University Of Tehran PressJournal of Fine Arts: Visual Arts2228-603926420220121Rāqem al-Tasvir: A Study on the Features of Mirzā Ali-Qoli Khoee’s Signatures,, Lithograph Artist in Qajar EraRāqem al-Tasvir: A Study on the Features of Mirzā Ali-Qoli Khoee’s Signatures,, Lithograph Artist in Qajar Era5158307310.22059/jfava.2021.313447.666603FAAliBoozariassistant professor, Graphic Design Department, Visual Art Faculty, Tehran University of Art, Tehran, IranMohammadGoodarziIranian Studies (Manuscript), Iran studies Foundation, Shahid Beheshti University, Tehran, IranJournal Article20201115The inclusion of the artist's name or signature in paintings has been common in Iranian art from 9th century. These signatures include information on the name, nickname, father's name, date and name of the patron of the artwork or artist, place of birth and residence, and are now among the few notable sources for researchers to know the artist and his work style. The tradition of signing the artworks continued in the lithographed books of the Qajar period after the illustrations of the manuscripts. Although the illustrators’ signatures in the lithographic books were more than just mentioning their names, the signatures of Mirzā Ali-Qoli Khoee, the most important artist of this period, have features in terms of form and content that distinguish them from the signatures of many lithographers of his time.This research, which is qualitative in terms of approach and is classified as applied in terms of purpose, seeks to find the answer to the question of how Mirzā Ali-Qoli Khoee has left his mark in the images. This research is based on the comparison of more than sixty of his signatures in the lithographic books of the Qajar period and examines the signatures based on the content, shape and type of calligraphy.Initially, all identified signatures are divided into two major groups, calligraphic and non-calligraphic, and are examined from three perspectives: script, composition, place of registration and content. While the first group of signatures with the upper handwriting indicates the handwriting of a capable calligrapher, the second group consists of handwritten lines by a literate scholar. The excellent calligraphy he used in some of his later works, which is quite different from his calligraphy in the earlier illustrations, suggests that these signatures may have been made by a professional calligrapher by the request of Ali-Qoli.This research shows that Mirzā Ali-Qoli Khoee has always tried to use his signatures not only for registration and badge, not even as an element in image composition, but also as a sign of the artist's presence in the image. The recording of the signatures between two figures, along with the positive and sacred character and hidden in the crowd of visual elements, has caused the artist to appear in the roles of the listener, the believer and the silent observer in the images, respectively. In this way he refers to his religious beliefs and his interest in fascination with stories.Mirzā Ali-Qoli Khoee by carefully choosing the right place and the right words for the signatures, which are sometimes found in unconventional spaces such as the end of the book, places himself not as a book decorator, but in the guise of one of the book's creators, such as scribe, translator, author, publishes and publishes, and registers a person with ideas and opinions. His varied and unique signatures, along with his magnificent and influential illustrations in lithographed books, form an image of a creative, inquisitive, and committed artist in whose minds each book is a platform for rebirth and re-creation. The inclusion of the artist's name or signature in paintings has been common in Iranian art from 9th century. These signatures include information on the name, nickname, father's name, date and name of the patron of the artwork or artist, place of birth and residence, and are now among the few notable sources for researchers to know the artist and his work style. The tradition of signing the artworks continued in the lithographed books of the Qajar period after the illustrations of the manuscripts. Although the illustrators’ signatures in the lithographic books were more than just mentioning their names, the signatures of Mirzā Ali-Qoli Khoee, the most important artist of this period, have features in terms of form and content that distinguish them from the signatures of many lithographers of his time.This research, which is qualitative in terms of approach and is classified as applied in terms of purpose, seeks to find the answer to the question of how Mirzā Ali-Qoli Khoee has left his mark in the images. This research is based on the comparison of more than sixty of his signatures in the lithographic books of the Qajar period and examines the signatures based on the content, shape and type of calligraphy.Initially, all identified signatures are divided into two major groups, calligraphic and non-calligraphic, and are examined from three perspectives: script, composition, place of registration and content. While the first group of signatures with the upper handwriting indicates the handwriting of a capable calligrapher, the second group consists of handwritten lines by a literate scholar. The excellent calligraphy he used in some of his later works, which is quite different from his calligraphy in the earlier illustrations, suggests that these signatures may have been made by a professional calligrapher by the request of Ali-Qoli.This research shows that Mirzā Ali-Qoli Khoee has always tried to use his signatures not only for registration and badge, not even as an element in image composition, but also as a sign of the artist's presence in the image. The recording of the signatures between two figures, along with the positive and sacred character and hidden in the crowd of visual elements, has caused the artist to appear in the roles of the listener, the believer and the silent observer in the images, respectively. In this way he refers to his religious beliefs and his interest in fascination with stories.Mirzā Ali-Qoli Khoee by carefully choosing the right place and the right words for the signatures, which are sometimes found in unconventional spaces such as the end of the book, places himself not as a book decorator, but in the guise of one of the book's creators, such as scribe, translator, author, publishes and publishes, and registers a person with ideas and opinions. His varied and unique signatures, along with his magnificent and influential illustrations in lithographed books, form an image of a creative, inquisitive, and committed artist in whose minds each book is a platform for rebirth and re-creation. https://jfava.ut.ac.ir/article_83073_0573fd37d4bcd0b00b941e6bd64e38a2.pdfUniversity Of Tehran PressJournal of Fine Arts: Visual Arts2228-603926420220121Analyze the concept of Artist-Activist Based on the thought of Hannah ArendtAnalyze the concept of Artist-Activist Based on the thought of Hannah Arendt17258586810.22059/jfava.2021.319131.666655FASepehrDanesh EshraghiMaster of Arts in Art Studies/ Facility of Theories and Art Studies/ University of Art/ tehran/ iranMohammad RezaMoridiassistant professor/ Facility of Theories and Art Studies/University of Art/ Tehran/iranAmirMaziarassistant professor/department of philosophy of art/ Facility of Theories and Art Studies/University of Art/ Tehran/IranJournal Article20210224Analyzing the role of the artist in human life is a challenging subject because it has always faced many stereotypes. meanwhile, the stereotypes of the genius artist and the engaged artist, with a reductionist view of the role of the artist, have ignored the power of the work of art in human life; Based on the views of Hannah Arendt, this article seeks to analyze the situation of the “artist-activist” and answer the question of how the work of art has affected human life and what is the active role of the artist in society?
Hannah Arendt, with her different perspective on human life, considers artists to be a unique group. He considers art to be a meaningful activity and works of art to a higher degree than other man-made objects. Arendt's thought conceives a special power in works of art; The power that takes these works out of the group of decorative objects and other human constructions and makes it a necessary activity in the society. In other words, the existence of such power in a work of art makes the role of the artist a sensitive situation in society that can affect society through his work. Arendt considers the activity of “action” to be one of the three fundamental and constructive activities of human life, and the most important of them, to distinguish it from the activities of “Labor” and “work”. Although a work of art is created through the activity of “work”, in order to be known as art, it enters the field of "action"; That is, it itself becomes a form of “action” in a field beyond “work”; Thus, the work of art redefines and articulates the public sphere. In essence, the artist in this situation is the one who, through his artistic action, demands a new story for every object in the heart of the public sphere, in order to disrupt the sensory monotony of the dominant story.
In this article, we analyze the role of the work of art in human life from its relation to storytelling to show that the artist can create a new “story” for each object through the work of art in the common world and builds a world of “stories” on the world of objects that are among us. In this formation, the artist is the one who, by creating a new story, destroys the conventional and established meanings, and by creating new meanings and relations between things, questions the immediacy of the obvious. Thus, artist-activist means launching a new story in the world of sensations through the work of art. An artist-activist is one who moves on the frontier of discourses and, by challenging traditional patterns of meaning and freeing objects from their usual connection, reborn that in the realm of art. in this formulation, the role of the artist is not in his direct reaction to the events of society; And it is not in his withdrawal from society, but in his active role in breaking down a particular system of feelings.Analyzing the role of the artist in human life is a challenging subject because it has always faced many stereotypes. meanwhile, the stereotypes of the genius artist and the engaged artist, with a reductionist view of the role of the artist, have ignored the power of the work of art in human life; Based on the views of Hannah Arendt, this article seeks to analyze the situation of the “artist-activist” and answer the question of how the work of art has affected human life and what is the active role of the artist in society?
Hannah Arendt, with her different perspective on human life, considers artists to be a unique group. He considers art to be a meaningful activity and works of art to a higher degree than other man-made objects. Arendt's thought conceives a special power in works of art; The power that takes these works out of the group of decorative objects and other human constructions and makes it a necessary activity in the society. In other words, the existence of such power in a work of art makes the role of the artist a sensitive situation in society that can affect society through his work. Arendt considers the activity of “action” to be one of the three fundamental and constructive activities of human life, and the most important of them, to distinguish it from the activities of “Labor” and “work”. Although a work of art is created through the activity of “work”, in order to be known as art, it enters the field of "action"; That is, it itself becomes a form of “action” in a field beyond “work”; Thus, the work of art redefines and articulates the public sphere. In essence, the artist in this situation is the one who, through his artistic action, demands a new story for every object in the heart of the public sphere, in order to disrupt the sensory monotony of the dominant story.
In this article, we analyze the role of the work of art in human life from its relation to storytelling to show that the artist can create a new “story” for each object through the work of art in the common world and builds a world of “stories” on the world of objects that are among us. In this formation, the artist is the one who, by creating a new story, destroys the conventional and established meanings, and by creating new meanings and relations between things, questions the immediacy of the obvious. Thus, artist-activist means launching a new story in the world of sensations through the work of art. An artist-activist is one who moves on the frontier of discourses and, by challenging traditional patterns of meaning and freeing objects from their usual connection, reborn that in the realm of art. in this formulation, the role of the artist is not in his direct reaction to the events of society; And it is not in his withdrawal from society, but in his active role in breaking down a particular system of feelings.https://jfava.ut.ac.ir/article_85868_969bb2dbd0635f035cdda7c92e1af640.pdfUniversity Of Tehran PressJournal of Fine Arts: Visual Arts2228-603926420220121Familiarity with the origin of engraving Natural Elements in Painting and Cloud Paper (Emphasizing on inking and coloring in versions of 4 to 6 H Centuries).Familiarity with the origin of engraving Natural Elements in Painting and Cloud Paper (Emphasizing on inking and coloring in versions of 4 to 6 H Centuries).27348586910.22059/jfava.2021.306856.666518FAArezoPuriyaeyArt Research r0000-0003-3452-2133KhashayarGhazizadehArt research.art Universi ty . Shahed University . Tehran0000-0002-0881-1671Journal Article20200816The main issue of this research is introduction Origin of engraving cloud paper, history and its usage in calligraphy, book designing or the painting of early Islamic centuries. Understanding cloud paper and cloud computing leads to an understanding of the genuine history and application of cloud paper and its relationship to the excited elements of painting which are essential to identifying and revitalizing the original and ancient styles and techniques of painting. Because we do not have objective information about the colors and methods of manufacture and the compounds used in the field of painting and works of the early centuries. The research method was descriptive-analytical and the data collection method was library and documentary. The purpose of this study is to identify cloud paper, its application and relation to some of the natural elements in early Islamic painting. The main question of the research is that what is the relationship how to run the mountains in Iranian Painting with how to make cloud paper? The findings of this study show that the primary origin of cloud paper was in the methods of inking and coloring of the early centuries (before the eighth century) and as a result of their use in the natural elements found in the paintings works. In other words, seventh-century cloud paper has been inspired by the particular colors and styles used in the mountains, rocks, clouds, and so on. Because the main ingredient in creating both works has been color and cloud paper is nothing except color integration, the connection between the beauty of particular colors in the past with painting and cloudiness has been strengthened. The main method of running the mountains in Iranian painting and the method of making cloud paper are related to the specific characteristic of early-century colors. Recent research shows that in the fourth to sixth centuries AH there were paints with special properties that were used in painting. Exemplary examples of the instructions for making these colors, as seen above, are found in early centuries versions and treatises. Because of the identity and personality of each color in the past, the color of the clouds and the marble or naturalness of the mountains and the rest of the elements in the paintings, it is quite obvious. The history of all the miraculous and anonymous motifs goes back to the paintings of the early centuries, which have lost their identity over the centuries. The term "role on water", which describes the design and role it plays in making cloud paper, is derived from one of the important features of early-century coloring. Clouds seem to have been a mix of beautiful and special colors. At first they used decorative and coloring in books and paintings. For the sake of beauty in the following centuries, single-leaf decorative applications have been conferred on the court of kings and elders. According to the above evidence, these colors are very similar to the mountains and clouds of the paintings. The main issue of this research is introduction Origin of engraving cloud paper, history and its usage in calligraphy, book designing or the painting of early Islamic centuries. Understanding cloud paper and cloud computing leads to an understanding of the genuine history and application of cloud paper and its relationship to the excited elements of painting which are essential to identifying and revitalizing the original and ancient styles and techniques of painting. Because we do not have objective information about the colors and methods of manufacture and the compounds used in the field of painting and works of the early centuries. The research method was descriptive-analytical and the data collection method was library and documentary. The purpose of this study is to identify cloud paper, its application and relation to some of the natural elements in early Islamic painting. The main question of the research is that what is the relationship how to run the mountains in Iranian Painting with how to make cloud paper? The findings of this study show that the primary origin of cloud paper was in the methods of inking and coloring of the early centuries (before the eighth century) and as a result of their use in the natural elements found in the paintings works. In other words, seventh-century cloud paper has been inspired by the particular colors and styles used in the mountains, rocks, clouds, and so on. Because the main ingredient in creating both works has been color and cloud paper is nothing except color integration, the connection between the beauty of particular colors in the past with painting and cloudiness has been strengthened. The main method of running the mountains in Iranian painting and the method of making cloud paper are related to the specific characteristic of early-century colors. Recent research shows that in the fourth to sixth centuries AH there were paints with special properties that were used in painting. Exemplary examples of the instructions for making these colors, as seen above, are found in early centuries versions and treatises. Because of the identity and personality of each color in the past, the color of the clouds and the marble or naturalness of the mountains and the rest of the elements in the paintings, it is quite obvious. The history of all the miraculous and anonymous motifs goes back to the paintings of the early centuries, which have lost their identity over the centuries. The term "role on water", which describes the design and role it plays in making cloud paper, is derived from one of the important features of early-century coloring. Clouds seem to have been a mix of beautiful and special colors. At first they used decorative and coloring in books and paintings. For the sake of beauty in the following centuries, single-leaf decorative applications have been conferred on the court of kings and elders. According to the above evidence, these colors are very similar to the mountains and clouds of the paintings. https://jfava.ut.ac.ir/article_85869_7eb226024bbc8562bdfe7e4bd19b3706.pdfUniversity Of Tehran PressJournal of Fine Arts: Visual Arts2228-603926420220121The Symbolism of Camel Motif in Sasanian Engraving Art( Case study of 55 master piece)The Symbolism of Camel Motif in Sasanian Engraving Art( Case study of 55 master piece)35458587110.22059/jfava.2021.305677.666507FABitaMesbahAsistant Professor,Art Collage,Semnan University0009-0003-0235-7089SaraShadrokhInstructor of art college of Semnan, Semnan University, Semnan, IranJournal Article20200707The Sasanian art is the reflection of mythological concepts in connection with the Zorastrian beliefs. The mythological concepts of this period are conveyed by various representations of natural motifs such as plants, animals, the birds and mythical creatures. So the motifs may show a profound symbolic concept. Although camel is a rare motif in Sasanian art but it is related to obscure mythical concepts. The camel motif was used in Iran from the prehistoric times. The first two examples are the camel motif painted on the potteries found in Teppe Sialk, which is related to the third millennium B.C., and a bronze ax-head discovered in a grave at Korab in Sistan which had a sitting camel on it. During the Sasanian period, this motif is found on the seals (Qasr-i AbuNasr, Tacht e Suleiman), metal vessels, stone reliefs (Hatra and Palmyra), wall-paintings in castles (Panjikent, Afrasyab). The importance of these specimens on which the camel motif is used, shows the credibility of the motif. The study aims to study the mythological backgrounds of the motif and its relations to Zorastrian concepts. Understanding the symbolic ideas of the camel motif is the main aim in this study. The present study uses descriptive-analytical method and data collecting method is Purposive sampling. The name of the prophet Zoroaster in Avestan language is “Zaraẟuštra”. The second part of his name is the Avestan word for camel, “Uštra “. Although different interpretations have been suggested for the meaning of the name but it is more accepted that the name of the prophet means “who is fostering/cherishing camels” or “he who can manage the camels”. other the meanings like “longing for camels" and “he who is with angry/furious camels” are also proposed. Therefore, the camel may symbolize the concept of bearing knowledge and spreading the light of faith in the dark of infidelity. It clarifies the reasons of using the camel symbol on the Sasanian seals belonging to the priests. Besides that, the motif of camel is used in the reliefs of the warriors in Hatra and Palmyra. The research results show that the camel motif was the absolute depiction for war gods in Near Eastern cultures. The gods named Arsu, Ruda, Reshef, Bahram and Vahagen are all related to the camel. Arsu, Reshef and Ruda always ride the camel in complete armor. Although Bahram and its Soghdian identification “Vahagen” were never showed riding the camel, but in Avesta camel is described as one of the incarnations of Verethraghna(Bahram/Vahagan).In Yasht 14, lines 10-13 are dedicated to camel, as the persistence and determined symbol of Bahram and is described as a long haired beast of burden, with sharp teeth, quick eyed and bright strong sight. The camel has ventured far sight and is capable to see in the deep dark of the night which symbolizes the vision inside Bahram. The bravery, uncontrollable victory, the furious, inevitable fighting powers of Bahram are all symbolized with the natural powers of the camel like his uncontrollable temperament and greatest strengths.The Sasanian art is the reflection of mythological concepts in connection with the Zorastrian beliefs. The mythological concepts of this period are conveyed by various representations of natural motifs such as plants, animals, the birds and mythical creatures. So the motifs may show a profound symbolic concept. Although camel is a rare motif in Sasanian art but it is related to obscure mythical concepts. The camel motif was used in Iran from the prehistoric times. The first two examples are the camel motif painted on the potteries found in Teppe Sialk, which is related to the third millennium B.C., and a bronze ax-head discovered in a grave at Korab in Sistan which had a sitting camel on it. During the Sasanian period, this motif is found on the seals (Qasr-i AbuNasr, Tacht e Suleiman), metal vessels, stone reliefs (Hatra and Palmyra), wall-paintings in castles (Panjikent, Afrasyab). The importance of these specimens on which the camel motif is used, shows the credibility of the motif. The study aims to study the mythological backgrounds of the motif and its relations to Zorastrian concepts. Understanding the symbolic ideas of the camel motif is the main aim in this study. The present study uses descriptive-analytical method and data collecting method is Purposive sampling. The name of the prophet Zoroaster in Avestan language is “Zaraẟuštra”. The second part of his name is the Avestan word for camel, “Uštra “. Although different interpretations have been suggested for the meaning of the name but it is more accepted that the name of the prophet means “who is fostering/cherishing camels” or “he who can manage the camels”. other the meanings like “longing for camels" and “he who is with angry/furious camels” are also proposed. Therefore, the camel may symbolize the concept of bearing knowledge and spreading the light of faith in the dark of infidelity. It clarifies the reasons of using the camel symbol on the Sasanian seals belonging to the priests. Besides that, the motif of camel is used in the reliefs of the warriors in Hatra and Palmyra. The research results show that the camel motif was the absolute depiction for war gods in Near Eastern cultures. The gods named Arsu, Ruda, Reshef, Bahram and Vahagen are all related to the camel. Arsu, Reshef and Ruda always ride the camel in complete armor. Although Bahram and its Soghdian identification “Vahagen” were never showed riding the camel, but in Avesta camel is described as one of the incarnations of Verethraghna(Bahram/Vahagan).In Yasht 14, lines 10-13 are dedicated to camel, as the persistence and determined symbol of Bahram and is described as a long haired beast of burden, with sharp teeth, quick eyed and bright strong sight. The camel has ventured far sight and is capable to see in the deep dark of the night which symbolizes the vision inside Bahram. The bravery, uncontrollable victory, the furious, inevitable fighting powers of Bahram are all symbolized with the natural powers of the camel like his uncontrollable temperament and greatest strengths.https://jfava.ut.ac.ir/article_85871_668597bbda7dca4dda33d9cbd467a272.pdfUniversity Of Tehran PressJournal of Fine Arts: Visual Arts2228-603926420220121Typology of Kerman polychrome ceramics in the Safavid eraTypology of Kerman polychrome ceramics in the Safavid era47578587210.22059/jfava.2021.309473.666561FAHamidrezaRohani RavariPh.D. Candidate of Art Studies, Art University of Tehran0009-0003-8772-668XSaeedZaviehAssociate Professor, Department of Art Studies, Art University of Tehran, Tehran, Iran0000-0003-3023-7706HassanSalajegheAssistant Professor, Department of Arts and Architecture, Shahid Bahonar University, Kerman, IranJournal Article20200907The history of Kerman pottery is as old and ancient as the history of this land; The productions of Kerman's pottery workshops have played a revitalizing and continuing role in Iran's cultural and artistic life, especially at a time when Iran is embroiled in political and historical damage. However, the brightest pottery season in Kerman is in the Safavid era; At this time, many species, especially blue and white pottery, have been produced on a large scale in the workshops of this city and the surrounding areas. One of the reasons why Kerman has been considered as a pottery center during the Safavid period is the geographical location of this city and its proximity to Bandar Abbas for the export of these works between china and the Europe. From within the blue and white species, new and creative varieties emerged in terms of decorations which are called Kerman polychrome ceramics. However, the exact location of its production is not definite in the vast Kerman province. Indeed, the multi-colored pottery of Kerman is a significant part of the history of Safavid painting. Kerman polychrome ware is often made with the underglaze painted technique in the frit body. Our goals in this study are Introducing Kerman's polychrome ceramics as well as the discovery of the distinctive and recognizable features of these paintings. To do this, we have collected many examples from the most popular museums in the world; And by the study and interpretation of forms and symbols and adapting it to the previous researches, we presented a new classification of this paintings. Methods of gathering data for this research is a combination of historical documents and some field evidence (library and field). We respond to a main question: What are the specific formal features in Kerman polychrome ceramics? In these paintings, a range of floral, animal, human, written and geometric motifs and literary narratives have been combined with elements of Chinese paintings of the Ming and Yuan dynasties. The motifs of Dianthus flowers and ivy-like leaves are the hallmarks of Kerman's under-glazed paintings. The results of the research indicate that the Kerman's polychrome ceramics has evolved from the blue and white species with an innovative step-by-step approach. step one: Application of black color and its expand to the motifs and borders of the image; It should be noted that the use of black was due to the dominance of the azure color. Step 2: Painting with limited colors on monochrome and celadon bodies; In some cases, the motifs have been scratched. Step 3: Application of green, red and black colors in combination with blue and white. The design and brushstrokes of these works are different. In some works, Chinese and Iranian motifs are combined; two styles of drawing are so obvious that it was probably produced by two separate people. In other works, the painting is completely filled with Iranian motifs; These works, in addition to showing the background of ancient Iranian motifs, in some cases have focused on aspects of objectivity and natural landscapes of Kerman.The history of Kerman pottery is as old and ancient as the history of this land; The productions of Kerman's pottery workshops have played a revitalizing and continuing role in Iran's cultural and artistic life, especially at a time when Iran is embroiled in political and historical damage. However, the brightest pottery season in Kerman is in the Safavid era; At this time, many species, especially blue and white pottery, have been produced on a large scale in the workshops of this city and the surrounding areas. One of the reasons why Kerman has been considered as a pottery center during the Safavid period is the geographical location of this city and its proximity to Bandar Abbas for the export of these works between china and the Europe. From within the blue and white species, new and creative varieties emerged in terms of decorations which are called Kerman polychrome ceramics. However, the exact location of its production is not definite in the vast Kerman province. Indeed, the multi-colored pottery of Kerman is a significant part of the history of Safavid painting. Kerman polychrome ware is often made with the underglaze painted technique in the frit body. Our goals in this study are Introducing Kerman's polychrome ceramics as well as the discovery of the distinctive and recognizable features of these paintings. To do this, we have collected many examples from the most popular museums in the world; And by the study and interpretation of forms and symbols and adapting it to the previous researches, we presented a new classification of this paintings. Methods of gathering data for this research is a combination of historical documents and some field evidence (library and field). We respond to a main question: What are the specific formal features in Kerman polychrome ceramics? In these paintings, a range of floral, animal, human, written and geometric motifs and literary narratives have been combined with elements of Chinese paintings of the Ming and Yuan dynasties. The motifs of Dianthus flowers and ivy-like leaves are the hallmarks of Kerman's under-glazed paintings. The results of the research indicate that the Kerman's polychrome ceramics has evolved from the blue and white species with an innovative step-by-step approach. step one: Application of black color and its expand to the motifs and borders of the image; It should be noted that the use of black was due to the dominance of the azure color. Step 2: Painting with limited colors on monochrome and celadon bodies; In some cases, the motifs have been scratched. Step 3: Application of green, red and black colors in combination with blue and white. The design and brushstrokes of these works are different. In some works, Chinese and Iranian motifs are combined; two styles of drawing are so obvious that it was probably produced by two separate people. In other works, the painting is completely filled with Iranian motifs; These works, in addition to showing the background of ancient Iranian motifs, in some cases have focused on aspects of objectivity and natural landscapes of Kerman.https://jfava.ut.ac.ir/article_85872_b7362ce6f31f6b66ae835b1645cfd81c.pdfUniversity Of Tehran PressJournal of Fine Arts: Visual Arts2228-603926420220121A Study on The Representation of Julia Kristeva's Abject Theory in Self Portraits of Contemporary PhotographersA Study on The Representation of Julia Kristeva's Abject Theory in Self Portraits of Contemporary Photographers59658587310.22059/jfava.2021.294145.666376FAYasamanAlipourPhotography, visual arts faculty,Art university of Tehran,Tehran,IranMehdiMoghimnejadPhotography, Visual Arts Faculty, Art university of Tehran, Tehran, Iran0009-0001-9501-2172Journal Article20191215Julia Kristeva is a French philosopher, psychoanalyst and literary critic. Most of Kristeva’s Theories are about subjectivity and speaking subjects. In 1982 Kristeva’s essay called “Powers of Horror” was published in English, In this essay she suggested that one of the most important stages of becoming a subject is a process called Abjection. She describes Abjection as a process in which a person throws away anything that represents “other” to ‘’I’’; Kristeva calls this “other” the Abject. Abjection for the first time, happens when a child begins to know the difference between ‘’I’’ and anything else; In this situation the child starts to build borders for “I” and in order to do so, rejects many things like mother and food. In her essay Kristeva states that the abject will always remain a threat for the subject and it waits near the subject’s borders in order to find an opportunity to destroy them. Kristeva suggests that in the past, different religions in societies provided various kinds of rituals to protect their people from the abject ,but with the rise of secularism in modern world, Art has taken over this function. Kristeva believes that in order to protect themselves from the abject, contemporary writers and artists represent the abject in their works while trying to reject it. Because of its provocative nature, the abject has become an interesting subject for artists and has been used by them to convey messages about different problems in the society. In 1993, an exhibition called “Abject Art: Repulsion and Desire in American Art’’ was held at Whitney Museum of American Art in New York; The presented artworks reflected many different issues in the society and the exhibition was strongly criticized for lacking aesthetic values. The exhibited artworks included paintings, sculptures and photographs. Actually Many contemporary photographers show the abject in their works especially in self-portraits. Self-portrait photography is highly related to the concept of identity and it always has been a way for artists to convey their inner thoughts and issues. By adding the abject to their self-portraits, these artists try to get rid of the abject and make themselves pure. The main goal of this essay is to understand how the abjection theory is applicable to contemporary photographers’ self-portraits and what effects does it have. In order to reach this goal, first a description of the abjection theory and the way it was applied in art and literature is given. After that, a brief description of how the abject is represented in some of the contemporary photographers’ self-portraits is provided. This study concludes that artists have several goals when they represent concepts like abject in their self-portraits. Their first goal is that, they want to show their faults in order to overcome the difficulties they faced and although they have become foreigners to the society they do not want to hide their faults. Another goal of this representation is to challenge the symbolic order in the society and force people to change their old beliefs.Julia Kristeva is a French philosopher, psychoanalyst and literary critic. Most of Kristeva’s Theories are about subjectivity and speaking subjects. In 1982 Kristeva’s essay called “Powers of Horror” was published in English, In this essay she suggested that one of the most important stages of becoming a subject is a process called Abjection. She describes Abjection as a process in which a person throws away anything that represents “other” to ‘’I’’; Kristeva calls this “other” the Abject. Abjection for the first time, happens when a child begins to know the difference between ‘’I’’ and anything else; In this situation the child starts to build borders for “I” and in order to do so, rejects many things like mother and food. In her essay Kristeva states that the abject will always remain a threat for the subject and it waits near the subject’s borders in order to find an opportunity to destroy them. Kristeva suggests that in the past, different religions in societies provided various kinds of rituals to protect their people from the abject ,but with the rise of secularism in modern world, Art has taken over this function. Kristeva believes that in order to protect themselves from the abject, contemporary writers and artists represent the abject in their works while trying to reject it. Because of its provocative nature, the abject has become an interesting subject for artists and has been used by them to convey messages about different problems in the society. In 1993, an exhibition called “Abject Art: Repulsion and Desire in American Art’’ was held at Whitney Museum of American Art in New York; The presented artworks reflected many different issues in the society and the exhibition was strongly criticized for lacking aesthetic values. The exhibited artworks included paintings, sculptures and photographs. Actually Many contemporary photographers show the abject in their works especially in self-portraits. Self-portrait photography is highly related to the concept of identity and it always has been a way for artists to convey their inner thoughts and issues. By adding the abject to their self-portraits, these artists try to get rid of the abject and make themselves pure. The main goal of this essay is to understand how the abjection theory is applicable to contemporary photographers’ self-portraits and what effects does it have. In order to reach this goal, first a description of the abjection theory and the way it was applied in art and literature is given. After that, a brief description of how the abject is represented in some of the contemporary photographers’ self-portraits is provided. This study concludes that artists have several goals when they represent concepts like abject in their self-portraits. Their first goal is that, they want to show their faults in order to overcome the difficulties they faced and although they have become foreigners to the society they do not want to hide their faults. Another goal of this representation is to challenge the symbolic order in the society and force people to change their old beliefs.https://jfava.ut.ac.ir/article_85873_2aae04774b083d5f1deb2b9e71f0367a.pdfUniversity Of Tehran PressJournal of Fine Arts: Visual Arts2228-603926420220121Study of Iconography of Achaemenid wall paintings in the tombs of TatarlyStudy of Iconography of Achaemenid wall paintings in the tombs of Tatarly67778034810.22059/jfava.2021.293686.666374FAZohrehFouladiart. payamnoor univercity. tehran.iranJournal Article20191203The Achaemenid Empire's Shah's road started from Susa and ended up in Sarda in Asia Minor. Clynay was one of the great cities of Frigate, located in Asia Minor, which became very important due to its location on the path of the Shah's road during the Achaemenid period. The most important finds in the Claynea area are the tombstone located in the Tatarli near the Dinar at the border between Lydia and Frigate.The tomb has paintings on wooden beams, which represent the largest painting on the wood of the ancient period and dates back to the middle of the 5th century BC. The purpose of this article is to identify the specific character of Tatarli's tomb paintings and the relation between Anatolian and Iranian figurative traditions, which was carried out through cultural relations between Anatolia and Iran during the Achaemenid period. The research uses descriptive-comparative method and by documentary method to study the tomb paintings and the effect of Achaemenid art style in it. In the typography of memorial buildings at the center of the Achaemenid empire, warriors of the cavalry were in no way prevalent. In the Apadana staircase we see empty hinges and horses without riders. There, the spear of the infantry and the arc of the shah symbolized the power of the Iranian army. But in the works of Achaemenid Empire and the example of the Tartarite tomb painting, we are witnessing the presence of a great warfare scene with infantry and cavalry with the characteristics of Persian weapons and clothing. On the paintings of these walls, especially the figures drawn from the eastern walls, the clothing and identity of the chosen Anatolian choir has been taken from the Achaemenid cloak.In the scene of Tatarli's controversy, unlike the scene of the Tricker Palace, a monumental crown, the battle scene of the Royal Pahlavan in the seals, has continued with signs of reign, such as the crown and the garment of Shahi. This difference in shape can be attributed to different audiences. this difference was due to the ideology of kings' power. The dead body of the enemy is under the feet of the king in the Tatarli painting of Iranian traditions which is also featured in Bisotun; this scene is a combination of the scene of Bishtun Darius and the Royal Pahlavan in the battle of the Dariush Tucker Palace, and likely this role of Dariush in It's a battle with a sectarian enemy.The images depicted on wooden walls of the Tatarli monastery are the most well-known type of painting on the wood in ancient Mediterranean. In Tatarli's tomb, according to the ancient tradition of Frygiyeh, in the building of the Tomb of the wood used, then the wooden beams are decorated with images from the cultural backgrounds of the Persian rulers, which indicate the cultural interpenetration between Frygiy and the Iranian rulers. This shows that adapted images of Achaemenid and Greek art based on their needs and It represented the diversity of nationalities throughout the Achaemenid dynasty.The Achaemenid Empire's Shah's road started from Susa and ended up in Sarda in Asia Minor. Clynay was one of the great cities of Frigate, located in Asia Minor, which became very important due to its location on the path of the Shah's road during the Achaemenid period. The most important finds in the Claynea area are the tombstone located in the Tatarli near the Dinar at the border between Lydia and Frigate.The tomb has paintings on wooden beams, which represent the largest painting on the wood of the ancient period and dates back to the middle of the 5th century BC. The purpose of this article is to identify the specific character of Tatarli's tomb paintings and the relation between Anatolian and Iranian figurative traditions, which was carried out through cultural relations between Anatolia and Iran during the Achaemenid period. The research uses descriptive-comparative method and by documentary method to study the tomb paintings and the effect of Achaemenid art style in it. In the typography of memorial buildings at the center of the Achaemenid empire, warriors of the cavalry were in no way prevalent. In the Apadana staircase we see empty hinges and horses without riders. There, the spear of the infantry and the arc of the shah symbolized the power of the Iranian army. But in the works of Achaemenid Empire and the example of the Tartarite tomb painting, we are witnessing the presence of a great warfare scene with infantry and cavalry with the characteristics of Persian weapons and clothing. On the paintings of these walls, especially the figures drawn from the eastern walls, the clothing and identity of the chosen Anatolian choir has been taken from the Achaemenid cloak.In the scene of Tatarli's controversy, unlike the scene of the Tricker Palace, a monumental crown, the battle scene of the Royal Pahlavan in the seals, has continued with signs of reign, such as the crown and the garment of Shahi. This difference in shape can be attributed to different audiences. this difference was due to the ideology of kings' power. The dead body of the enemy is under the feet of the king in the Tatarli painting of Iranian traditions which is also featured in Bisotun; this scene is a combination of the scene of Bishtun Darius and the Royal Pahlavan in the battle of the Dariush Tucker Palace, and likely this role of Dariush in It's a battle with a sectarian enemy.The images depicted on wooden walls of the Tatarli monastery are the most well-known type of painting on the wood in ancient Mediterranean. In Tatarli's tomb, according to the ancient tradition of Frygiyeh, in the building of the Tomb of the wood used, then the wooden beams are decorated with images from the cultural backgrounds of the Persian rulers, which indicate the cultural interpenetration between Frygiy and the Iranian rulers. This shows that adapted images of Achaemenid and Greek art based on their needs and It represented the diversity of nationalities throughout the Achaemenid dynasty.https://jfava.ut.ac.ir/article_80348_154903efa76cb9e91a2cbd939d4026cf.pdfUniversity Of Tehran PressJournal of Fine Arts: Visual Arts2228-603926420220121A Diffrent Look at Corona Documentary Photographs: An Analysis Based on Beardsley’s Art CritisimA Diffrent Look at Corona Documentary Photographs: An Analysis Based on Beardsley’s Art Critisim79878475610.22059/jfava.2021.313321.666599FAMahdieh SadatSajadianDepartment of Philosophy, Faculty of theology & Philosophy, Islamic Azad University Science and Research, Tehran, Iran0000-0001-9432-9621MaryamBakhtiarianAssistant professor, Department of The philosophy of Art, Faculty of Law, Divinity and Political Science, Science and Research Branch, Islamic Azad University, Tehran, Iran.0000-0002-7353-2644Journal Article20201114Documentary photography is known as the only true document and represents what is seen without wanes. The documentary aspect pays attention to the social nature, and the photographer, as the only witness who reports on empirical truth, deals with all human issues. The functions of photography in the documentary genre are numerous and varied; A genre that depicts the human conditions in the face of human with life's problems. According to some experts, it can be said that another function of photography is to make the aesthetic experience. For example, Monroe Beardsley, in an instrumentalist definition, considers the aesthetic experience as aesthetic value. The value of a work of art is determined by objective characteristics such as unity, intensity, and complexity. These features can be considered as aesthetic value in photographs that they encompass corona issues. The aesthetic value of a photograph as a work of art can be demonstrated by making an aesthetic experience. The value of the judgment is given to the critic by the necessary criteria; It is a good work with aesthetic value that has the capacity to make an aesthetic experience, and a bad work does not have such a capacity. We will show these photographs have capacity for the aesthetic experience, of course here it is nessesery capacity in spectators. Documentary photography, In addition to the realistic and documentary aspects that take on various functions such as social documentary, social landscape, journalism and war photography, can be also have aesthetic value. In this article, it is clear that photographs of the corona crisis also have a documentary aspect and express the pain that almost all of us have experienced. However, with all the painful dimensions that these photos have and make us miss non-coronary days, based on Beardsley's view, they can also have aesthetic dimensions and make an aesthetic experience. The experience received in relation to the elements and qualities within the photographs, which produces phenomenological pleasure from the combine of the Phenomenally Objective and the Phenomenally Subjective, that is, a percentage of the capacity of the object (photograph) and the competence of the audience. On this occasion, aesthetic value emerges, and with the passage of man through this crisis, in the future, in addition to the unpleasant feeling that these photographs convey to the viewer, they can also be aesthetically critiqued and make another sense, provided that critics pay attention to their aesthetic dimensions. In this way, by looking at these photographs aesthetically, we can get a capacity in them through their inner quality and features, which requires the passage of time and our deeper look to see them.The done studies in this article can show that these photographies, besides of the documentary and realistic aspects, have aesthetic dimensions which will make them last in the history of photography. The collect data in research is library study and the internet search, then describe and analyze them in accordance with Corona’s the selected works as a case study.Documentary photography is known as the only true document and represents what is seen without wanes. The documentary aspect pays attention to the social nature, and the photographer, as the only witness who reports on empirical truth, deals with all human issues. The functions of photography in the documentary genre are numerous and varied; A genre that depicts the human conditions in the face of human with life's problems. According to some experts, it can be said that another function of photography is to make the aesthetic experience. For example, Monroe Beardsley, in an instrumentalist definition, considers the aesthetic experience as aesthetic value. The value of a work of art is determined by objective characteristics such as unity, intensity, and complexity. These features can be considered as aesthetic value in photographs that they encompass corona issues. The aesthetic value of a photograph as a work of art can be demonstrated by making an aesthetic experience. The value of the judgment is given to the critic by the necessary criteria; It is a good work with aesthetic value that has the capacity to make an aesthetic experience, and a bad work does not have such a capacity. We will show these photographs have capacity for the aesthetic experience, of course here it is nessesery capacity in spectators. Documentary photography, In addition to the realistic and documentary aspects that take on various functions such as social documentary, social landscape, journalism and war photography, can be also have aesthetic value. In this article, it is clear that photographs of the corona crisis also have a documentary aspect and express the pain that almost all of us have experienced. However, with all the painful dimensions that these photos have and make us miss non-coronary days, based on Beardsley's view, they can also have aesthetic dimensions and make an aesthetic experience. The experience received in relation to the elements and qualities within the photographs, which produces phenomenological pleasure from the combine of the Phenomenally Objective and the Phenomenally Subjective, that is, a percentage of the capacity of the object (photograph) and the competence of the audience. On this occasion, aesthetic value emerges, and with the passage of man through this crisis, in the future, in addition to the unpleasant feeling that these photographs convey to the viewer, they can also be aesthetically critiqued and make another sense, provided that critics pay attention to their aesthetic dimensions. In this way, by looking at these photographs aesthetically, we can get a capacity in them through their inner quality and features, which requires the passage of time and our deeper look to see them.The done studies in this article can show that these photographies, besides of the documentary and realistic aspects, have aesthetic dimensions which will make them last in the history of photography. The collect data in research is library study and the internet search, then describe and analyze them in accordance with Corona’s the selected works as a case study.https://jfava.ut.ac.ir/article_84756_8fb3a0947321fd647309b41a9d518dff.pdfUniversity Of Tehran PressJournal of Fine Arts: Visual Arts2228-603926420220121Typology of pottery added to Qayen Mountain CastleTypology of pottery added to Qayen Mountain Castle891008587610.22059/jfava.2021.315703.666624FAAmirAnvari MoqadamGeneral Directorate of Cultural Heritage, Handicrafts and Tourism of South KhorasanMohamadFarjamiGeneral Directorate of Cultural Heritage, Handicrafts and Tourism of South KhorasanAli AsqarMahmoodiDepartment of Archeology, Faculty of Art, Birjand University - Visiting ProfessorMohamad RezaSoroushGeneral Directorate of Cultural Heritage, Handicrafts and Tourism of South KhorasanJournal Article20201224In the Esmaeili forts, although the living conditions were not very favorable and most of the time they went to war and conflict and defended them against the central power, but nevertheless, all kinds of arts, especially pottery, maintained their artistic degree and prestige. The fifth to seventh centuries, which coincided with the rise of the Seljuks and then the Khwarezmshahs, reached its peak. In the field of pottery, in addition to new styles in production, technique and decoration, the heritage of the past was used and not forgotten. In this article, the pottery of the added role of Qayen Mountain Castle, which is located 2.5 km southeast of Qayen city, is studied. This fort is one of the famous forts in Qohestan region (South Khorasan), which is important during the Islamic era, especially at the same time as the Esmaeili gained power in this region and its location is in an important communication area that extends from north Khorasan to south Khorasan. The pottery of the Islamic period obtained from this castle belongs to the Middle Ages (Seljuk) to the late Islamic (Safavid), however, most of the pottery belongs to the Islamic Middle Ages (fifth to eighth centuries), which in terms of decoration They are divided into glazed and unglazed groups. Among unglazed pottery, pottery with added role has a lot of abundance and variety. In fact, the importance of this type of pottery in the area of Qayen Mountain Castle, compared to other contemporary castles in the region, has caused this issue to be addressed. Pottery shows the connection between Iranian art over time. In examining the pottery motifs of Qaen Mountain Castle, these questions are: 1- What is the most important reason for attributing pottery with the added role of Qaen Mountain Castle to the Islamic Middle Ages (especially the Seljuk and Khwarezmshahi periods)? 2- What are the unique features of the added pottery patterns of Qayen Mountain Castle and can a special classification be considered for these motifs? Considering that few studies have been done in this regard so far, so this article tries to identify and classify the role of stamp additives in the pottery of Qayen Mountain, in a descriptive-analytical method with a comparative approach and based on objective observations andExamining the samples obtained during the demolition of Qayen Mountain Castle from 2006 to 2009 (about 3000 pieces) will give a logical answer to this question. The results show a very wide variety of motifs, dimensions and placement of the role of additives in the pottery of Qayen Mountain Castle, which can be combined with human designs of animal, plant and other phenomena. Features include sun, stars, crosses and geometric patterns. These decorations are mostly used to decorate the upper part of the body of pottery, and most of the motifs used in these samples are grooved (strip) geometric patterns on the body of the pottery and combine them with added patterns in a simple or combined form inThey are arranged and arranged together.In the Esmaeili forts, although the living conditions were not very favorable and most of the time they went to war and conflict and defended them against the central power, but nevertheless, all kinds of arts, especially pottery, maintained their artistic degree and prestige. The fifth to seventh centuries, which coincided with the rise of the Seljuks and then the Khwarezmshahs, reached its peak. In the field of pottery, in addition to new styles in production, technique and decoration, the heritage of the past was used and not forgotten. In this article, the pottery of the added role of Qayen Mountain Castle, which is located 2.5 km southeast of Qayen city, is studied. This fort is one of the famous forts in Qohestan region (South Khorasan), which is important during the Islamic era, especially at the same time as the Esmaeili gained power in this region and its location is in an important communication area that extends from north Khorasan to south Khorasan. The pottery of the Islamic period obtained from this castle belongs to the Middle Ages (Seljuk) to the late Islamic (Safavid), however, most of the pottery belongs to the Islamic Middle Ages (fifth to eighth centuries), which in terms of decoration They are divided into glazed and unglazed groups. Among unglazed pottery, pottery with added role has a lot of abundance and variety. In fact, the importance of this type of pottery in the area of Qayen Mountain Castle, compared to other contemporary castles in the region, has caused this issue to be addressed. Pottery shows the connection between Iranian art over time. In examining the pottery motifs of Qaen Mountain Castle, these questions are: 1- What is the most important reason for attributing pottery with the added role of Qaen Mountain Castle to the Islamic Middle Ages (especially the Seljuk and Khwarezmshahi periods)? 2- What are the unique features of the added pottery patterns of Qayen Mountain Castle and can a special classification be considered for these motifs? Considering that few studies have been done in this regard so far, so this article tries to identify and classify the role of stamp additives in the pottery of Qayen Mountain, in a descriptive-analytical method with a comparative approach and based on objective observations andExamining the samples obtained during the demolition of Qayen Mountain Castle from 2006 to 2009 (about 3000 pieces) will give a logical answer to this question. The results show a very wide variety of motifs, dimensions and placement of the role of additives in the pottery of Qayen Mountain Castle, which can be combined with human designs of animal, plant and other phenomena. Features include sun, stars, crosses and geometric patterns. These decorations are mostly used to decorate the upper part of the body of pottery, and most of the motifs used in these samples are grooved (strip) geometric patterns on the body of the pottery and combine them with added patterns in a simple or combined form inThey are arranged and arranged together.https://jfava.ut.ac.ir/article_85876_affaf993ca44b4baaa1aed0ed4312f10.pdfUniversity Of Tehran PressJournal of Fine Arts: Visual Arts2228-603926420220121A Hermeneutic Reading of “Haftvād” ’s Figure Based on the Hermeneutic Phenomenology of Art in Heidegger’s ViewA Hermeneutic Reading of “Haftvād” ’s Figure Based on the Hermeneutic Phenomenology of Art in Heidegger’s View1011108587710.22059/jfava.2021.313672.666601FAEhsanMoezzipourPh.D. in Philosophy of Art at Department of Law, Theology and Political Sciences, Science and Research Branch, Islamic Azad University, Tehran, IranShamsolmolukMostafaviAssistant Professor at Department of Philosophy, Faculty of Humanities, Islamic Azad University, North Tehran Branch, Tehran, Iran0000-0002-9874-0810ShahlaEslamiAssistant Professor at Department of Law, Theology and Political Sciences, Science and Research Branch, Islamic Azad University, Tehran, IranJournal Article20201224Phenomenology, as a philosophical movement, has a special significance and position in the twentieth century’s Western thought. Moreover, it has influenced different fields of humanities in diverse ways, which is counted as an approach to see and conceptualize the world and whatever exists in it, in a new and distinctive way, as though it is supposed to direct the human’s mind to the reality of things. This movement was strengthened with an independent concept by a thinker named Edmund Husserl and introduced as a method to discover the essence of the phenomena and recognize their missed reality. Husserl’s phenomenology is known as the classic (or transcendental) phenomenology. And it determines that after him, the phenomenologists, without any loyal reference to him, used this concept based on their philosophical goal and end in various paths. One of the deliberate subjects over the discussion of phenomenology is that no agreement is there on how things have emerged and what is their reality, and thinkers have different viewpoints about it. Though, we must mention that the ultimate goal of all phenomenologists can be ascribed to Husserl’s famous slogan, i.e., “Back to the Things in Themselves.” In the twentieth century A.D., the hermeneutic phenomenology was formed by Martin Heidegger’s efforts as one of the crucial processes of the post-Husserl phenomenology. Compared with classic phenomenology, hermeneutic phenomenology turned into an approach in the purpose of the openness of manifestations of the reality of existence. In the second period of his thought, he used the hermeneutic phenomenology approach on artworks, considering the effect of art further than beauty and feeling to discover the reality of existence. In this regard, in the Origin of the Work of Art, he provided a specific reading of the painting of “a pair of shoes” by Vincent van Gogh as a concrete case. This short text has great importance because, first, the approach of almost all the authors dealing with the movement of phenomenology is historical descriptive. Second, there are no many viewpoints and comprehensive explanations about how this approach has applied in concrete cases, which are artworks, or in other words, “the phenomenology of art in practice” in this discussion. In the present study, Heidegger’s approach has been regarded as a pattern to read the hermeneutic phenomenology of an Iranian figure called “Haftvād” derived from Shahnameh of Shah Tahmasb of Tabriz school in the Safavid era. To this end, with the comparative analysis method, this research emphasizes the analysis of the “Dasein place” as one of the quality criteria of the world’s openness to disclose the missed aspects from the countless existential world aspects. It aims to pave the way to put the hermeneutic phenomenology of painting works into practice, develop it into other artworks, far from the artist’s intention and the ground of creation; consider it in an independent form in the direct relation to the world and validate different interpretations of existence, which has been taken into account about Haftvād figure in two parts: narrative and painting components.Phenomenology, as a philosophical movement, has a special significance and position in the twentieth century’s Western thought. Moreover, it has influenced different fields of humanities in diverse ways, which is counted as an approach to see and conceptualize the world and whatever exists in it, in a new and distinctive way, as though it is supposed to direct the human’s mind to the reality of things. This movement was strengthened with an independent concept by a thinker named Edmund Husserl and introduced as a method to discover the essence of the phenomena and recognize their missed reality. Husserl’s phenomenology is known as the classic (or transcendental) phenomenology. And it determines that after him, the phenomenologists, without any loyal reference to him, used this concept based on their philosophical goal and end in various paths. One of the deliberate subjects over the discussion of phenomenology is that no agreement is there on how things have emerged and what is their reality, and thinkers have different viewpoints about it. Though, we must mention that the ultimate goal of all phenomenologists can be ascribed to Husserl’s famous slogan, i.e., “Back to the Things in Themselves.” In the twentieth century A.D., the hermeneutic phenomenology was formed by Martin Heidegger’s efforts as one of the crucial processes of the post-Husserl phenomenology. Compared with classic phenomenology, hermeneutic phenomenology turned into an approach in the purpose of the openness of manifestations of the reality of existence. In the second period of his thought, he used the hermeneutic phenomenology approach on artworks, considering the effect of art further than beauty and feeling to discover the reality of existence. In this regard, in the Origin of the Work of Art, he provided a specific reading of the painting of “a pair of shoes” by Vincent van Gogh as a concrete case. This short text has great importance because, first, the approach of almost all the authors dealing with the movement of phenomenology is historical descriptive. Second, there are no many viewpoints and comprehensive explanations about how this approach has applied in concrete cases, which are artworks, or in other words, “the phenomenology of art in practice” in this discussion. In the present study, Heidegger’s approach has been regarded as a pattern to read the hermeneutic phenomenology of an Iranian figure called “Haftvād” derived from Shahnameh of Shah Tahmasb of Tabriz school in the Safavid era. To this end, with the comparative analysis method, this research emphasizes the analysis of the “Dasein place” as one of the quality criteria of the world’s openness to disclose the missed aspects from the countless existential world aspects. It aims to pave the way to put the hermeneutic phenomenology of painting works into practice, develop it into other artworks, far from the artist’s intention and the ground of creation; consider it in an independent form in the direct relation to the world and validate different interpretations of existence, which has been taken into account about Haftvād figure in two parts: narrative and painting components.https://jfava.ut.ac.ir/article_85877_c4eb23ceadef37ed6854c9fef2a8014b.pdfUniversity Of Tehran PressJournal of Fine Arts: Visual Arts2228-603926420220121Responsible design, product design to help with psychotherapyResponsible design, product design to help with psychotherapy1111227785010.22059/jfava.2020.302986.666478FASaeidAliariindustrial design department architecture faculty art university of isfahan Isfahan IranMahsaChinikarindustrial design department architecture faculty art university of isfahan Isfahan IranAmirMasoud FaridizadFaculty Member, Department of Industrial Design, Faculty of Architecture and Urban Design, Art University of Isfahan, Isfahan, Iran0000-0001-5521-1700Journal Article20200530Responsible design as part of the broader concept of social sustainability seeks to identify and respond to the marginalized needs without being recognized by the market mechanism. This approach, rooted in morality and social responsibility aspects, brings the empowerment of the community with them, and increases social justice. The health domain is defined as one of the eight main axes of purposeful socially responsible design. In the meantime, mental health-related diseases are less in the angle of view of the designers despite its high importance. The present article has entered the domain of Mental Diseases and tries to narrate a picture of how to meet social responsibility in the form of a product design project to control self-harm. It seems that taking four fundamental steps in an action responsible design project is required: searching and identifying the problem, empathetic understanding and definition of the problem in its social context, collaborative design, and receiving feedback and learning. In the first step, by looking for the undiscovered needs or less attention of the community and regardless of issues raised by the market mechanism, a solution was based on the treatment of suffered people from self-harm. Addressing the self-harm issue is a clear necessity because of its relevance to the possible suicide in the next steps. In the second step with the aim of understanding the problem from the perspective of the target group, five people who had experienced self-harming were identified and interviewed. In addition, the findings of observations, information of consulting sessions of two psychological experts with their clients, and also studying the notes of individuals involved with this disease in social media, were complementary to this step. After filtering the data, applied keywords were created in the form of visual cards with the objective of facilitating the common understanding of the problem-solving process. In the third step with the aim of providing solutions with the presence of people involved with the subject in the solution process, the interviewees in a joint session took action to sort the cards below their intended concepts and the free representation of metaphors and descriptions that flowed at the same time. As a result, some suggested statements formed the basis of some original ideas. Then solutions that were more worthy were developed with respect to the consultation of relevant psychologists, and developed a package of complementary products that cover a range of emotional behaviors for the user. Finally, in the fourth step, with the aim of obtaining real feedback from the solution, product efficiency was evaluated in both dimensions of design and psychology. The design-based evaluation was done based on the three layers of the emotional design of Norman in three surfaces instinctive, behavioral, and reflective; and also the psychological evaluation was performed by three experts in the field of psychology. Finally, the capability of the products set as a tool for managing self-harm has been assessed positively and has been approved for clinical use.Responsible design as part of the broader concept of social sustainability seeks to identify and respond to the marginalized needs without being recognized by the market mechanism. This approach, rooted in morality and social responsibility aspects, brings the empowerment of the community with them, and increases social justice. The health domain is defined as one of the eight main axes of purposeful socially responsible design. In the meantime, mental health-related diseases are less in the angle of view of the designers despite its high importance. The present article has entered the domain of Mental Diseases and tries to narrate a picture of how to meet social responsibility in the form of a product design project to control self-harm. It seems that taking four fundamental steps in an action responsible design project is required: searching and identifying the problem, empathetic understanding and definition of the problem in its social context, collaborative design, and receiving feedback and learning. In the first step, by looking for the undiscovered needs or less attention of the community and regardless of issues raised by the market mechanism, a solution was based on the treatment of suffered people from self-harm. Addressing the self-harm issue is a clear necessity because of its relevance to the possible suicide in the next steps. In the second step with the aim of understanding the problem from the perspective of the target group, five people who had experienced self-harming were identified and interviewed. In addition, the findings of observations, information of consulting sessions of two psychological experts with their clients, and also studying the notes of individuals involved with this disease in social media, were complementary to this step. After filtering the data, applied keywords were created in the form of visual cards with the objective of facilitating the common understanding of the problem-solving process. In the third step with the aim of providing solutions with the presence of people involved with the subject in the solution process, the interviewees in a joint session took action to sort the cards below their intended concepts and the free representation of metaphors and descriptions that flowed at the same time. As a result, some suggested statements formed the basis of some original ideas. Then solutions that were more worthy were developed with respect to the consultation of relevant psychologists, and developed a package of complementary products that cover a range of emotional behaviors for the user. Finally, in the fourth step, with the aim of obtaining real feedback from the solution, product efficiency was evaluated in both dimensions of design and psychology. The design-based evaluation was done based on the three layers of the emotional design of Norman in three surfaces instinctive, behavioral, and reflective; and also the psychological evaluation was performed by three experts in the field of psychology. Finally, the capability of the products set as a tool for managing self-harm has been assessed positively and has been approved for clinical use.https://jfava.ut.ac.ir/article_77850_7e1969c8fa1699776b2f5cc2391e2bd2.pdf