per
دانشگاه تهران
دانشکدگان هنرهای زیبا
نشریه هنرهای زیبا: هنرهای تجسمی
2228-6039
2538-5178
2015-11-22
20
3
5
16
10.22059/jfava.2015.56376
56376
Research Paper
بررسی رویکرد کیچ در عرصه ارتباطات بصری
A Study of Kitsch Approach in the Field of Visual Communication
میترا معنوی راد
mrad2626@gmail.com
1
فاطمه مرسلی توحیدی
2
استادیار دانشکده هنر، دانشگاه الزهرا(س)، تهران، ایران.
کارشناس ارشد ارتباط تصویری، دانشکده هنر، دانشگاه الزهرا(س)، تهران، ایران.
واژه کیچ در قلمرو هنر به معنای آثار تکراری، تقلیدی و قابلدسترس است که با ویژگیهایی نظیر تکرار امر آشنا، تکثر، تقلید، بهرهگیری از عواطف کاذب، به جای تعقل و دور بودن از ایده همراه است. امروزه تعاریف کیچ در عرصههای مختلف هنری، ادبی، سیاسی و فرهنگی، مورد استفاده قرار میگیرد و رویکردهای گوناگون و آرای متکثری در برابر آن وجود دارد. این پژوهش با اتخاذ رویکرد انتقادی به شیوع و گسترش کیچ و مصادیق آن در عرصهای از ارتباط تصویری که در ارتباط با عموم مخاطبان و در بسترهای عمومی جامعه رواج دارد، پدیده مذکور را روندی بسیار مهم و تاثیرگذار محسوب میکند و آن را نیازمند خوانش و کنکاش میداند؛ زیرا نفوذ و همهگیری این پدیده در جامعه، ارتباط مستقیم با تنزل سطح ذائقه بصری مخاطبان و عدم آشنایی آنان با کیفیت زیباییشناسی ناب، خواهد داشت. پژوهش حاضر با بهرهگیری از روش توصیفی و ابزار جمعآوری اطلاعات کتابخانهای، به بررسی و تبیین کیچ و نمودهای آن در حوزههای مختلف ارتباط تصویری میپردازد. نتایج حاصل نشان میدهد، این پدیده منجر به تولید آثار ارتباط تصویری با ویژگیهایی نظیر تقلید و تکرار، حس آمیزی از طریق تکرار فرمهای آشنا، رجوع تقلیلگرایانه به گذشته و سنت، انباشت و دلالت صریح، میگردد.
The Term Kitsch refers to repetitive, mimetic and accessible works that accompanies with features such as repetition of the familiar, diversity and imitation, the use of false emotions rather than reason, and having no idea. Nowadays the definitions of Kitsch are used in various artistic, literary, political and cultural fields, and there are various approaches and multiplicity of ideas against it thus. The emergence of the term Kitsch, as an adjective refers to the weak art work with no aesthetics standards, has been developed over the years and penetrated into the most serious debates of art during the last century. Where creativity and new ideas have no place to attract attentions, Kitsch shows its influence and power so that the quantity is placed in the first row. This phenomenon, with little change in the surface, represents things that have been seen before and mainly reflects the art work that use the common vulgar or too well-known signs to attract the audience instantaneously. In other words, Kitsch tries to attract the audience in a straight and friendly way, and so it replaces comfort and sentimentalism instead of expressions of the humanistic rich concept or human deep meanings. In fact, when art expresses no message and focuses only on its general aspect is named Kitsch. Kitsch's influence is so inclusive that as if it doesn't exist, and it takes its influence and prevalence from this aspect. Kitsch has been emerged against the phenomenon of the avant-garde and is equivalent with characteristics such as machinism, urbanization, consumer society and mass plurality. So far, critics, authors and theorists such as "Milan Kundera", "Clement Greenberg," "Pierre Bourdieu," "Hermann Broch," "John Fisher and etc. have defined and expanded this term. "Visual communication" includes a broad field; and different types of its products in the forms of poster, book cover, billboard, logo, layout and etc. interact with the audience. In fact, Kitsch is present mostly in the public contexts of society. Kitsch's influence and expansion in visual communication and its effect on the audience and his visual literacy are the main factors that really confirm studying and perusing its discourse in the field of visual communication. The present research considers this phenomenon as the most important and influential process by criticizing of the spread and prevalence of Kitsch and its examples in the area of visual communication that is related to the public audience, so it requires studying and exploring. Because the epidemic influence of this phenomenon in the society is directly related to a decline of the public audiences' visual taste and their lack of familiarity with the quality of pure aesthetics. This study benefits from a descriptive method and uses the library documents to investigate and illustrate Kitsch and its reflections in various fields of visual communication. The results show this phenomenon leads to the production of visual communication art works with features such as imitation, repetition, sense transference via repetition of familiar forms, reductive referring to the past and tradition, accumulation and explicit implication
https://jfava.ut.ac.ir/article_56376_917ff87965bfbf6db3f40c8890f23fdf.pdf
رویکرد کیچ
ارتباط تصویری
تقلید
تکرار در آثار هنری
Kitsch approach
visual communication
Mimesis
repetition in art works
per
دانشگاه تهران
دانشکدگان هنرهای زیبا
نشریه هنرهای زیبا: هنرهای تجسمی
2228-6039
2538-5178
2015-11-22
20
3
17
24
10.22059/jfava.2015.56377
56377
Research Paper
کاربرد میراث کهن ساسانی در طراحی نشانه مطالعه موردی: نشانه دانشگاه تهران
The Usage of Ancient Sassanid Heritage in emblem Design
مونا امامی
emamimona@yahoo.com
1
منصور حسامی
mansourhessamh@gmail.com
2
دانشجوی دکتری پژوهش هنر، گروه پژوهش هنر، دانشگاه هنر تهران، تهران، ایران.
استادیار گروه نقاشی، دانشکده هنر، دانشگاه الزهراء، تهران، ایران.
توجه به پیشینه تصویری و عنایت به فرهنگ و سنتهای هنری گذشته همراه با نوآوری، مهمترین عامل در دستیابی به عظمت و هویت هنری کنونی هر سرزمین میباشد. از این رو بررسی ریشههای طراحی گرافیک در ایران و چگونگی کاربرد آنها با توجه به مفاهیم نمادین، هدف و مسئله بنیادین این پژوهش به ویژه در رابطه با نشانه دانشگاه تهران بوده است. در این نوشتار، پس از اشاره به کاربرد نقشمایههای کهن ایرانی در طراحی نشانههای معاصر، براساس روند پژوهش، مفاهیم نمادین به کار رفته در طراحی نشانه دانشگاه تهران با توجه به پیشینه تصویری آنها در دوران ساسانی مورد تحلیل قرار گرفتهاند؛ در این بررسی مشاهده میشود که بال و پر در هنر نمادین ساسانی، نمادهایی از ایزد بهرام هستند که شاهان ساسانی به لحاظ نیاز به افزایش قدرت فره ایزدی به این ایزد توجهی ویژه مبذول میداشتند و او را بسیار ستایش میکردند. این مفهوم با توجه به نوشته خوانده شده بر روی این پلاک گچی ساسانی و همچنین فرم دایره و ویژگیهای آن در طراحی مفاهیم و معانی نمادین دانشگاه و اهداف سازمانی مورد انتظار، به شیوهی قیاسی و تحلیلی مورد بررسی قرار گرفته است
Noticing the pictorial background, culture and the past artistic conventions along innovation are the most important factors to attain grandeur and identity of contemporary art in each land. Exploring the impact of symbolic concepts in Iranian emblem design constitutes the main purpose of this study. Thus, the goal and the basic matter of this research is based on investigating the graphic design roots in Iran and the way of applying them regarding the symbolic meanings, especially in Tehran university logo. This survey has focused on analyzing symbolic meanings in the relevant logo beside its pictorial background in Sassanid period through a plaster plaque. While a passage between pictorial past and design renewal in an expertly process can bring into life a new chapter of motif in every culture, it can develop a new graphic visual identity. On this basis it appears predominant to use semiotic knowledge with ancient asset in designing contemporary emblems; the characteristics of this Sassanid plaster plaque in brief are: 1.Wing and feather in Sassanid art are symbols of the Bahram god (Mars), which Sassanid kings due to their need for expanding the power of their divine splendor needed the patronage of this god. Wing motif besides being a symbol of the Bahram god can be a symbol of mythical Simurgh (phoenix) and its significant role in Sassanid art. Moreover it is a symbol of bird and ascending to heaven. 2. Circle is a symbol of sun and its surrounding pearls being a symbol of harvest, are two of Mithra symbols frequently seen in Sassanid art. In addition it is supposed to have a relation with Anahita- the water goddess; Motifs being placed inside this circle can be a symbol of divine splendor which help the designer to gain the organizational points of the university. 3. The short Pahlavi inscription placed above this Sassanid seal which means excessive glory is similar to the way the word "Iran" is written. There is also an apparent resemblance between the word of Tehran University writing in the present logo and the plaster plaque. This study besides observing ancient Sassanid legacy in designing Tehran University logo can be also outstanding for studying the main stream of Iran contemporary graphic design. Since visual value and conventional and national motifs are considered as the continuity of cultural stability of every country, rupture of this historical artistic process, which in recent years in the world due to communication expansion has entered into a new era, eradicates small non original identities and spreads dominant cultures. Therefore, it is advisable to use the conventional and national pictorial elements to develop a graphic visual identity and to actualize the potential capacities in creating logos. Recognition of Iran’s artistic identity and constitutive elements of Persian art in authoring artistic books on logo design, also presenting Iranian culture to the art students and graphic designers altogether with directed training can be effective for this goal. The Style of data collection is compound and the method of writing is descriptive- analytic.
https://jfava.ut.ac.ir/article_56377_ede3829578fab00041e67fad9b6c2c79.pdf
نشانه
نماد
هنر ساسانی
دانشگاه تهران
logo
symbol
Sassanid Art
Tehran University
per
دانشگاه تهران
دانشکدگان هنرهای زیبا
نشریه هنرهای زیبا: هنرهای تجسمی
2228-6039
2538-5178
2015-11-22
20
3
25
34
10.22059/jfava.2015.56378
56378
Research Paper
باژگونی مفهوم یک نماد (بررسی کهنالگوی مار در ایران و سرزمینهای همجوار)
The Inversion of a Symbol Concept
صدرالدّین طاهری
s.taheri@aui.ac.ir
1
استادیار گروه باستانشناسی، دانشگاه هنر اصفهان، اصفهان، ایران
این نوشتار تلاش دارد با نگاهی بر اساطیر و باورها و نیز نقشمایههای بهجای مانده بر روی آثار هنری، بازنمایی کهنالگوی مار را در هنر ایران و سرزمینهای همجوارش (میانرودان، مصر، هند و یونان باستان) از آغاز تا هزاره نخست پ.م پیگیری کند و در این راه با پژوهشی تطبیقی و تحلیلی و با استفاده از منابع کتابخانهای و موزهای، به پیجویی ارتباط میان این فرهنگها بپردازد. به نظر میرسد مفهوم بنمایه مار در این سرزمینها طی چند هزار سال دگرگون و حتی باژگونه شده است. از این رو بررسی این انگاره، برای آگاهی از چگونگی تغییر رویکرد انسان به نمادهایش در گذر زمان ضروری به نظر میرسد. مار که در هنر پیشاتاریخی این سرزمینها نقشی ایزدی، بارورکننده، شگونمند و حفاظتگر دارد و نگاهبان آبها و داراییها است، در اندیشه مردمان هزاره نخست پ.م و پس از رواج ادیان تاریخی سامی و آریایی بهتدریج به نیروی اهریمنی تباهکننده میپیوندد. نگارنده با کاوش در اسناد تاریخی، این جایگزینی را به سبب تبدیل ساختار مادرمرکز به پدرمرکز در جامعه ساکن در این سامان میداند. برای یافتن مفاهیم پنهان در پس کهنالگوی مار به نقش این جانور بر روی آثار بازمانده از خاور کهن پرداخته و سپس به یاری نوشتارها و اساطیر، معنای این بنمایه بازخوانی میشود.
This article has tried to look at the prototype of serpent, in the art of ancient Iran and neighboring civilization (Mesopotamia, Egypt, India & Greece), since the beginning of these cultures to the first millennium B.C, by researching their myths and beliefs, and also looking at the motifs of their artifacts, by mean of shine a flash on relationship between these cultures, and perusing the inversion of symbols. The serpent or snake is one of the oldest and most widespread mythological symbols. Historically, they represent divine powers like fertility or creativity of life force, especially in the ancient east. As snakes shed their skin through sloughing, they are symbols of rebirth, transformation, immortality, and healing. Serpents also has represented as potent guardians of temples and other sacred spaces. They are connected with remedy and medicine. The serpent, when forming a ring with its tail in its mouth, is a clear symbol of the totality of existence, infinity and the cyclic nature of the cosmos. The Sumerian fertility deity, Ningizzida, is the oldest known image of two snakes coiling around an axial rod. Ningizzida was a god of healing and magic.In ancient Egypt Nehebkau was the two headed serpent deity who guarded the entrance to the underworld. He is the son of the snake goddess Renenutet. Wadjet, the Egyptian cobra, was the patron and protector of the country, all other deities, and the pharaohs. In Hindu mythology, Lord Vishnu sleeps while floating on the cosmic waters on the serpent Shesha. Naga is the Sanskrit word for a deity or class of entity or being. The Minoan Snake Goddess brandished a serpent in either hand, perhaps evoking her role as source of wisdom. The rod of Asclepius, a snake-entwined staff, remains a symbol of medicine today. Snakes are also sacred and powerful in prehistoric cultures of Iran. It seems that they have worshiped along with the fertility goddesses, from fourth to first millennium B.C. We can detect their presence as mighty patrons and source of life and immortality in the art of Tal-e Bakun, Choqamish, Sialk, Jiroft, Shahr-e Sukhteh, Shahdad, Elamite art, Luristan art, etc. However, it seems that symbolic concept of serpent has reversed in these cultures over time. In some Abrahamic traditions, the serpent represents sexual desire. In the Hebrew Bible, the serpent in the Garden of Eden lured Eve with the promise of forbidden knowledge. Aryan religions call the serpents diabolic too. Azhi Dahake (Zahhak) in the Shahnameh is an infernal creature with two snakes on his shoulders. In the Assyrian traditions, a mighty male god named Marduk overcomes the snakelike goddess Tiamat. In the new kingdom, Egyptians built a story about Apep, the monstrous serpent who lives at the underworld, and Ra has to fight with him every night until down. In historic Greece, Medusa and the other Gorgons were vicious female monsters with sharp fangs and hair of living. I believe that this replacement is due to the conversion of matriarchy into patriarchy, in these cultures.
https://jfava.ut.ac.ir/article_56378_59a375a2ed498554c089127106351e0a.pdf
مار
ناگا
اژی
واجت
مدوسا
serpent
Naga
Azhi
Wadjet
Medusa
per
دانشگاه تهران
دانشکدگان هنرهای زیبا
نشریه هنرهای زیبا: هنرهای تجسمی
2228-6039
2538-5178
2015-11-22
20
3
35
44
10.22059/jfava.2015.56379
56379
Research Paper
بررسی اسلوب خط در نسخهای از شرح الشافیه* (مقدمه ای بر شناسایی و طبقه بندی خطوط نامتعارف در تمدن اسلامی)
A Study of Script Style in one of Sharh-Al-Shafiye's Manuscript*
(An Introduction for Identifying and Categorizing Uncommon Scripts in Islamic Culture)
صداقت جباری
sedaghat.jabbari@gmail.com
1
معصومه مصلح امیردهی
masomeh.mosleh@gmail.com
2
دانشیار گروه ارتباط تصویری و عکاسی، پردیس هنرهای زیبا، دانشگاه تهران، تهران، ایران.
کارشناسی ارشد گرافیک، گروه ارتباط تصویری و عکاسی، پردیس هنرهای زیبا، دانشگاه تهران، تهران، ایران
خوشنویسی سنتی، یکی از ارزشمندترین هنرهای اسلامی به شمار میآید و همواره بخشهای ناشناختهی بسیاری در خود دارد. یکی از این بخشها، خطوط نامتعارف و ناشناختهی نُسَخ خطی است. در این مقاله برای نخستین بار ویژگیهای بصری یکی از خطوط نامتعارف با استفاده از روش تاریخی، توصیفی و تطبیقی مطرح شده که به ریختشناسی خط نسخهای از کتاب شرحالشافیه اختصاص دارد. این نسخه از میان بیش از بیست هزار نسخهی خطی کتابخانهی مجلس شورای اسلامی به دلیل خصوصیت بدیع خط آن انتخاب شده است. در این مقاله، ضمن شناسایی و انتخاب خط نسخهای از شرحالشافیه، ساختار کلی و ریختشناسی حروف آن که اغلب به صورت غیرمستقیم به خطوط نسخ و رقعه وابسته است، مورد توجه قرار گرفته است. این تنوع و نوآوری که در خطوط متن، حاشیه و عناوینِ نسخه ملاحظه میشود، شیوهای متفاوت از حروف را به خود اختصاص داده که از لحاظ ویژگیهای منحصر به فرد آن در دستیابی به نگاهی نوین در طراحی حروف حائز اهمیت است و از این طریق میتواند زمینههای متنوعی را در این شاخه از گرافیک ایجاد نماید. امید است پژوهش حاضر که نخستین گام در شناسایی خطوط نامتعارف و بعضاً ناشناختهی نسخههای خطی محسوب میگردد، زمینهی تحقیقات بعدی را فراهم سازد.
Traditional calligraphy is known as one of the most valuable Islamic arts which always contains unknown parts. One of these parts is uncommon and unknown scripts of manuscripts. In Iran, given to the valuation of writing and manuscript as well as the presence of various art schools in different Islamic centuries, many manuscripts have been written and collected which now many of these works are keeping in general and private libraries as well as personal collections. The originality of these manuscripts is so worthwhile that should have specific place in visual studies, while, until now, manuscripts have been evaluated mostly according to their content and the majority of visual research and investigations have been only allocated to common scripts in manuscript and their layout. Therefore, visual features of unknown scripts have been ignored by these studies. On the other hand, manuscripts were not usually available and a few people except particular users were able to access them. Thus, not only the feature of manuscript but also its availability is concerned in this article, so according to the second criterion, among the existing libraries, eventually the library of Islamic Parliament was chosen. Observing more than 20000 manuscripts of library of Islamic Parliament, the author observed manuscript with uncommon and unknown script styles. Among the chosen manuscripts, finally the new, uncommon and unknown samples were selected. One of these manuscripts which is remarkable because of the new and different feature of script is one of Sharh-Al-Shafiye's manuscript which will be introduced and explained later on. This manuscript is chosen among more than 20000 manuscripts in library of Islamic Parliament due to the original and different feature of its script style. In this article, besides choosing and identifying a manuscript from Sharh-Al-Shafiye, the whole structure and visual features of its letterforms which relate to Naskh and Ruq'ah styles is considered. Also, an effort has been made to study the new and unique features of the script. The variety of script styles used in body text, margins and headlines of this manuscript shows different methods, and it is important because of its unique features which can help reaching a new look in type design and providing different contexts in this field of graphic design. In this article, at first, a general description of Sharh-Al-Shafiye's manuscript will be presented. Then by studying and analyzing the visual characteristics of letterforms, the intact style of script styles used in text, margin and titles are shown in order to identify and present the nearest styles to script in Sharh-Al-Shafiye's manuscript. As a result, it can be concluded that the influence of Naskh and Ruq'ah styles in the script styles used in Sharh-Al-Shafiye's text, and also the use of inscription structure, recreation in writing and decoration in the titles of script are the uncommon and unknown features of script in Sharh-Al-Shafiye's manuscript. The author hopes that the present research which is considered as the first step in identifying uncommon and unknown manuscripts help other researchers to do future research.
https://jfava.ut.ac.ir/article_56379_e953df25d0f507719c2bff286d77732b.pdf
خوشنویسی سنتی
نُسَخ خطی
شرح الشافیه
خطوط نامتعارف و ناشناخته
Traditional Calligraphy
Manuscripts
Sharh-Al-Shafiye
Uncommon and Unknown Scripts
per
دانشگاه تهران
دانشکدگان هنرهای زیبا
نشریه هنرهای زیبا: هنرهای تجسمی
2228-6039
2538-5178
2015-11-22
20
3
45
56
10.22059/jfava.2015.56380
56380
Research Paper
گاهنگاری سفال مینایی براساس نمونههای کتیبه دار
Chronology of Mina’i Ware based on in Scripted Samples*
ملیکا یزدانی
yazdani101@yahoo.com
1
حسین احمدی
h.ahmadi@aui.ac.ir
2
سید محمدامین امامی
3
مهناز عبدالله خان گرجی
aghouchani@hotmail.com
4
دانشجوی دکتری مرمت آثار تاریخی، دانشگاه هنر اصفهان، اصفهان، ایران
دانشیار ، دانشکده حفاظت و مرمت، دانشگاه هنر اصفهان، اصفهان، ایران.
استادیار، دانشکده حفاظت و مرمت، دانشگاه هنر اصفهان، اصفهان، ایران
استادیار موزه ملی ایران، تهران، ایران
در دوره میانی اسلام در ایران، مینا، یک اصطلاح کلی برای لعاب روی فلز، شیشه و سفال بود اما در دوره معاصر، مینایی به گروه خاصی از سرامیک، با نقاشی رولعابی و تزیینات پیکرهای، هندسی و گیاهی اشاره دارد که در بسیاری موارد به کتیبههایی مزین بوده و با طلا نیز آراسته شده است. این سفالینههای کتیبهدار، جایگاهی برای پیوند دو هنر سفالگری و خوشنویسی است و نشان میدهد علاوه بر اینکه خوشنویسی در تزیین سفالینهها حضور یافته، بلکه بستر مناسبی برای انتقال مفاهیم نیز بودهاست. کتیبههای رقمدار روی ظروف مینایی، این آثار را به اسناد با ارزش تصویری در هنر ایران بدل کردهاست. با استناد به این تاریخها و رقمها، میتوان محدوده زمانی تولید مینایی را تخمین زد و صنعتگران فعال در این صنعت را شناسایی کرد. هدف این پژوهش، گاهنگاری سفال مینایی براساس نمونههای دارای تاریخ و رقم است. نتایج پژوهش نشان میدهد، تولید این محصولات بین سالهای 575 و 616 هـ.ق بودهاست. القاب و کنیه سازندگان نیز، مرکز اصلی تولید مینایی را شهر کاشان نشان میدهد. علاوه براین، با استناد به رقمهای نگاشته شده میتوان شاخصترین صنعتگر مینایی را ابوزید کاشانی دانست. این پژوهش مبتنی بر شیوه توصیفی-تحلیلی است که با استفاده از اسناد و منابع کتابخانهای و مطالعات تصویری سفالهای مینایی انجام شدهاست.
In medieval Islamic Persia, mina was known as a general term for enameling on metal, glass and ceramic. Consequently, in modern times mina’I is one of the most important types of Islamic ceramic production and identified by stone paste body and multicolored polychrome over-glazes which represent figural, geometric and floral designs as well as calligraphic perform. Additionally, mina’I wares are in some cases enlightened as gilded surface. The style can be found in numerous forms that include bowls, ewers, cups, beakers, jugs, inkstands and tiles. They are often referred to as “Haft-Rang”(seven-color) ceramics due to their polychromic character. The colors were red, brown, cobalt blue, green, black, white and gold. It was believed, until quite recently, that one of these seven colors, namely cobalt blue, was painted not over, but in the glaze, and all the others were painted over. It has been argued that their style and imagery are reflected from Islamic manuscript and wall paintings. Mina’I wares are very interesting to research not only in term of ceramic history, but in Islamic painting. Mina’I, indicates the relationship between pottery and calligraphy too. In addition in scripted ceramic with all their ability have an impact in good position for visual aesthetics as well as for conveying information. The dates and names written on it, is one of the most important documents that is also provided historical and authenticity background. Much of our current understanding of minai techniques, and of medieval Islamic ceramic technology in general, comes from the only known treatise was written in 1301A.D (700 A.H) by Abul’-Qasim Kashani, which is stated that the “seven-colored technology passed into oblivion” by the time of the treatise. The purpose of this study is to determine the chronology of mina’I wares that have been confirmed by the researchers or the famous museums. The results indicate that mina’I wares with dates were produced between 575 and 616 AH during the end of Seljuk and all of kharazmshahid period. Suggested production locals for mina’Iare Sava, Rayy and Kashan. While stylistic arguments have been developed the classification of objects to each of these sites but there is little archaeological evidence to support any of the claims. Results on Inscriptions on mina’I bowls point toward the city of Kashan, a leading ceramic center during this period, as their place of manufacture. Furthermore, according to the signature on pottery, the most famous potter in medieval Persia is Abu Zayd Kashani. His manuscript contains complete information includes the names and dates of works construction. Some mina’I signatures pointed also out four tasks such as, making the bowls, painting enamel, scribing and narrating verses. This procedures indict that, probably Master Abu Zayd Kashani has done his works without requiring the other artisans help or even in a specific and personal workshop and away from the other ceramists’ sight. The study focuses on literature review and observing the visual samples. The historical range of the sample and reading the inscriptions evaluate the descriptive-analytical methods.
https://jfava.ut.ac.ir/article_56380_6ecbd6dcf61bf8d0456b916c8abed4df.pdf
سفال مینایی
دوره میانی اسلامی
سفالینهنگاری
کتیبهنگاری
ابوزید کاشانی
Mina’I Ceramic
Islamic Middle Age
Ceramic Painting
Scribe
Abu Zayd Kashani
per
دانشگاه تهران
دانشکدگان هنرهای زیبا
نشریه هنرهای زیبا: هنرهای تجسمی
2228-6039
2538-5178
2015-11-22
20
3
57
70
10.22059/jfava.2015.56381
56381
Research Paper
خاستگاه و دگرش مفاهیم در نمادپردازیهای تصویری هنر فلسطین، با تاکید بر نقاشی معاصر و نقشمایهی کاکتوس
The Origin and Evolution of Concepts in Visual Symbols of Palestinian Art with Emphasis on the Contemporary Painting and Cactus Motif
علیرضا بهارلو
alireza_baharloo5917@yahoo.com
1
محمدکاظم حسنوند
tyyfy@yahoo.com
2
دانشجوی دکتری هنر اسلامی، دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهران، ایران.
دانشیار گروه نقاشی، دانشکدهی هنر و معماری، دانشگاه تربیت مدرس، تهران، ایران.
هنر فلسطین در دهههای اخیر، خاصه در حوزهی نقاشی، با گرایش به «نمادگرایی» به ارائهی مفاهیم ارزشی پرداخته، هرچند تأثیرات غیرمستقیمِ مدرنیسمِ غرب را هم تجربه نموده است. نمادهای نقاشی فلسطین که طیف گستردهای از عناصر و پدیدهها را شامل میشوند، در مواردی همسو با مضامین رایج و در مواقعی به دلیل شرایط خاص اقلیمی، سیاسی و مذهبی، مختص هنرمند فلسطینیاند. در این میان نقشمایهی «کاکتوس»، از ظرفیتهای بیانیِ ویژهای برخوردار است و نحوهی استفاده از آن در چند پرسش مطرح میشود: نقشمایهی کاکتوس در نقاشی معاصر فلسطین چه مفاهیم نمادینی دارد و این مسأله در هنر اسرائیل چگونه است؟ نحوهی ارائه و نمود این نقش به چه صورت و اصالت آن تا چه اندازه است؟ دستاوردهای پژوهش، که به روش تاریخی، توصیفی و تحلیلی انجام گرفته، مبیّن آن است که از زمان تولد اسرائیل، کاکتوس به صورت نقشمایه و حتی فراتر از یک نگاره، به مثابه سمبل و مظهری پویا در هنر فلسطین وجود داشته و فلسطینیان آن را تجسمی از سلب مالکیت ملی و مصادرهی اموال میدانستند. اما اهمیت این گیاه بهمرور توسط استعمارگران تصاحب و به عنوان نامی به این فرزندِ تازهمتولدشده در فلسطین اعطا شد که نوعی «از آنِخودسازی» یا تصرّف در سنن محسوب میشود.
With the advent of Modernism in the West and the spread of its indirect influences in Eastern countries, especially those of the Islamic lands, the art of these societies - at least in form and structure – inclined towards Western movements and schools, however retained and continued their local values and traditions in theme. Meanwhile, the arts of Palestine, especially in the field of painting went on presenting the values and concepts by making use of symbolism, an indispensable and fundamental essential in Islamic Art. These symbols which contain a wide range of things from objects, plants and animals to specific phenomena, are in some cases in conformity with the common themes and concepts, but sometimes come from the Palestinian artist's creativity and hence just belong to their own art. The reasons behind this matter have been the certain geography, political conditions and religious beliefs of the Palestinian. Here the motif of "cactus", beside other symbolic motifs, enjoys certain characteristics, dimensions, background and specific expressive capacities which make it worthy of note and attention. The Palestinian painter makes use of this image in a number of certain ways. According to this fact, there are some questions here to present as these: What are the main symbols that are applied by the Palestinian painter in his art? Art they represented alone and in combination with each other? What factors or events have had great influence on Islamic art in Palestine in recent decades? What are the symbolic concepts of "cactus motif" in the contemporary Palestinian painting and how this matter is expressed in the Israeli art? How is the way of representing this symbol in contemporary painting and to what extent is its originality? The results of the research express that cactus image from the time of the appearance of Israel has been present in Palestinian art as a motif and even more than that, as an evolving symbol. The Palestinian has regarded that as an embodiment of the withdrawal of national ownership and the confiscation of their possessions. But the significance of this plant has gradually been taken by the Israeli as a name given to this newborn child in Palestine that is in fact considered a kind of appropriation and seizing the traditions. By studying and observing the Palestinian paintings, we can also infer that other motifs, apart from the cactus, with specific connotations, are usually used in combination with related symbols in a group. Meanwhile there are some specific motifs which convey spiritual meanings. These motifs are somehow limited and devoted to the Palestinian artist with his certain ideology the examples of which are as follows: kefeyya, martyr, peasant, wedding, Jerusalem and, of course, cactus. All these motifs generally and basically convey humanistic and high values such as freedom, resistance, peace, hope, homeland, friendship, etc. This research is done in historical, descriptive and analytical method.
https://jfava.ut.ac.ir/article_56381_6015abf4ba7e366a3a1ef2567f44b505.pdf
هنر فلسطین
نقاشی معاصر
نماد
نقشمایه
کاکتوس
Palestinian Art
symbol
Contemporary Painting
motifs
Cactus
per
دانشگاه تهران
دانشکدگان هنرهای زیبا
نشریه هنرهای زیبا: هنرهای تجسمی
2228-6039
2538-5178
2015-11-22
20
3
71
78
10.22059/jfava.2015.56382
56382
Research Paper
شاخصه های خلق شخصیت تبلیغاتی ایرانی
The Features of Iranian Advertising Character Creation
نجمه امینی
najme84amini@gmail.com
1
امیر حسن ندایی
2
کارشناس ارشد گرافیک، دانشکده هنر، دانشگاه تربیت مدرس، تهران، ایران
استادیار دانشکده هنر، دانشگاه تربیت مدرس، تهران، ایران.
شخصیتهای تبلیغاتی مثل یامیام، میمونک چیتوز، آقای ایمنی و ... سالهاست که خاطرات نسلهای مختلفی از مصرفکنندگان ایرانی را رقم زده و توانستهاند تاثیر زیادی در فروش محصولات داشته باشند. هدف این مقاله یافتن تعریفی روشن از نقش و کارکرد شخصیتهای تبلیغاتی و مزایا و معایب تبلیغات شخصیتمحور و یافتن اصول و معیارهایی که متضمن خلق شخصیت تبلیغاتی متناسب با تفاوتهای فرهنگی، دینی و تاریخی ما باشد و بتواند صاحبان تبلیغات را در خلق شخصیت تبلیغاتی ماندگار، کارآمد و ایرانی یاری دهد، است. این تحقیق با روش توصیفی- تحلیلی و با رویکرد تطبیقی، از طریق منابع اسنادی و مشاهده انجام گردید و طی آن مشخص شد، یک شخصیت تبلیغاتی، تصویری نمادین و فرهنگی است. بنابراین باید نمادهای بصری و کلیشههای رفتاری را تقویت کند که متناسب با ارزشها و فرهنگ مخاطب بوده تا مخاطب بتواند پیام و مفاهیم ضمنی را از طریق شخصیت، به درستی رمزگشایی و پیام مورد نظر را دریافت کند. با توجه به زمینههای فرهنگی ایران، لازم است هویتیابی فرمی، معنایی و رفتاری شخصیتهای تبلیغاتی برای دوری از نسخهبرداری کورکورانه از شخصیتهای تبلیغاتی خارجی و کمک به مخاطب در پذیرش و درک معانی ضمنی و کلیشههای رفتاری شخصیت در تبلیغات شخصیتمحور مدنظر قرار گیرد.
Advertising characters and commercial mascots such as Yum Yum, Cheetoz monkey, Safety-man and many others have made Memories of different generations of Iranian consumers for many years. They have many abilities to attract attention and create a nostalgic and friendly relationship with the consumer and have a great impact on the sales of products. Through a review of the relevant literature, This paper will determine the definition of the role and function of commercial mascots and outline character-driven advertising pros and cons and extend the stream of literature with principles and criteria that will help advertisers in the creation of advertising character in accordance with the historical, religious and cultural differences of audiences and will be able Advertising Agency to create lasting and efficient mascots. This research has been done by descriptive-analytical methods and the content analysis of Character-driven commercials and by viewing documents and sources and interpretation of the issue is dealt with. During researching was determined a promotional character is symbolic and cultural image, so it should reinforce visual symbols and stereotypical behaviors According to the values, tastes and culture of the audience, so the audience could decode message and understand implied concepts of ad character properly and receive the desired message. On the other hand, This paper also briefly document ad characters can appeared in human, animal, mythical and product personifications forms and Different Types of advertising character will be more successful for various promotional purposes. The Animal mascots can symbolize product attributes and express common hopes, aspirations and ideals because they are standard mythical symbols of human qualities. For example, everyone knows that a dove is peaceful, while human and mythical characters build consumer identification so about human and mythical character, The Cultural and Identity fit and congruence between trade character and Consumer culture and values is important so according to Iranian cultural areas, it is necessary to consider The identity of the ad character in form, conceptual and behavioral activation to Partly reduce the amount of imported and incongruous mascots with Iranian culture and help the audience to accept and understand desired and implied meanings and the behavioral stereotypes of character in the character-driven commercials and advertisings. The results showed that necessarily apparent compatible between mascot and Product Like choosing an image like cattle for dairy products is not effective in remembering brand by Consumer But to create a feeling or story about ad character in continuous, frequent and consistent advertising can be effective in succeeding. such research is necessary in this regard of the lack of Persian sources, Low and sparse Latin resources, continuous and broad use of these advertising elements and because interest in these character has evolved over time in Iran and because Most of ads owners deemed ad characters as promotional elements in place for inappropriate and ineffective elements which are more Suitable for inexpensive and childish products than for adult and serious ones.
https://jfava.ut.ac.ir/article_56382_004ab5a7358a382bc57af7ee73ba35ed.pdf
شخصیتهای تبلیغاتی ایرانی
مسکات تجاری ایرانی
سخنگویان تبلیغاتی ایرانی
تیزرهای شخصیت محور
Iranian Advertising Characters
Iranian Trade Mascots
Iranian Spoke Persons
Character-Driven Commercials
Identity of ad Mascot
per
دانشگاه تهران
دانشکدگان هنرهای زیبا
نشریه هنرهای زیبا: هنرهای تجسمی
2228-6039
2538-5178
2015-11-22
20
3
79
92
10.22059/jfava.2015.56383
56383
Research Paper
سیاست و بازنمایی* (بررسی نقش ایدئولوژیک دوربین عکاسی و عکس در دورهی پهلوی)
Politics and Representation*
A Study on Ideological Role of Camera and Photograph in Pahlavi Era
حسن زینالصالحین
h.salehi@gmail.com
1
نعمتالله فاضلی
2
کارشناسی ارشد عکاسی، دانشکده هنرهای تجسمی، پردیس هنرهای زیبا، دانشگاه تهران، تهران، ایران.
استادیار پژوهشگاه علوم انسانی و مطالعات فرهنگی، تهران، ایران.
تاریخ عکاسی ایران، تافتهای جدابافته از تاریخ این سرزمین نیست. توجه به زمینهی سیاسی که نقش تعیینکنندهای در روند تاریخی ایران داشته و زمینهی اجتماعی که معمولاٌ قطب مخالفی برای سیاست بوده است؛ میتواند منظر مناسبی را برای بازخوانی آن فراهم آورد. بنابراین، ضرورت پژوهشی انتقادی در بخشی از این تاریخ ایجاب میشود. برای این منظور، از دریچهی «گفتمان»، به تاریخ عکاسی ایران نگاه میشود. هدف از این پژوهش، تبارشناسی گفتمان عکاسی در دورهی پهلوی و بررسی نقش «ایدئولوژیک» عکاسی در آن است. همچنین سعی میشود به بسترسازی این گفتمان برای روابط قدرت و به تبع آن سوژه و ابژهسازیها پرداخته شود. پرسش این است که چه گفتمانی و چگونه در دورهی پهلوی صورتبندی شده است؟ و این گفتمان چه ارتباطی با قدرت دارد؟ چارچوب مفهومی و روش این تحقیق را اندیشههای میشل فوکو تشکیل میدهد. نگارندگان در روندی تاریخی، ثابت میکنند که گفتمانی «اجتماعی» با تحولات گوناگون ساختاری، آن هم بیشتر در حوزهی «سیاست»، در این برهه از تاریخ عکاسی شکلگرفته و غالب آمده است. آن چه که مهم است، فرآیندی است که طی آن، سیاست عقلانیتر شده و پشت امر اجتماعی مینشیند تا هژمونیک شود. همچنین «هویت»، برساختهی مهمی است که به آن پرداخته خواهد شد.
The history of Iranian photography is not isolated from the other aspects of the history of this country. In spite of its noticeable importance of this history in understanding the developmental process and orientations of Iranian photography, it has been really neglected in the conducted studies, to date. Most of the existing documented studies include chronological historical records of the early decades and aesthetic-philosophical researches in the recent decades; and very few studies have dealt with the social and political history of photography in Iran. Moreover, it can be said that there are a few researches in the Iranian photography considering various aspects of its historical background with a clear conceptual framework and a recognized perspective. For sure considering the “politics” context that has had a determinative role in historic procedure of Iran and “social” context that has been an opposite polarity of politics can make appropriate view to read out this history; therefore, a qualitative and critical analysis study on part of history of Iranian photography, at probing the basic socio-political structures in a concrete documented -and not abstract- manner, is necessitated. For this goal, history of Iranian photography, in Pahlavi period, is seen from window of “discourse” and “discourse analysis”. Conceptual and methodological framework of this paper is based on “Michel Foucault`s” ideas. So the purpose of this article is “genealogy” of photographic discourse in Pahlavi era and also survey on “Ideological” role of photography in that period. It is also tries to proceed to plat of this discourse for “power relations”, “subjectification”, and “objectification” naturally. The main question is “What discourse and how is it formulated in this period? And also what is the relationship of this discourse and power”? Author in a historical process, from the Qajar to Pahlavi era, proves that “social discourse” With a variety of structural changes, which are more in the scope of “politics”, at this period of the history of Iranian photography, has been formed and dominated. This was because of a modern government with a modern political procedure that tried to implicitly obtain its follower`s approval. What is important in this procedure is the process during which the “politics” becomes more “rational” and “hegemonic” as sitting behind the social issues in that period. Photography was able to play ideological role in this process for political issues as representational media by the means of promotional, personal and personnel practices. Photography was also the best media to represent middle and burgess class which had formed in that period and had attracted special attention of the new government to itself. “Identity”, is an important construction that will be noted as well, the identity presented in the human face and facial expressions in "photographs"; and this is what making human the “subject” and “object” of the existing power relations in the fabric of society- the society in which social issues, besides its cultural, economic, and the other components have undergone specific rotations turning them from a particular simplicity into a certain level of complexity.
https://jfava.ut.ac.ir/article_56383_ea40fb9138b93da420cdc7d6abf5f34a.pdf
عکاسی
گفتمان
تبارشناسی
سیاست
قدرت
هویت