { author = {akbari, abbas and chitsazian, amir hossein and mousavi viaye, encieh sadaat}, title = {Emergence, Evolution and Abolition of Lajvardina pottery}, journal = {Journal of Fine Arts: Visual Arts}, volume = {25}, number = {2}, pages = {53-64}, year = {2020}, publisher = {University of Tehran College of Fine Arts}, issn = {2228-6039}, eissn = {2538-5178}, doi = {10.22059/jfava.2019.260506.665978}, abstract = {Although Iranian pottery has attracted the attention of art researchers and many studies have been conducted in this area, there is still the need for research in this regard. Islamic art scholars divide Iranian pottery into different categories according to historical periods, production centers or methods. Lajvardina is one of the most noticeable decorative styles in the Iranian pottery about which no comprehensive study has been carried out yet. These earthenware products have unique physical and technical characteristics thanks to the Iranians' great experiences in pottery making. The most notable feature of decoration in lajvardina is the use of a gold sheet and a background with the lajvard (lapis lazuli blue), turquoise or white glaze, painted in red, black and white. In most cases, the original patterns were gilded and their edges were painted in red. The gilded decorations in the Iranian pottery through the use of gold glaze or sheet were common during the Seljuk period, and lajvardina is not distinct from the other products of its own age in terms of its glaze and body formulation. The combination of these elements is among the visual features of lajvardina, with no history in Iranian art before this era. The present developmental research, whose data have been collected using library documents and resources, used the historical analysis method to determine the causes of the emergence, evolution and abolition of lajvardina in Iran and other countries. The results suggested that lajvardina life in Iranian pottery is limited to the late seventh century until the late eighth century. The construction of the single-colored lajvard and the combination of the technical features of Mina'i and some Iranian pottery traditions led to lajvardina. Eventually, lajvardina replaced Mina'i completely at the end of the seventh century. What makes it distinct from the other pottery decoration methods used in Iran is its use of distinctive color ranges, geometric patterns, and lajvardina gilding. Soltaniyeh, Hasanlu, Neyshapour, and Siraf Port are among the regions where lajvardina was discovered. However, the greatest Iranian lajvardina works were obtained from Abaqa Khan's Palace located in Takht-e Soleyman. These discoveries are not limited to Ilkhanate Iran; a few remains of these earthenware products have been found in Jordan, Egypt and Italy as well. Archaeologists' findings are indicative of lajvardina common use in Golden Horde regions, remarkable in terms of number, diversity and geographic distribution. The trade relations between Italian and Egyptian businessmen and the residents of Golden Horde justify the discovery of lajvardina remains in Italy, Egypt and Jordan. Since there has been no evidence of the construction of these works in areas outside the boundaries of Ilkhanate Iran, the lajvardina under question cannot definitely be considered to be local products. The decline of the Ilkhanate decreased the lajvardina production, the last major use of which was shown in Samarkand, dating back to the late eighth century AH. The production of lajvardina pottery in the late eighth century became an old technique.}, keywords = {Lajvardina pottery,Ilkhan period,Takht-E-Soleyman,Golden Horde}, title_fa = {پیدایش، شکوفایی و افول سفال لاجوردینه}, abstract_fa = {در گسترۀ تنوع شیوه‌های تزئین سفال‌ ایران، سفالینه‌های لاجوردینه جایگاه منحصر به فردی را به خود اختصاص می‌دهند. ویژگی بصری این آثار، استفاده از ورق‌طلا بر زمینۀ لعابدار لاجوردی، فیروزه‌ای یا سفیدی است که تزیین آن با بکارگیری رنگ‌های قرمز، سیاه و سفید تکمیل شده است. پژوهش توسعه‌ای حاضر که جمع‌آوری اطلاعات آن بر اساس اسناد و منابع کتابخانه‌ای صورت گرفته، با بهره‌گیری از شیوه تاریخی-تحلیلی تلاش نموده است تا به پرسش‌هایی در رابطه با دلایل پیدایش، محدوده زمانی و مکانی رواج این سفالینه‌ها پاسخ گوید. نتایج حاصل از این پژوهش نشان می‌دهد که دورۀ حیات سفال لاجوردینه به اواخر قرن هفتم تا اواخر قرن هشتم هجری محدود می‌شود و ساخت سفال تکرنگ لاجوردی و پس از آن تحولات سفال‌ مینایی و ساخت مینائی‌های زراندود زمینۀ پیدایش سفال لاجوردینه را فراهم نمودند. نمونه‌های متعدد لاجوردینۀ یافت شده از سلطانیه، حسنلو، نیشابور، بندر سیراف، تخت سلیمان و اکتشافات نواحی اردوی‌زرین (از رقبای قلمرو ایلخانیان)، نشانگر محدودۀ مکانی رواج این آثار می‌باشند اما شواهد ساخت این سفالینه‌ها به تخت سلیمان محدود می‌شوند. با افول ایلخانیان تولید سفالینه‌های لاجوردینه نیز رو به کاستی گذاشت و آخرین کاربرد عمدۀ سفال لاجوردینه در سمرقند و در اواخر قرن هشتم هجری نمایش یافت.}, keywords_fa = {سفال لاجوردینه,دوره ایلخانی,تخت سلیمان,اردوی زرین}, url = {https://jfava.ut.ac.ir/article_78786.html}, eprint = {https://jfava.ut.ac.ir/article_78786_9fd0b47b69998c0266c253de5a0f17cb.pdf} } @article { author = {hosseinabadi, Zahra}, title = {Symbolic and Conceptual Foundations in of Stone painting of Saravan Negaran Valley}, journal = {Journal of Fine Arts: Visual Arts}, volume = {25}, number = {2}, pages = {65-74}, year = {2020}, publisher = {University of Tehran College of Fine Arts}, issn = {2228-6039}, eissn = {2538-5178}, doi = {10.22059/jfava.2020.260194.665980}, abstract = {According to many scholars, rock art is an illustrative example of a world art dating back to the depths of human history and often considered art as one of the most important branches of visual arts, which recognized the first manifestations of the aesthetic sense and artistic taste of the ancestors of mankind Exhibits in different parts of the world. Meanwhile, petrographic sites include some of the world's largest art works, which, from a cultural standpoint, have plenty of spiritual imagery. This art includes paintings that have been featured in valleys and on boulders and smooth surfaces, and an archive of indigenous arts and traditions dating back to about ten thousand years ago, as an important part of the history of art World known. Saravan Negaran Valley is one of the prominent regions of Iran, surrounded by beautifully crafted paintings on the rocks and streams of symbolic backgrounds in most of the paintings. This research aims to explore the symbolic features of Saravan Negaran and the reasons for the creation of motifs by the primitive people of Time and seek to answer the following question: What are the most picturesque images on the rocks of this valley, based on What are the foundations of symbolism and belief? The research method was descriptive-analytical and data was analyzed by field study and recording of the writer's observations as well as by documentary method and by inductive reasoning method. The findings show that the images are divided into three animals, human, and geometric groups, which have the most abundance of animal designs in comparison to other motifs that are mostly hunted, and combinations of human-animal and animal-animal images Also largely reflects the scenes of the hunting battle that has been common in this age. For this reason, many of the motifs of region, which have a symbol of hunting, include wild cattle and mountain goats with large branches, stretched to various styles in most boulders, and have a direct connection with the nature of that time, as well as the livelihood and beliefs of the people of that time. For the first reasons for painting in this area, the use of this technology and instrument for transmitting messages, recording events and everyday life events, determining the limits and ... has been. The abundance of animal designs also reflects deep beliefs. Firstly, the man of that period wanted to portray the most important activity of his life. Secondly, animals play a vital role in their lives for livelihoods, and they have been carved for their sacred image. The symbolic and religious backgrounds have played a prominent role in the design of the designs and have been deeply intuitive with the way the life and beliefs of the people of the region were at that time. In addition, many of the foundations of creed that have played a significant role in the art of rectangular art are clearly visible in the lives of the present inhabitants of the region, especially in rural and nomadic areas.}, keywords = {Negaran Valley,stone daisies,motifs,symbolic,beliefs}, title_fa = {بنیان‌های نمادین و اعتقادی در نقوش سنگ‌نگاره‌های درّه نگارانِ سراوان}, abstract_fa = {درّه‌ی نگارانِ سراوان یکی از مناطق برجسته‌ی سنگ‌نگاره‌ای در ایران بوده که مملو از نقوشی است که با ظرافت بر دل صخره‌ها حکّ شده‌ و رگه‌هایی از پیش‌زمینه‌های اعتقادی و نمادین در اکثریت نگاره‌ها به چشم می‌خورد. این پژوهش با هدف بررسی و شناختِ نمادشناسانه‌ی سنگ‌نگاره‌های درّه نگاران سراوان و دلایل اعتقادیِ ایجاد نقوش از سوی مردم بدویِ آن سامان انجام و به دنبال پاسخ‌گوئی به این سئوال است که: بیشترین تصاویر حک شده بر صخره‌های این درّه، از چه نوعی بوده و مبتنی بر چه بنیان‌های نمادین و اعتقادی ترسیم شده‌اند؟ روش تحقیق، توصیفی تحلیلی بوده و داده‌ها از طریق بررسی میدانی و ثبت مشاهدات نگارنده و نیز به روش اسنادی، گردآوری و به روش استدلال استقرایی، تحلیل شده-اند. یافته‌ها نشان می‌دهد که نگاره‌ها در درّه نگاران، به سه گروه جانوری، انسانی و هندسی تقسیم می‌شوند که نقوش جانوری بیشترین فراوانی را در بین سایر نقوش دارد. زمینه‌های نمادین و اعتقادی، نقشِ برجسته‌ای در طراحی نقوش داشته و به طور عمیقی با نحوه زیست و باورهای فکریِ مردم منطقه در آن زمان مرتبط بوده است. ضمن اینکه، بسیاری از بنیان‌های اعتقادی که در هنر صخره‌نگاریِ آن دوره نقش مؤثری داشته‌اند، در زندگی ساکنان فعلیِ منطقه، بوضوح قابل مشاهده است.}, keywords_fa = {واژگان کلیدی: درّه نگاران,سنگ‌نگاره,نقوش,نمادین,اعتقادی}, url = {https://jfava.ut.ac.ir/article_78787.html}, eprint = {https://jfava.ut.ac.ir/article_78787_c81f4a89548a1dcbd07856f2a09fb5bc.pdf} } @article { author = {tabatabaee jabali, zohreh and azizi, roya}, title = {The study of the representation of the Devil in the Persian paintings of the story of Adam and Eve}, journal = {Journal of Fine Arts: Visual Arts}, volume = {25}, number = {2}, pages = {75-84}, year = {2020}, publisher = {University of Tehran College of Fine Arts}, issn = {2228-6039}, eissn = {2538-5178}, doi = {10.22059/jfava.2018.258889.665957}, abstract = {The stories of holy Quran and their relevant paintings have been a work subject for the Iranian painters in several time periods of ancient art and artworks in Iran. In this regard, the story of Adam is kind of the historical stories that have been subjected for different eras of the Persian paintings. It also has to be mentioned that each time periods does have the specific different images for their representations of this story. This story is one of the types of stories that has been subjected in almost all religions in different forms and origins, even in non- Semitic religions, as a story of first human creation or Adam creation. The presence of different special images in this stories such as devil, snake, peacock, and angles is a key factor to think of the Adam story as a symbolic subjects in different arts especially historical paintings and could reveals the need of assessing them is seems to be essential. The Devil is kind of the creatures that have been used in different forms in different religions for years and has been known as an evil and harmful force against human spirit. In Islamic arts and its related texts, the images of Devil are showed in different representations such as old man, angle, demon and snake or in a company with an assisting animal such as snake and peacock. Therefore, this study is aimed to assess the different representations of Devil in Persian paintings and find their roots in historical texts and pictures and their relation to the Islamic texts, holy Quran, and other mysticism texts and references. In this regard, we have used the comparative historical-descriptive method to assess the different resources from the literature and also from the religion texts for their representations of the Devil. The results of the study have shown that some of these representations are originated from old ancient texts and religions before the Islam era. Furthermore, it is revealed that some of them are originated from the mysticism texts and from some mystics' point of views to the Devil that have been showed in their oral stories or in their books and unofficial texts. In another part of the results of the study, it is revealed that the paintings of devils as snake or accompanying by another animal such as snake is also associated to the human creation mythic stories and correspondingly connection of the snake with evil in different cultures and believes. In another part of the study, findings were showed that the painting of devil as an old man could be rooted in the stories of the devils in mythic texts and histories and mystics' point of views to the Devil that is presented differently. But, about angles or the demon faces for the devil they can be by some means originated form the pint of views of devil which probably is based on some Islamic texts and also from the people believes that think the devil is the same to demon}, keywords = {Persian painting,Devil,Adam,Eve}, title_fa = {مطالعه بازنمایی شیطان در نگاره های داستان آدم (ع) و حوا}, abstract_fa = {از میان قصص قرآن قصه حضرت آدم ازجمله داستان‌هایی است که در دوره‌های مختلف نگارگری به آن پرداخته‌شده است. در بازنمایی این قصه توسط نگارگران شخصیت‌ها و عناصری چون حضرت آدم و حوا، فرشتگان، شیطان، مار، طاووس و باغ تصویر شده است. در این میان شیطان به‌عنوان یکی از شخصیت‌های مهم این داستان با صورت‌های متفاوتی چون: پیرمرد، فرشته‌ای با صورتی تیره، دیو و مار به تصویر درآمده است. بر همین اساس هدف تحقیق پیش رو تبیین بازنمایی‌های گوناگون از شیطان و یافتن ریشه‌های آن در متون است و در پی پاسخ به این پرسش است که چرا شیطان با صورت‌های متفاوت در نگاره‌ها ترسیم‌شده و ریشه‌ی این تفاوت‌ها به چه متون و یا تصاویری بازمی‌گردد. بر همین اساس با روش تاریخی- توصیفی و رویکرد تطبیقی به بررسی رابطه متون مختلف دینی و ادبی در رابطه با شیطان و ارتباط آن با بازنمایی‌های متفاوت این شخصیت پرداخته است. نتایج به‌دست‌آمده حاکی از آن است که صورت‌های متفاوت از شیطان ریشه در متون کهن و ادیان قبل از اسلام دارد و برخی از آن‌ها بر اساس تفاسیر قرآن و متون عرفانی و یا دیدگاه برخی از عرفا نسبت به شیطان تصویر شده است.}, keywords_fa = {نگارگری,شیطان,آدم (ع),حوا}, url = {https://jfava.ut.ac.ir/article_76374.html}, eprint = {https://jfava.ut.ac.ir/article_76374_10e989157efc33bc033fc5f361562961.pdf} } @article { author = {zamani, narges and Jabal Ameli, roxana}, title = {Recognition of the application of isinglass in Iranian art}, journal = {Journal of Fine Arts: Visual Arts}, volume = {25}, number = {2}, pages = {85-94}, year = {2020}, publisher = {University of Tehran College of Fine Arts}, issn = {2228-6039}, eissn = {2538-5178}, doi = {10.22059/jfava.2018.243921.665778}, abstract = {From the past, interior decorations in Iran have been part of the visual and artistic culture of the collection of visual works in interacting with architecture, which has been implemented with a variety of materials and techniques. The decoration of palaces, public and private buildings during the Safavid period were abundant, as the various arrays used, indicates a variety of design, motifs, and performance that, despite many studies, there is no complete information on how all these types of decorations are, especially, research in this area is generally around a variety of colorful and with many motifs, and recognizing simpler decorations is somehow in the shade and margin. Among all of the types of decorations used during the Safavid era, some surfaces are decorated simply on a white background with an oyster-like and brilliant effect that the purpose of this research is to identify the type of material used to create such an effect on the white surfaces of the Hasht-Behesht palace and one of the historical houses of Isfahan. The Historic monument of Hasht-Behesht was built during the reign of Shah-Soleiman and is of its kind in the unique palaces of the Safavid era. Among the various decorations of this building, some simple white decorative surfaces are surrounded in color lines, or with decorative elements such as Rosace and Pendentif elements on a white background have been implemented. The white color of the background in this type of decorative surfaces has an oyster-like and brilliant effect. Identifying this decorative style was based on field observations, historical sources, and the use of laboratory techniques, since it was not possible to complete recognition of the methods used in the past by merely confining the experimental methods and studying ancient resources. The compound found in the analysis shows a typical potassium-aluminum hydrate silicate from the muscovite mica group. The identified composition is a kind of Muscovite mica. To find out more about this kind of decorative art, we have tried to look at a sample of similar decorations from the Safavid period in one of the historic houses of Isfahan. The use of the fine flakes of mica to create brilliance on white surfaces has in the past been a comprehensive way to decorate the architectural surfaces of the buildings, as we see it in both the Hasht-Behesht Palace and the Iranian houses. During the recent centuries, the materials and techniques used in the Iranian architectural decorations and their application, have been forgotten, but by reference to the old written texts, can be found the signs of their use and methods of preparation. Understanding one of the many types of Iranian architecture decorations with such methods can be a step to resolve the ambiguity of the art of wall paintings in Iran. Gaining a better recognition of the techniques of Iranian interior decoration will be very effective in protecting them. In the forthcoming research also, with the historical texts reading, other artistic applications in manuscript and book design and book crafting will be examined.}, keywords = {Talc,Isinglass,architectural decorations,Historical buildings,Safavid Era}, title_fa = {بازشناسی کاربرد طلق در هنر ایرانی}, abstract_fa = {تزیین کاخ‌ها، بناهای عمومی و خصوصی در دوره‌ی صفوی رونقی فراوان داشت، چنانچه آرایه‌های گوناگونِ به‌کاررفته، شامل انواع مختلفی در طرح و نقش و اجرا است که با وجود پژوهش‌های بسیار، اطلاعات کاملی درباره‌ی چگونگیِ همه انواع این تزیینات وجود ندارد. تحقیقات در این زمینه نیز اغلب پیرامون انواع شیوه‌های رنگی و پرکار است، و شناختِ تزیینات ساده‌تر به نوعی در سایه و حاشیه قرار گرفته‌است. در میان همه‌ی گونه‌های تزیینات در دوران صفوی، برخی از سطوح به‌صورت ساده و سفیدرنگ با جلوه‌ای صدف‌گونه و درخشان تزیین شده‌اند. هدفِ این پژوهش شناساییِ نوع ماده‌ی بکاررفته برای ایجاد چنین جلوه‌ای در کاخ هشت‌بهشت و یکی از خانه‌های تاریخی اصفهان است. شناسایی این شیوه‌ی تزیینی با اتکا بر مشاهدات میدانی، منابع تاریخی و بکارگیری روش‌های دستگاهی آزمایشگاهی صورت‌گرفت چراکه تنها با بسنده‌کردن به روش‌های تجربی و بازخوانی منابع کهن نمی‌توان به بازشناسی کاملِ روش‌های بکاررفته در گذشته، دست‌یافت. دستیابی به شناختِ یکی از گونه‌های آرایه‌های معماری ایرانی با چنین روش‌هایی می‌تواند گامی در جهت رفع ابهامات هنر نقاشی‌های دیواری در ایران باشد. نتیجه‌ حاکی‌از استفاده از پولک‌های برخی کانی‌های گروه میکا با جلای شیشه‌ای و صدفی است که درگذشته با عنوان سنگ‌طلق شناخته می‌شد و در پژوهش پیش‌رو با خوانش متون تاریخی، دیگر کاربردهای هنریِ آن در کتابت و کتاب‌آرایی بررسی خواهندشد.}, keywords_fa = {سنگِ طلق,میکا,تزییناتِ معماری,دوره‌ی صفوی,بناهای تاریخی}, url = {https://jfava.ut.ac.ir/article_78788.html}, eprint = {https://jfava.ut.ac.ir/article_78788_e70efdfdb2795e609a312aa40c2044ab.pdf} } @article { author = {Taghavi, Tarannom and pahlavan, mahboobeh}, title = {Intertextual readings Figurative works by Mansour Ghandriz}, journal = {Journal of Fine Arts: Visual Arts}, volume = {25}, number = {2}, pages = {95-104}, year = {2020}, publisher = {University of Tehran College of Fine Arts}, issn = {2228-6039}, eissn = {2538-5178}, doi = {10.22059/jfava.2018.264599.666007}, abstract = {The visual and content features in the treasure of the rules and cultural and social traditions that exist in the minds and minds of the author and the audience are pre-existing; creating the effect, and on the other hand, repeated reading of the works of art by the audience. Interpersonal reading by focusing on the audience is the approach put forward by Roland Barth, a cognizant and theoretician of cultural studies, and introduced it into a new area of meanings; instead of examining and introducing texts that At the time of the creation of the work, they have played a role in creating it, looking at the texts that are involved in its reading. In this essay, based on the interpersonal nature of Barthes's reading, three works from the compositions of Manusur Ghandriz's compositions, which have been dealt with a far-fetched, objective, and mythical mentality, have been read. This collection of Qandriz's works, based on the author's information, has never been thoroughly examined, and the artist has been exposed by the collection of works of Tabriz (with people in rural clothing) and most notably with the collection of works of his so-called " Recognize that Reading each image is based on the writer's view and author's chosen statistical society by discovering the basis of the images and returning it to the structure of the elemental elements and recognizing the content and content of the original and presenting the pre-texts in the works. In fact, what matters here is not the pretext of creating works based on the views of the author and the creator of the work, but the preconception of the mindset of the audience, on the basis of which the readings are affected. The main purpose of this research is to first examine the possibility of using the intertextual method in reading works without any referential resources, and secondly, knowing how much and how to use intertextual relationships and explicit reference to other texts is different from the audience with the statistical community. As a result of this, although these works have not benefited from the two aspects of reading the visual effects in an intertextual way, namely, collage and text, sometimes color and texture, but because of the visual and symbolic features as well as the spherical space Ruling on the image, there are different readings. B) Many audiences, combined with syntax, simultaneously use a variety of textual, intertextual, and textual methods. C) Analysis of readings revealed that the close relationship between the cognition and the subtextual contours of each individual with his intertextual reading There is. Based on this, the audience can not be categorically divided into textual, intertextual, and textual audiences, and it can be said that textual reading, universal reading, and intertextual reading relate to individuals with knowledge and mental pretexts. This suggests that there is a relatively close relationship between specialized education and intertextual reading; In other words, there is a proximity between the level of knowledge and the subjective preconceptions of each individual with his intertextual reading.}, keywords = {intertextual readings,meta-reading readings,textual readings,qandriz,fertility myth}, title_fa = {خوانش بینامتنی آثار فیگوراتیو منصور قندریز}, abstract_fa = {بنا بر تعریف بینامتنیت، هر متن با بازآفرینی معانی گذشته، صورت متحول شده متون پیش از خود است. رولان بارت با طرح بینامتنیت خوانشی و توجه به مخاطب، گستره نوینی را به روی تاویل معنا و خوانش چندباره آثار هنری و ادبی گشود. در این نوشتار سه اثر از مجموعه آثار فیگوراتیو منصور قندریز، به روش توصیفی- تحلیلی، توسط نویسنده و جامعه آماری منتخب وی، مورد خوانش بینامتنی قرار گرفته است. هدف اصلی در این پژوهش، اول: امکان کاربرد روش بینامتنی در خوانش آثاری بدون امکانات ارجاعی مختلف (نوشتار، رنگ و...) و دوم: شناخت میزان و چگونگی بهره-برداری از روابط بینامتنی (همچون ارجاع صریح به متن‌های دیگر) توسط مخاطبینی با جامعه آماری متفاوت است. بنا بر نتیجه الف) با وجود آنکه این آثار، از وجوه شاخص خوانش آثار تجسمی به روش بینامتنی، همچون کلاژ و نوشتار و گاه رنگ و بافت بهره نبرده‌اند، اما به دلیل وجود فضای سورالیستی حاکم بر تصویر، خوانش‌های متفاوتی را پذیرا هستند. ب) بسیاری از مخاطبین، با خوانشی ترکیبی، بطور همزمان از انواع شیوه متنی، بینامتنی و بافتاری بهره برده‌اند ج) تحلیل خوانش‌ها مشخص نمود که ارتباط نزدیکی میان شناخت و پیش‌متن‌های ذهنی هر فرد با خوانش بینامتنی وی وجود دارد.}, keywords_fa = {خوانش بینامتنی,خوانش فرامتنی,خوانش متنی,قندریز,اسطوره باروری}, url = {https://jfava.ut.ac.ir/article_78789.html}, eprint = {https://jfava.ut.ac.ir/article_78789_6256e1dcbc435980dcc75a5a97ed3e1c.pdf} } @article { author = {Malek Aein, Ali and چانگ هونگ, ژانگ}, title = {Affirmation the Unity of the Identity of Muhammad-e Siyah Qalam and the Painter Ghiyas-uddin By the Comparative Study of the Illustration "Immortals Liu Haichan and Li Tieguai" of Siyah Qalam and Chinese Works}, journal = {Journal of Fine Arts: Visual Arts}, volume = {25}, number = {2}, pages = {105-114}, year = {2020}, publisher = {University of Tehran College of Fine Arts}, issn = {2228-6039}, eissn = {2538-5178}, doi = {10.22059/jfava.2020.284269.666262}, abstract = {Necessity of case-by-case researches about Siyah Qalam`s works in order to clarify her identity is felt. One of these paintings depicts two Chinese priests with the caricatural quality. There were similar Chinese samples of the paintings of this priests in the Khanbaliq, the capital of China, during the time of Ghiya-sddin's visit to there. In his book The "School of Herat", Yaghub-e Azhand attributes this image to the priests who Siyah Qalam had seen them in China. In this book, according to the Ghiyas-uddin Mohammad`s travelogue and Mohammad-e Siyah Qalam`s works, he elaborates and analyzes the hypothesis of the unity of the identity of these two Iranian painters. Although his study was detailed, due to the scope of the issue, a comparative study of each of the works which attributed to Siyah Qalam, still requires further studies for definitive proof of this hypothesis. His conclusions about the identity of these two Iranian painters on the one hand, and the obvious similarity between the mentioned illustration of Siyah Qalam and some Chinese paintings in the capital, on the other hand, makes the hypothesis that the illustration was depicted during the courtesy visit by Ghiyas-uddin from a workshop or treasure house of the Ming court from the works of Chinese painters such as Yan Hui and Shang Shi. Therefore, the present study, in the historical method, by examining the data related to the aforementioned work of Siyah Qalam and Chinese samples and their structure, theme, time and place of creation, answers to these questions that what is the topic of the work of two priests attributed to Mohammad-e Siyah Qalam? What was the artist's model in illustrating this work? When and what point of China has this illustration drawn? The statistical population of the study was a collection of Chinese paintings on the subject of two Taoist characters, Liu Haichan and Li Tieguai, and the aforementioned illustration of the Siyah Qalam. Therefore, this paper seeks a tripartite comparative study of the text of the painter Ghiyas-uddin's travelogue, the aforementioned work and some related Chinese paintings. This study will address three historical, thematic, and artistic aspects of the problem, so that historically the route of travel and the place of recreation of this work by the Iranian artist, thematically, content and subject matter of the work and its relation to Chinese narratives and the similar subjects in Chinese works, and artistically the structure and form of the mentioned work and the works of the Chinese painters will be examined. Answering these questions serves the aim of this study, which emphasizes the unity of the identity of Mohammad-e Siyah Qalam and the painter Ghiyas-uddin. The results of the study show that the subject of the Siyah Qalam`s work is the two priests of the Taoism school, named Liu Haichan and Li Tieguai, which are first mentioned in this study. It also proves that this painting is a copy or a new composition by the Iranian artist inspired by similar Chinese works depicted in the Ming dynasty court, Khanbaliq.}, keywords = {Mohammad-e Siyah Qalam,painter Ghiya-suddin,unity of identity,Liu Heichan and Lee Tie Guai immortal,Yan Hui,Shang Shi}, title_fa = {تأکید بر یگانگی هویت محمد سیاهقلم و غیاث الدین نقاش با بررسی تطبیقی نگاره «جاودانه ها لیوهایچان و لی تیه گوآی» سیاهقلم و آثار چینی}, abstract_fa = {یکی از نگاره‌های منصوب به سیاهقلم دو کاهن چینی را با کیفیتی کاریکاتوری به تصویرکشیده است. نمونه‌های چینی مشابه از تصویر این کاهنان در عصر سفر غیاث‌الدین به چین، در پایتخت وجود داشته است. جمع‌بندی‌های یعقوب آژند در خصوص یگانگی هویت این دو نقاش ایرانی و شباهت واضح نگاره مذکور و نقاشی‌های چینی موجود در پایتخت این فرض را پیش می‌نهد، که این نگاره در بازدید غیاث‌الدین از کارگاه یا گنجینه دربار مینگ از روی آثار نقاشان چینی نظیر یان‌هویی و شنگ‌شی به تصویر کشیده شده است. ازاین‌رو پژوهش حاضر به روش تاریخی با بررسی داده‌های مرتبط با نگاره مذکور سیاهقلم و نمونه‌های چینی و تطبیق آنها به لحاظ ساختار، موضوع، زمان و مکان اجرای آنها به این سوالات پاسخ می‌دهد که اساساً موضوع نگاره مزبور چیست؟ الگوی نگارگر در تصویرگری این اثر چه بوده است؟ این نگاره در کدام منطقه از چین و در چه مقطعی بازنمایی شده است؟ پاسخ به این سوالات هدف پژوهش را که تأکید بر یگانگی هویت محمد‌سیاهقلم و غیاث‌الدین نقاش است، تأمین می‌کند. نتایج بررسی نشان می‌دهد که این نگاره یک نسخه کپی و یا یک اثر با ترکیب‌بندی جدید از نگارگر ایرانی با الهام از آثار مشابه چینی در دربار سلسله مینگ می‌باشد.}, keywords_fa = {"محمد سیاهقلم","غیاث الدین نقاش","یگانگی هویت","نگاره جاودانه ها لیو هایچان و لی تیه گوآی","یان هویی","شنگ شی"}, url = {https://jfava.ut.ac.ir/article_78216.html}, eprint = {https://jfava.ut.ac.ir/article_78216_b3e0653936216aa8bd9cb325be76e0b0.pdf} } @article { author = {Dehghan, Kian and Motalebi, Ghasem}, title = {The Effect of Use and Meaning on the Objects Form}, journal = {Journal of Fine Arts: Visual Arts}, volume = {25}, number = {2}, pages = {115-124}, year = {2020}, publisher = {University of Tehran College of Fine Arts}, issn = {2228-6039}, eissn = {2538-5178}, doi = {10.22059/jfava.2019.278994.666180}, abstract = {The role of objects in the process of cultural continuity and change was not given enough attention in studies. However the growing number of material culture studies shows the increasing attention given to this subject. During the slow process of cultural change objects go through a life span beginning with invention or adoption, passing through stages of different forms and eventually being abandoned. The primary reason for inventing objects (except objects for art purposes) is to serve people's utilitarian use, such as moving, dressing, cooking, eating, playing, sleeping and dwelling. As time passes and people use objects, these objects change to meet, in addition to utilitarian uses, cultural needs. The aim of this study is to investigate the role of objects during their different stages of life in meeting the utilitarian and cultural needs of users. This research will examine living environments as systems within which constituents (users and objects) are continuously changing and interacting with each other in order that the systems maintain a state of equilibrium. To investigate any living environment, it is necessary to find how its constituents communicate with each other. People communicate with objects by using them, and objects communicate with people by indicating how they should be used and by conveying meanings. For a system to achieve equilibrium, some of its constituents should maintain the survival of others; i.e. be compatible with others. If two constituents are maintaining the survival of one another that means they are compatible with each other. If one constituent is maintaining the survival of many constituents, this means that its compatibility is high. If one constituent hinders the survival of other constituents, this means that it is incompatible. The research methodology is qualitative. A quantitative methodology that correlates a few variables will not unfold data that needs in-depth inquiry, such as space meaning for example. It is important to devote the time of the fieldwork to a small number of cases to maintain a high level of validity rather than correlating a few variables by implementing quantitative methodology. All possible relationships between use, meaning and form as well as the level of compatibility among the three constituents at every stage are illustrated in a model developed in this study. The model is a tool of seeing the cultural role of objects. It is an analytic frame that could be developed or adjusted even in future research to provide better understanding of the relationship between objects and people. The model is then used to help in the analysis of Minarets and Military Uniforms. It has been found that objects maintain the survival of people's utilitarian and symbolic needs in different levels. Some objects pass through different stages of compatibility according to their required functions. Some objects need to be compatible with uses driven by values, others need to be compatible with users' identity, and others need to be only practical. Every object has a certain function and consequently a certain level of compatibility with other constituents in the living environment.}, keywords = {Form,Meaning,Use,environment,Culture}, title_fa = {تأثیر متقابل کاربرد و معنا بر فرم اشیاء}, abstract_fa = {به طور عمده اشیاء در چرخه عمر خود با ابتکار یا اقتباس به وجود آمده، با گذر زمان فرم‌های مختلف به خود گرفته و در نهایت رها شده و از بین می‌روند. سوال‌های اساسی عبارتند از: فرم یک شیء بر چه مبنا و بر اساس چه فرآیندی و چگونه با نیازهای کاربردی و معنایی انسان مرتبط می‌شود؟ و دلیل بهره‌مندی برخی اشیاء از ارزش‌های نمادین چیست؟ این مطالعه، محیط زندگی را به عنوان سیستمی در نظر می‌گیرد که در آن انسان‌ها و اشیاء به طور مداوم باهم در تعامل‌اند تا محیط حالت تعادلی خود را حفظ کند. هدف پژوهش بررسی فرم شیء در چرخة عمر خود در مواجه با خواست‌ها و نیازهای کاربردی و معنایی انسان است. انسان‌ به جهت استفاده و فرم دادن به شیء، و شیء به وسیلة قابلیت‌های بالقوة خود با انسان‌ ارتباط برقرار می‌کند. روش این تحقیق کیفی است و با بهره مندی از فرآیندی استقرایی به دنبال تبیین تمام روابط ممکن بین کاربرد، معنا و فرم است. در یک فرآیند و مدل نُه مرحله‌ای چگونگی توسعة فرم اشیاء در ارتباط با معنا و کاربرد مورد بررسی و تحلیل قرار گرفته است. یافته‌ها نشان می‌دهد که علی‌ رغم تغییرات در طول زمان فرم شیء نیازهای کاربردی و معنایی انسان را در سطوح مختلفی تأمین می‌کند.}, keywords_fa = {فرم,معنا,کاربرد,محیط,فرهنگ}, url = {https://jfava.ut.ac.ir/article_78790.html}, eprint = {https://jfava.ut.ac.ir/article_78790_4628b22bf287887139c28cae413986d4.pdf} }