@article { author = {Bakhtiarian, Maryam}, title = {A Different Approach to Other in Art: With a Luhmannian Approach}, journal = {Journal of Fine Arts: Visual Arts}, volume = {18}, number = {3}, pages = {1-10}, year = {2013}, publisher = {University of Tehran College of Fine Arts}, issn = {2228-6039}, eissn = {2538-5178}, doi = {10.22059/jfava.2013.36406}, abstract = {Abstract Niklas Luhmann was one of the prominent thinkers in the realm of sociology and the philosophy of social sciences. His approach was a systems approach. He classified the realm of reality and its entities into four groups that consisted of: machines, organisms, psychic systems, social systems. He belonged to the second wave of systemic thought and focused on the complexity and emergence in the social systems. One of the fundamental properties of systems approach is holism, that is, to survey different social realities with a single method and from single standpoint (functional analysis and comparison of systems). This approach provides new standpoints in the ground of the studies of art. Art in a Luhmannian approach, as a social system, is a type of indirect communications and meta-language that operates relying on the self-referential operations. In fact, each the new operation is the consequence of the reference of system to the previous operations in the past time horizon. This process keeps opening the future time horizon. A clear example from the self-referential closure is the emergence of artistic styles one after another that criticize, emphasize or moderate some of the each other elements. For example, ‘Impressionism’ is the result of activity of the system art in reaction to ‘Realism’. Such activities are considered as the consequences of self-communication of the system art. But Luhmann’s purpose is not the rejection of role of other in the art system. The guiding distinction between system/environment confirms this point. This distinction and also distinction between self-referential and hetero-referential are important for the art system from the ontological and epistemological aspects. Undoubtedly, the continuity and self-cognition and self-description of the art system is not possible without communication with other. Art should be distinguished and differentiated from non-art in order to the declaration of existence. The merger of art with non-art is same its end. Therefore, we have to accept that the rejection of usefulness, the disinterested pleasure and the inner end in the movement of “art for sake art”, is not the elimination of other from art. Art is a form of communication.  Communication does not form without differentiation and distinction. The pure self-communication is not the resolution of problems of the art system. The artistic modern movements cannot claim that just have pure self-communication, that is, they are closed stsems. Art needs to innovation for being and staying. All social and psychic systems are participating in the art system. Of course, uncontrolled communications will be many problems for systems. To reduce the dynamics of the art system is one of these problems. Modern art with the highest level from independence and autonomous and dynamics is interacting with environment (including, societies and humans). Luhmannian approach by using systems approach and notice to communications has emphasized on the necessity of being of other in the art system. In this paper, relying on studying (translation and analysis) of Luhmann’s main works, we attempt to express the necessity of being of other in the art system from a different perspective.}, keywords = {Keywords: Niklas Luhmann,social system,Communication,Art,other}, title_fa = {رویکردی متفاوت به دیگری در هنر: با یک رویکرد لومانی}, abstract_fa = {چکیده در رویکرد لومانی، هنر به­مثابه سیستمی اجتماعی از جنس ارتباطاتِ غیرمستقیم و فرازبانی است که با ابتنا بر عملکردهای خود-ارجاع، فروبسته عمل می­کند. سیستم با رجوع به عملکردهای پیشین در افق­ زمانی گذشته، افق زمانی آینده را به روی خود گشوده نگه می­دارد. حاصل این امر، پدید آمدن سبک­های هنری یکی پس از دیگری است که برخی عناصر یکدیگر را نقد، تأیید، یا تعدیل کرده­اند. برای نمونه، سبک «امپرسیونیسم»، حاصل فعالیت سیستم هنر در واکنش به سبک «رئالیسم» بوده و از پیامدهای خود-ارتباطی سیستم هنر به­شمار می­آید. تمایز هدایتگر میان سیستم/محیط، نشان می­دهد که خود-ارتباطی هرگز به معنای نفیِ نقش دیگری در هنر نیست. هنر برای اعلام موجودیت و به پایان نرسیدن باید از غیر هنر، یا دیگری تفکیک شود. اما انکار سودمندی، لذت بی­غرض، غایت در خود، یا بی­غایتی در «هنر برای هنر» به معنای حذف دیگری نیست. هیچ یک از جنبش­های هنری مدرن نوآور نمی­توانند به صِرف داشتن خود-ارتباطیِ محض ادعا کنند. در سیستم هنر، سیستم­های روانی (انسان­ها) و  اجتماعی مشارکت کنترل ­شده دارند. فقدان کنترل مصادف با تحلیل رفتن پویاییِ سیستم هنر است. در این پژوهش تلاش شده با ابتنا بر مطالعه (ترجمه و تحلیل) آثار اصلی لومان، ضرورت وجود دیگری در هنر از منظری متفاوت بیان شود.}, keywords_fa = {واژه¬های کلیدی نیکلاس لومان,سیستم اجتماعی,ارتباط,هنر,دیگری}, url = {https://jfava.ut.ac.ir/article_36406.html}, eprint = {https://jfava.ut.ac.ir/article_36406_15dc1a407d01359c79a572532d1048cc.pdf} } @article { author = {Ghanooni, Mohsen and Hosseini, Mehdi and Farahmand Boroujeni, Hamid}, title = {The Effect of Aesthetic Hedonism on Historical Ground of the Restoration of Paintings in 19th Century}, journal = {Journal of Fine Arts: Visual Arts}, volume = {18}, number = {3}, pages = {1-11}, year = {2013}, publisher = {University of Tehran College of Fine Arts}, issn = {2228-6039}, eissn = {2538-5178}, doi = {10.22059/jfava.2013.36407}, abstract = {Abstract Aesthetic viewpoints and philosophical concepts are effective factors which can conduct artistic movements. The impact of philosophical basis on the cultural, social, historical and artistic tendencies is to extent that the mentioned philosophical basis is specified as detailed and separated chapters. Among the development and exposition of the philosophical concepts of art area, there are some hedonism-based aesthetic sights in the different of age of history rummaged its roots to the classic age. Aesthetic hedonism can be classified as those philosophical topics rooting in philosophy of ancient Rome and Greece and in addition to its efflorescence in the 18th century in hedonism framework; the considerable development can be seen in middle 19th. Considering the viewpoints of Benedetto Croce, the philosopher and aesthete of 20th century, on concepts and definitions of aesthetic hedonism, this viewpoint can be study in the 19th works. The opposition of rationalism and irrationalism viewpoints in this century and the success of romanticists in the late 20th century have greatly assisted in forming of these concepts. On the other hand, the effect of philosophical concepts on the conservation, preservation and restoration of historical objects is unavoidable. With the starting of 19th century and the formation of new concept in conservation and restoration of historical object, special sights on the philosophical grounds of the century have been started which reached its summit in 20th century. Positioning of painting on one hand and restoration on the other hand, has started interesting challenge in philosophical and aesthetical topics. In this situation, the minimalist sights of some of the conservators (or some restorers) have been replied by the special view such as complete or aesthetical restoration. This research try to study the effect of aesthetical hedonism discussed as philosophical concept of 19th century with the restoration done on the painting of this century, also after the introducing characterize specimens criticizes them. Indeed, the question is that if the mentioned viewpoints have straight and significant effect on the restoration of paintings in 19th century or not? This question is very important to understanding of aesthetical and philosophical concepts in restoration of paintings in 19th century.  After the appointment and exampling of common specimens, we discuss the introduced viewpoints in this extent and confirm the effectiveness of this sight on the restoration of paintings in 19th century. Basic philosophy and element applied in restoration are based on absolute aesthetic thought, correction and finally, satisfaction of viewer swinger or exhibiting of important points of those paintings. This concept can be traced in the some cases such as special sight of Giuseppe Molteni in National Gallery of London, FrèdèricVillot in Louvre Museum of Paris and Stefano Bardini in Italy. Art and reproducing of pleasure are among the concepts accepted by painters and painting restorers and conservators in the 19th century confirming the sight of some workers as Andréa Rothe, whom believe that restoration approaches are affected by common philosophical criteria and indicators in the various historical ages.}, keywords = {Keywords Painting Restoration,Aesthetics,Aesthetic Hedonism,Benedetto Croce,19th century}, title_fa = {تاثیر مفهوم لذت گراییِ زیباشناختی در بستر تاریخی مرمت ‌تابلوهای نقاشی در سده نوزدهم}, abstract_fa = {چکیده دیدگاه‌های زیباشناختی و معیارهای فلسفی از جمله مبانی تاثیرگذار بر رویکردهای هنری در اعصار مختلف تاریخی ا­ست که می­توانند به نوعی این گرایش ها را هدایت کنند. در میان مفاهیم مطروحه در حوزه هنر، می توان رد پای نوعی بینش زیباشناختی مبتنی بر لذت­گرایی را که ریشه­های آن تا یونان کلاسیک قابل بازکاوی است، جستجو کرد. با توجه به تمرکز بندتو کروچه فیلسوف و زیباشناس سده بیستم بر مفاهیم و تعاریف لذت گراییِ زیباشناختی، می­توان این دیدگاه را در بستر تاریخی سده نوزدهم میلادی بررسی کرد. از سوی دیگر، رویکردهای فلسفی از جمله مبانی تاثیرگذار در حوزه هایی همچون نگاهداشت و مرمت آثار تاریخی نیز هستند. این پژوهش سعی دارد تاثیر زمینه فکری مورد اشاره بر مرمت‌های صورت‌گرفته روی تابلوهای نقاشی در سده نوزدهم میلادی را مورد بررسی قرار داده و نمونه‌های شاخص آن را معرفی کند. در واقع پرسش این است که آیا دیدگاه مذکور بر مرمت تابلوهای نقاشی در سده نوزدهم اثر مستقیم و چشمگیر داشته است؟ پژوهش پس از تبیین نظریه و ارائه مثال های ملموس، به بیان دیدگاه های مطروحه در این حوزه می پردازد و صحه بر تاثیر این نگره بر روند مرمت نقاشی این سده می گذارد.}, keywords_fa = {واژه های کلیدی مرمت نقاشی,زیبایی شناسی,لذت گراییِ زیباشناختی,بندتو کروچه,سده نوزدهم}, url = {https://jfava.ut.ac.ir/article_36407.html}, eprint = {https://jfava.ut.ac.ir/article_36407_bfb0ce6b5ebc1b3f853bb1e09a8302f5.pdf} } @article { author = {Hoseyny, Hashem}, title = {Reflection of Simurgh (Phoenix) Pattern in Islamic Art Pottery of Iran}, journal = {Journal of Fine Arts: Visual Arts}, volume = {18}, number = {3}, pages = {1-19}, year = {2013}, publisher = {University of Tehran College of Fine Arts}, issn = {2228-6039}, eissn = {2538-5178}, doi = {10.22059/jfava.2013.36408}, abstract = {  Abstract The subject matter of this paper is study of the Simurgh pattern's reflection in Islamic potteries and tiles of Iran. Author intends relying on some historic and literary principles as well as identification of drawing characteristics and symbolic concepts of Simurgh, detect the cause of difference between Islamic Simurgh and Sassanid Simurgh. In addition, he aimed at tracing of probable use of this motif in Islamic period before invasion of Mongols to Iran in 13th century A.D. It is clear that, identification of factors related to use of Simurgh pattern as well as its drawing characteristics and its symbolic concepts in Islamic potteries and tiles can help us for brighten important part of Islamic decorations aspects and offering real interpretations of this motif. In this way, characteristics of several examples of potteries wares and tiles with Simurgh pattern belonging to different technique and different Islamic periods in some Iranian or foreign museums have surveyed. The most important factors in this study is making and decorating characteristics such as patterns drawing and coloring as well as using and meaning factors. We can say one of reasons involving ambiguity of Simurgh characteristics in Persia art especially in Islamic period is multiplicity of effective factors including of pre-Islamic Persian myths, Sufism and literary concepts as well as characteristics of similar birds as Kuknos, Angha, and Homa. Origin of this ambiguity come backs to Sassanid art that famous pattern of Simurgh (combine of animal and bird) has low similarity with Simurgh in Islamic art (combine of 30 birds). One of possibilities may propose for remove this ambiguity is existence of two kind of Simurgh design in Sassanid period, one of them is in shape of dog-faced and another is in shape of eagle. Probably dog-faced Simurgh was a kind of the Sassanid insigne (similar to dragoon for Chinese emperors) whiles Avestan Simurgh was a big bird similar to eagle. In another words, Sassanid eagle-shaped Simurgh is the evolved kind of eagle. It is necessary to remind that eagle was symbol of Bahram in Pre-Islamic period of Iran and therefore had great sanctity. Naturally, part of this ambiguity derived of translated name of Avestan Senmurv to Simurgh word (30 birds) in new Persian language in Islamic period and has used for high Sufism concepts. Therefore, differences between Islamic Simurgh and Sassanid Simurgh became more and more. Towards this important matter as well as different inspire resources, Simurgh motif has different patterns of drawings especially in parts of tail and head. Toward the results, in case of using Simurgh pattern in Islamic pottery of Iran we can recognize two different periods including before and after Mongols invasion to Iran. In before Mongols invasion Simurgh pattern has applied with influence of eagle-shaped Sassanid Simurgh alongside Indian phoenix and after Mongols invasion has applied with influence of Chinesephoenix. Also regardless of irrefragable influence of Chinesephoenix, Iranian artists have drawn Simurgh approximately different of its Chinesekind with inspiration of Iranian literature and myths alongside with mysticism meanings and their innovations.    }, keywords = {Keywords: Iranian Simurgh,Chinese Phonix,Islamic Potteries,Islamic Tiles}, title_fa = {تجلی سیمرغ در هنر سفالگری دوران اسلامی‌ ایران}, abstract_fa = {چکیده موضوع تحقیق پیشِ‌رو، بررسی نحوة انعکاس طرح تزیینی سیمرغ در سفالینه‌ها و کاشی‌های دوران اسلامی‌ ‌ایران است. نگارنده برآنست نخست با تکیه بر برخی منابع تاریخی و ادبی، در کنار شناسایی مشخصات طراحی و مفاهیم نمادین نگارة سیمرغ، علت تفاوت­های سیمرغ دوران اسلامی‌ ‌با سیمرغ ساسانی و همچنین فرضیة احتمال کاربرد این نقش در دوران اسلامی‌ ‌قبل از ورود مغولان به‌ ایران را ردیابی نموده و سپس بطور اختصاصی انواع الگوها و ویژگی­های این نقش تزیینی در سفالینه­ها و کاشی­های دورةایلخانی و تفاوت­های آن با ققنوس چینی را مشخص نماید. در همین راستا، نمونه‌هایی شاخص از سفالینه‌ها و کاشی‌های دوران اسلامی‌ ‌ایران که دربردارندة طرح احتمالی یا قطعیِ سیمرغ هستند، انتخاب و به لحاظ مشخصات تکنیکی و ویژگی­های تزیینی مورد بررسی و تحلیل قرار گرفته‌ است. بنابر یافته‌های تحقیق؛ در رابطه با کاربرد طرح تزیینی سیمرغ در هنر سفالگری دوران اسلامی‌ ‌ایران می‌توان دو دورة مجزا را تشخیص داد؛ یکی دورة قبل از مغولان با تاثیر سیمرغِ عقاب‌سان ساسانی بعلاوة ققنوس هندی و دیگری دورة بعد از ورود آنها به‌ ایران با تاثیر ققنوس چینی البته با تفاوت­های ساختاری بسیار با اصل چینی آن که بیشتر متاثر از ادبیات و اساطیر ایرانی در کنار مفاهیم عرفانی و ابداعات هنرمندان مسلمان ایرانی ‌است.}, keywords_fa = {واژه های کلیدی سیمرغ ایرانی,ققنوس چینی,سفالینه‌ اسلامی,کاشی اسلامی}, url = {https://jfava.ut.ac.ir/article_36408.html}, eprint = {https://jfava.ut.ac.ir/article_36408_d8fc025f86100f1f5edbadb378ab7e0a.pdf} } @article { author = {Javid Sabaghiyan, Meghdad and Ahmadi Zavieh, Saeid Seyed and BaniArdalan, Esmail}, title = {Social and Cultural Contextuality of Subjects and Works in Comparative Art Studies}, journal = {Journal of Fine Arts: Visual Arts}, volume = {18}, number = {3}, pages = {1-15}, year = {2013}, publisher = {University of Tehran College of Fine Arts}, issn = {2228-6039}, eissn = {2538-5178}, doi = {10.22059/jfava.2013.36409}, abstract = {Abstract Cultural, social, economic, and political context of the art work is one of the important factors, that can improve and develop the theoretical achievements of the research project, if it is effectively and carefully contained in comparative and intercultural art studies. In this article, first of all we study the contextuality of artistic works and subjects from the theoretical perspective, and then focus on the most important infrastructures of the art creation process, in three distinguished realm of economic, political, and cultural contexts. At the end of the article we exmine the complex and dynamic inter-relations between context and form in the work of art, and explain the great significance of considering to specifications and variations of art form in the comparative studies of the arts, with mentioning few examples. In this article we used the descriptive-analytic research method and we gathered data by documentary fashion. One of the yields of severe consideration to the cultural and social contexts in comparative study of the arts, will be the attainment of better and deeper understanding of national, regional, ethnic, and local identities, due to the temporal and spatial labeling quality of the artwork. Economic context is the first infrastructure that we have studied here. Economic values put the art domain into the world of capital and commercial exchanges. Hence the artwork is an implement to gain wealth. The second infrastructure is the cultural context. Both of the artwork and artist have a great role in reproducing and preservation of the national and ethnic identities, and even renewal of various subcultures. Works of the art can recall the ancient past of a country and prolong its features to the present, they can represent various ethnic cultures, display the youth attitudes and desires, or demonstrate the quality of women's social life, and show their demands and even their legal expectations. The third principal infrastructure of the arts is the political context. In the case of the political context, we will notice the art's ability to mobilize people, and affects their feelings and motivations, and also consider it's ability to reproduce a kind of social understanding, that serves in the favour of political structures. The Stydy of inter-relations between arts and politics in different societies, also leads to beneficial data in social researches. The powerful political structures, from the ancient past to the present time, informedly have endeavored to take advantage of the artworks and the artists. In this regard, a great part of art history, in east and west, belongs to the celebrataion and justification of political leaders and rulers. As we mentioned above, the relations and connections between the arts and various fields of social life, are so strong, that in every kind of art researches, and especially in the comparative and intercultural study of the arts, we must necessarily and fruitfully concentrate on economic, cultural, and political contexts.  }, keywords = {Keywords: Context,Comparative Study of the Arts,Form,Intercultural Study of the Arts}, title_fa = {زمینه‌مندی اجتماعی- فرهنگی موضوعات و آثار در پژوهش‌های تطبیقی هنر}, abstract_fa = {چکیده زمینه و بستر فرهنگی، اجتماعی، اقتصادی و سیاسی که آثار هنری بدان تعلق دارند، از عوامل و وجوه مهمی است که اگر در مطالعات تطبیقی هنرها وارد شود و به دقت مورد بررسی قرار گیرد، بر غنای تبیین‌ها و دستاوردهای نظری این نوع پژوهش‌ها خواهد افزود. این دست مطالعات تطبیقی نیز می‌تواند با توجه به خصوصیات نشانه‌گذارانه آثار هنری، به حصول درک بهتر و عمیق‌تری از هنر و فرهنگ ملی، منطقه‌ای، قومی و محلی منجر شود. در این مقاله، زمینه‌مندی آثار و موضوعات هنری از حیث نظری مطالعه گردیده و سپس مهم‌ترین زمینه‌های تولید خلاقانه هنر، در سه حوزه زمینه‌های اقتصادی، زمینه‌های سیاسی و زمینه‌های فرهنگی، تحقیق خواهدشد. ارزش‌ها و زمینه‌های اقتصادی فعالیت هنری، حوزه هنر را به دنیای سرمایه و مبادلات تجاری وارد می‌سازند؛ اثر هنری و هنرمند نقش بزرگی در بازتولید و حفظ فرهنگ‌های ملی و منطقه‌ای و خرده‌فرهنگ‌های محلی و قومی و نشان دادن خواست‌ها، عواطف و رفتارهای گروه‌های مختلف اجتماعی دارند؛ همین‌طور هنرها می‌توانند در خدمت برآورده ساختن مقاصد سیاسی ساخت قدرت قرار گیرند. در پایان مقاله، با پیش کشیدن مبحثی در باب روابط زمینه و شکل (فرم) در آثار هنری، اهمیت توجه به مقوله شکل در مطالعات تطبیقی هنر توضیح داده می شود. شایان ذکر است در این پژوهش از روش تحقیق توصیفی-تحلیلی استفاده شده و اطلاعات به صورت کتابخانه‌ای جمع‌آوری گردیده است.}, keywords_fa = {واژه‌های کلیدی زمینه,مطالعات تطبیقی هنر,شکل,مطالعات بینافرهنگی هنر}, url = {https://jfava.ut.ac.ir/article_36409.html}, eprint = {https://jfava.ut.ac.ir/article_36409_576646763a154da4637c69368932a08f.pdf} } @article { author = {Dadvar, Abolghasem and Miremad, Seyyed Ali}, title = {Iranian Garment of Izad Mehr and its Influence on Mithraism and Christianity}, journal = {Journal of Fine Arts: Visual Arts}, volume = {18}, number = {3}, pages = {1-13}, year = {2013}, publisher = {University of Tehran College of Fine Arts}, issn = {2228-6039}, eissn = {2538-5178}, doi = {10.22059/jfava.2013.36410}, abstract = {Abstract One of the most ancient religious rituals expanded throughout many Asian and European countries was Mehr Faith or so called western Mithraism  According to the ancient texts, it has Iranian roots but the lack of documents including bas-relief or artistic works in general as well as the scarcity of remnants has caused the historians to be doubtful and skeptic about its origin to the extent that even some researchers have brought up the theories signifying that what they have in the west as the Mithraism is different from that of Iranians. Never the less, varieties of dimensions of this ideology have so far been disclosed enough to wipe out the ambiguity dust from history. The main reason for not having sufficient proofs about Mithraism is its mysterious entity from one side and its coincidence with the two major contemporaneous religions of Christianity and Zoroastrianism from the other side. So these objections could be the main causes for many worthy historical documents including movable and immovable properties to be obliterated. The idea of this research is first to study about the conformity of the Iranian costume of Izad e Mehr (Mehr Deity) regarding its designs with the traditional dress of ancient tribes based on the documentaries in hand to trace its very origin. For instance there is a different type of traditional tribal dress in Persepolis (Takht- e – jamshid) high reliefs that demonstrate the costumes and dress design like sakaeid and Mad dress that influence on Mehr garment and as result on western Mithras dress and finally on Christianity garment and continue to these days that use for holy ceremony of Christianity as dress of pop and cardinals. Second, to compare it with the type of costumes depicted on the remnants of patterns and high-relief left from the bull sacrificing ceremony (Tauroctony) after the presence of this religion in the west to indicate and prove its Iranian origin. And finally to review the commonalities of some costume elements of Mithraism with primitive Christianity and church authorities’ dressings based on the transmutation of Mehr religion or Mithraism with the very soul of Christianity. For instance you can see these Mithraism elements in painting of Christianity that holy Jesus put garment like Mehr that is even so similar in detail, form, color (the red color that especially used by Akamenid kings and aristocrats in their specific ceremonies as sign of patrician) and that’s especially red cape and even nowadays(this cape was known as cape of liberty after that in Rome the murderer of Cesar used it) we can see that cape in frigid cap that called mitre in pop's garment in religious ceremony. This perhaps could be one step forward to have a better understanding of such mysterious religion and clarifying the sign that shows oriental essence of Mithras that was in ambiguity for the repetitious year. The essay is a study utilizing the analytical and descriptive style of research and the collection of subjects and information is through library and documentation procedure.}, keywords = {Key words: Christianity,Frigium Hat,Garment,Izad Mehr,Mitra}, title_fa = {پوشاک ایرانی ایزد مهر، نمادی شرقی در فرهنگ و تجلیات میترا در غرب}, abstract_fa = {چکیده پوشاک مردمان ِایران زمین در دوران باستان از مواردی است که نقش بسزایی در فرهنگِ این سرزمین ایفا می کند و در پوشاک ایزدمهر، الگوی ایرانی را می توان دید. با حضور این کیش در اروپا، پوشاک ایرانی مهر به عنوان لباس میترای غربی در نقش معروف تاورکتونی (گاو کشی) متجلی شده است. پس از حضور کیش مهر در اروپا، مسیحیت ظهور کرد و علی رغم عناد مسیحیان و از بین بردن مظاهر مهرپرستی، این آیین در دل مسیحیت متبلور، استحاله گردید و موجب شد تا عناصر آن در نهاد این دین رسوخ کند که امروزه به عنوان اصلی ترین و شناخته شده ترین عناصر و نمادهای آن به شمار می آیند. یکی از این عناصر، پوشاک و کلاه ویژه­ی مهرپرستان است که حتی در جزییات نیز مسیحیت از آن پیروی تام کرده است. رنگ ارغوانی برگرفته از پوشاک اشرافی هخامنشیان و لباس ایزدمهر که امروزه به عنوان رنگی مقدس در لباس پاپ و کاردینال ها است، نمونه­ای از این تجلیات است. در این مقاله، ابتدا پوشاک ایزد مهر با توجه به ماهیت ایرانی آن و سپس سیر تحول و تطور آن در میترای غربی و پوشاک مسیحیت مورد مطالعه قرار گرفته است.}, keywords_fa = {واژه های کلیدی ایزدِ مهر,پوشاک,لباس,کلاه فریجی,میترا}, url = {https://jfava.ut.ac.ir/article_36410.html}, eprint = {https://jfava.ut.ac.ir/article_36410_b583bfc0d91f3ab18069da13b0140a53.pdf} } @article { author = {Kafshchian Mogadam, Asgar and Mansori, Amir and shamsizadeh maleki, Rohallah}, title = {The Study of Iran's Traditional Architectural Ornament from Mural Painting View}, journal = {Journal of Fine Arts: Visual Arts}, volume = {18}, number = {3}, pages = {1-15}, year = {2013}, publisher = {University of Tehran College of Fine Arts}, issn = {2228-6039}, eissn = {2538-5178}, doi = {10.22059/jfava.2013.36411}, abstract = {In this article, Mural simply figurative wall tempera technique or fresco painting does not apply, but this study attempts: first, the relation between trace –wall and environment, wall architecture and evaluation of the audience and murals necessary that the three effective factors in successful mural painting. And then the challenge the notion of murals of the architectural world of Islam for many years been considered with regard Westerners as architectural decoration, should be considered. Therefore, contact with the wall paintings of Islamic architecture, the environment, the public and the factors that promote a work order to trace the art decorated in Islamic art origin is not only important but it is considered a necessity, something that the main research question. The article has studied the place of mural painting in Iranian traditional architecture (Islamic period) and its effect on visual organization of architecture spaces. Considering the mural painting of this period has been seated as decorations of architecture, in must sources, surreys and researches which have been done by researchers, the feature, limitations and difficulties of such titling have been studied. It works as a decoration in Islamic architecture; the architecture is often defined parameters set forth in the works that is also true fresco. But, according to the terms of institutionalization" architectural decorations" in the literature of Iranian art and Islamic architectural decoration to place the mural, which implies the Islamic period.  But the question arises, why, what are the reasons for division mural two groups, the "architectural decorations" and murals? Seems to be the basis of this classification can be important for many reasons it will be as follows: 1) lack of understanding and precision in terms of 2) lack of attention to environmental quality and functional architecture in the Islamic period, and the conditions governing the formation of the visual wall 3) lack of understanding of the aesthetic values ​​of Islamic murals by Western scholars 4) based on their originality and artistic aspects of the view figurative and narrative perspective of Western man 5) is equivalent to non-figurative term relief decoration 6) The original technique (also equivalent fresco and tempera). Then, the religious and secular murals Iran, generally divided into two categories: so in this study the formal and conceptual relationships wall painting evaluated with the environment, architecture and their audience. But the comparison between murals Sheikh Lotfollah mosque and palace which Aly-Qapu , below the wall as religious and secular is made. the following has studied the Iranian mural painting in Islamic period which is classified in two main groups of relies and non-religious and the forming, meaning full and conceptual relations of these works with environment, architecture and the person who is watching .and a comparison between mural paintings of sheikh Lotfollah mosque and Aly-Qapu palace has been made as two indexes of religious and non-religious mural painting.        }, keywords = {Keywords: Iranian Mural Painting in Islamic Period,Mural Painting,Islamic Architectural Ornament,Mural Painting of Sheikh Lotfollah Mosque,Mural Painting of Aly-Qapu Palace}, title_fa = {بررسی تزیینات معماری سنتی ایران از منظر دیوار نگاری}, abstract_fa = {          چکیده   دیوارنگاری در این مقاله صرفاً به نقاشی های فیگوراتیو با تکنیک فرسک یا تمپرا اطلاق نمی شود؛ بلکه بررسی رابطه بین اثردیواری با محیط، معماری و مخاطب بعنوان سه عامل ارزش­گذار در دیوارنگاری مورد نظر بوده است. ارتباط دیوارنگاره­های اسلامی با معماری، محیط، مخاطب و چیستی عوامل موثر در ارتقائ یک اثر، از مرتبه تزیین به اثری دارای اصالت­های هنری سوال اصلی این پژوهش بوده است. در این مقاله، به جایگاه دیوارنگاری در معماری سنتی ایران (دوره اسلامی) و نقش آن در ساماندهی بصری فضاهای معماری  پرداخته شده است. با توجه به اینکه در اغلب منابع و تحقیقات انجام شده توسط محققین، دیوارنگاره­های این دوره تحت عنوان تزیینات معماری مطرح گردیده است، ویژگی ها ،محدودیت ها و اشکالات این نام­گذاری نیز بررسی گردیده است. در ادامه دیوارنگاره­های دوره اسلامی ایران به دو دسته کلی مذهبی و غیرمذهبی تقسیم بندی شده و ارتباط­های فرمی، معنایی و مفهومی این آثار با محیط پیرامون و معماری حاکم و مخاطب مورد بررسی قرارگرفته و مقایسه­ای بین دیوارنگاره­های مسجد شیخ لطف الله و کاخ عالی قاپو به عنوان دو شاخص دیوارنگاری مذهبی و غیر مذهبی صورت گرفته است.}, keywords_fa = {واژه های کلیدی دیوارنگاری ایران دوره اسلام,نقاشی دیواری,تزیینات معماری اسلامی,دیوارنگاره¬های مسجد شیخ لطف الله,دیوارنگاره های کاخ عالی قاپو}, url = {https://jfava.ut.ac.ir/article_36411.html}, eprint = {https://jfava.ut.ac.ir/article_36411_cbba9a3332fd3def90fcbf954634aeb7.pdf} } @article { author = {Ghaemi, Sheima and Marasy, Mohsen}, title = {Evaluation of usage of all seeing eye symbol in animated characters and Mascots in graphic today}, journal = {Journal of Fine Arts: Visual Arts}, volume = {18}, number = {3}, pages = {1-16}, year = {2013}, publisher = {University of Tehran College of Fine Arts}, issn = {2228-6039}, eissn = {2538-5178}, doi = {10.22059/jfava.2013.36412}, abstract = {Abstract Today, the use of symbolism is the most effective tool, which different groups try to attract attention with. One of the best known and most widely used symbols within ancient, deviant and new sects such as satanic Freemasonry (the Jesuit/crypto-Jewish Illuminati in Bavaria, Germany) and among Satanists is the all seeing eye, which is used in many movies, also for animated characters and is as a mascot very common. Being one-eyed refers to the Antichrist. (Dajjal or anti-Christ) The Antichrist is an oppressor, who misleads people at the Apocalypse. This fact is proposed in all three religions; in Judaism, Christianity and Islam. It is noteworthy that Jewish view towards this strange teratogenic is in sharp contrast with Christianity and Islam. The Jews expect the antichrist to appear as saviour for mankind. In Christianity the word “antichrist” is mentioned several times in the book of John. It refers to a person who defies Jesus, and claims to be Christ himself. In Islam, one of the most certain signs of the re-appearance of the Imam of time (atf) is the emergence and rise of an evil character by the name of “Antichrist”, who deceives many people. The importance of this one-eyed symbol was determined, since it is used as a seal for the United States, as well as on the one dollar note for decades. They pursue their sinister goals by playing with symbols and using various tricks. And the mass media are the main basis for the accomplishment of their satanic goals. They also have a special way designing animated characters and many different mascots. In fact they put all codes together in a main character or in supporting characters, to attract the viewer for a certain character, and to create a relationship between the audience and their fictional characters. This article is written to introduce this symbol “the all seeing eye” to various social groups, especially artists and graphic designers. The knowledge about this symbol must certainly rise in different communities, so that ways can be scheduled how we deal with it in the future. It is obvious that the lack of attention and awareness towards this symbol and similar symbols will affect individuals unwantedly to reach the goals of these groups. The audience unconsciously swallows the pill, which has an impact on their mind. Through this way they will simply induce their audience all the things they thought out without you even realizing. This research was collected by descriptive method and library collection data and observation. The results show, that the use of this symbol, in a wide range, affects the viewer to get used to it, and he will develop a positive feeling towards that symbol. In fact the only way to escape from these satanic traps is by identifying their symbols, which these groups use. In the end we could consciously deal with them, and the unknowing wouldn’t be caught by their goals, which are hidden.  }, keywords = {Keywords: Symbol,All Seeing Eye,Characters and Mascots,Freemasonry,Satanism}, title_fa = {بررسی کاربرد نماد چشم جهانبین در طراحی شخصیتهای انیمیشنی و مسکاتها در گرافیک امروز*}, abstract_fa = {    چکیده: تک‌چشم جهان‌بین یکی از معروف‌ترین و پرکاربرد‌ترین نمادهای مورد استفاده فرقه‌‌ های انحرافی چون فراماسونری و شیطان‌پرستی به شمار می‌رود که در سال‌‌های اخیر، استفاده و به‌کارگیری از آن در شخصیت‌های انیمیشنی و مسکات‌ها بسیار رواج یافته است. تک‌چشم بودن، اشاره به دجال یا ضدمسیح در این فرقه‌ها دارد؛ دجال، ستم‌کاری است که در آخرالزمان مردم را گمراه خواهد کرد. این واقعیت، درهر سه دین یهودیت، مسیحیت و اسلام مطرح شده است. وی شخصی شیطانی و نیرنگ‌باز است که به فریب تعداد زیادی از مردم می‌پردازد. این مقاله با هدف معرفی و شناساندن این نماد به اقشار مختلف جامعه و به ویژه هنرمندان و طراحان گرافیک نوشته شده است تا از این طریق آگاهی و شناخت نسبت به این نماد در سطح جامعه افزایش یافته و راه‌های مقابله با آن برنامه‌ریزی گردد. بدیهی است عدم توجه و آگاهی به این نماد و موارد مشابه، افراد را ناخواسته با اهداف این گروه ها همسو خواهد ساخت. این پژوهش با روش توصیفی و گردآوری اطلاعات کتابخانه‌ای و مشاهده‌ای جمع‌آوری شده است. نتایج پژوهش نشان می‌دهد که بهره‌گیری از این نماد در موارد وسیع و گستره سبب می‌گردد تا ذهن بیننده به آن عادت کرده و با گذشت زمان نسبت به آن احساس مثبتی داشته باشد.}, keywords_fa = {واژگان کلیدی: نماد,چشم جهانبین,شخصیتها و مسکاتها,فراماسونری,شیطانپرستی}, url = {https://jfava.ut.ac.ir/article_36412.html}, eprint = {https://jfava.ut.ac.ir/article_36412_545f210eea47e52c0aff0982b024a717.pdf} } @article { author = {Mehrizi-Sani, Somayeh and Khazaei, Mohamad and afhami, reza}, title = {Advertising Strategies in Brand Establishment* (A case study of Google Doodles)}, journal = {Journal of Fine Arts: Visual Arts}, volume = {18}, number = {3}, pages = {1-13}, year = {2013}, publisher = {University of Tehran College of Fine Arts}, issn = {2228-6039}, eissn = {2538-5178}, doi = {10.22059/jfava.2013.36413}, abstract = {Abstract Every producer or service provider needs advertisement for production introduction and better selling. Therefore, attention to manufacturing and development of the brand is of special importance for the financial institutions in the international competitions. The improvement of brand value directly depends on advertising and brand identification. Therefore, Internet has become an important communicational tool that helps commercial brands to be publicized universally with fewer expenses. Any producer needs advertisement to introduce and sell its production and advertisement also needs media to transfer the message. Each media covers just a special range of users. Therefore, one kind of media is not emphasized in advertising, but the aim is to have attention to different media which are complementary to each other. Generally the media or advertising channels can be categorized into four groups: the press, broadcasting media, environmental advertisement and Internet. The press includes magazines, newspaper, etc. while broadcasting contains radio and television. Environmental advertisement also includes a wide range of indoor or outdoor advertising which is publicized to a large crowd of people. To introduce these strategies, Google is chosen as one of the most successful brands in the last decade so that its most important strategies that have contributed in brand establishment through proper logo design are analyzed. It was for the first time in 1998 that Google founders changed the logo of Google for participation in Burning Man Festival to inform the users of their absence and out-of-order service. The success of this strategy leaded Google to change its logo according to special ceremonies and searching becomes amusing and enjoyable for users. Nowadays, this process has popularized Google to the extent that some users collect the logos. To investigate the reasons of this success, 1421 Google Doodles from 1998 to 2012 are studied in this paper. The method of sampling was purposeful and non-accidental. The results showed that in place of using a stable advertising strategy, Google has applied a collection of diverse strategies to attract a wide range of users. The three principles of Google can be summarized as easy application and simplicity, user-oriented, and minimal approach. Repetition, improvement according to technology, balance between the text and picture, interactional relation, usage of varied concepts, attention to cultural and geographical diversity, benefiting from people’s fame in brand acceptance, unified advertising program, arising vivacity by the means of ironic approach and color attraction are of most important strategies used by Google. According to improvements in substructures, more accessibility and increase in number of Internet users, this virtual space can be less expensive, and more influential advertising ground in comparison to the traditional media. The case-study of the alteration in Google Doodles results in the priority of picture to the text to reach an understandable language, quick data transformation, technology aesthetics and visual attraction and diversity. By the means of minimal approach, simplifying and technology personification, Google has deleted its frightening aspect and by the collective intelligence and the policy of open doors, attracted more users and therefore gained more profits.}, keywords = {Key words: Brand,Advertising Strategies,Google Doodles,Users}, title_fa = {راهبردهای تبلیغاتی در جهت تداوم برند* (مطالعه‌ی لوگوهای مناسبتی گوگل)}, abstract_fa = {چکیده هر تولیدکننده‌ی محصول یا ارایه‌دهنده‌ی خدمات، به‌منظور معرفی محصول یا خدمات و فروش بیشتر نیازمند تبلیغات است. در این میان، توجه به ساخت و گسترش برند از اهمیت ویژه‌ای جهت موفقیت بنگاه‌های اقتصادی در عرصه‌ی رقابت‌های بین‌المللی برخوردار است. با هدف معرفی این‌گونه راهبردها، گوگل به‌عنوان یکی از موفق‌ترین نام‌های تجاری دهه‌ی اخیر انتخاب شد تا مهم‌ترین راهبردهایی که در راستای تداوم نام تجاری‌اش از طریق طراحی لوگوهای مناسبتی به‌کار بسته، مورد بررسی قرار گیرد. برای این منظور، نمونه های مورد مطالعه در این پژوهش از میان  ۱۴۲۱ لوگوی مناسبتی جمع‌آوری شده از سال ۱۹۹۸ تا ۱۳ می ۲۰۱۲ انتخاب شد. روش نمونه‌گیری هدفمند و غیرتصادفی بوده است. یافته‌های پژوهش نشان داد که گوگل به‌جای اخذ یک راهبرد تبلیغاتی ثابت از مجموعه‌ای از راهبردهای متنوع استفاده نموده تا موفق به جذب گروه‌های مختلف مخاطبان شود. اصول سه‌گانه‌ی راهبردی گوگل را می‌توان در کاربرد آسان و سادگی، کاربر محوری و رویکرد کمینه‌گرایی خلاصه نمود. مهم‌ترین راهبردهای مورد استفاده گوگل شامل تکرار، ترقی هم‌راستای تحول تکنولوژی، توازن متن و تصویر، ارتباط تعاملی، پرداختن به مضامین متنوع، توجه به تفاوت‌های فرهنگی و جغرافیایی، بهره‌گرفتن از شهرت اشخاص برای پذیرش برند، برنامه تبلیغاتی یکپارچه، ایجاد حس نشاط با رویکرد طنزآمیز و  جذابیت رنگی است.}, keywords_fa = {واژه های کلیدی برند,راهبردهای تبلیغات,لوگوهای مناسبتی گوگل,مخاطب}, url = {https://jfava.ut.ac.ir/article_36413.html}, eprint = {https://jfava.ut.ac.ir/article_36413_de98db68894c0d147ceb7493aa0d38a0.pdf} }