موسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603928420231222Analyzing the Emersion of Conceptual Art in Iran with an Emphasis on the First Exhibition Heldواکاوی شکلگیری جریان هنر مفهومی در ایران با تاکید بر اولین نمایشگاههای برگزار شده5199462310.22059/jfava.2023.364391.667173FAآزادهامجدیدانشجوی دکترای پژوهش هنر، گروه مطالعات عالی هنر، دانشکده هنرهای تجسمی، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران.مصطفیگودرزیاستاد گروه مطالعات عالی هنر، دانشکده هنرهای تجسمی، دانشکدگان هنرهای زیبا، دانشگاه تهران.Journal Article20230827Conceptual Art or Conceptualism began by prioritizing the idea behind the work, rejecting modernist aesthetics and challenging the definition of art then gradually took into account the criticism of social and political issues in the world. Conceptual Art emerged in the second half of the 1960s in the United Kingdom and the United States. Shortly after the emergence of Conceptual Art in the world, Iranian artists, with different perspectives and goals, also took steps to approach this movement. The purpose of this article is to analyze and examine the efforts of Iranian artists from the first sparks to present state of Conceptual Art in contemporary Iranian art. This research is organized by qualitative and descriptive-analytical method and aimed at answering the following questions: Based on the characteristics of Conceptual Art in the world, which exhibitions can be considered as the origin of the emergence and stabilization of this movement in Iran? And what are the unique characteristics of Conceptual Art in Iran? In order to answer these questions, this article first discussed the history and characteristics of Conceptual Art in the world; The characteristics of Conceptual Art include the rejection of traditional and modern views on aesthetics, emphasis on the priority of the idea over the technique, the use of new media, critical thinking towards the definition of art as well as social, political and cultural issues, the usage of repetitive patterns and serial order and the use of verbal expressions and language in art. Then, the history of Conceptual Art in Iran is examined and four exhibitions that are among the first exhibitions that were held under the title of Conceptual Art in Iran, including Blue, Gonj and Gostreh 1 and 2 and the First Exhibition of the Iranian Conceptual Art was analyzed and investigated by inductive method. In the end, it was concluded that although in the first three exhibitions, the artists tried to use new experiences and, in some cases, new media, but the modernist point of view dominated many aspects of their works. Also, their activities were stopped after an initial attempt and were even forgotten by the group members. While the works of the First Exhibition of the Iranian Conceptual Art were very similar to the characteristics of Conceptual Art in the world and due to the continuation of holding similar exhibitions in the following years, it has caused the emergence of an influential movement on contemporary Iranian art. The most important characteristics of Conceptual Art in Iran is that this movement did not pay much attention to the criticism of art and its definition, unlike its characteristics in the early days in United Kingdom and the United States. Rather, Conceptual Art in Iran has prioritized cultural, political and social issues, as well as individual and collective human concerns in the form of tradition, religion, memory and nostalgia.جریان هنر مفهومی از نیمه دوم دهه 1960م در انگلستان و آمریکا آغاز شد و اندکی پس از شکلگیری این جریان، هنرمندان ایرانی نیز گامهایی جهت نزدیک شدن به مفاهیم آن برداشتند. هدف از این مقاله، تحلیل و بررسی این تلاشها از نخستین جرقهها تا رسیدن به جریانی تثبیتشده در هنر معاصر ایران است. در مقاله حاضر که در گستره پژوهشهای کیفی و توصیفی- تحلیلی قرار میگیرد، این سوالات مطرح شده است: بر مبنای ویژگیهای هنر مفهومی در جهان کدام نمایشگاه شاخص برگزار شده را میتوان خاستگاه شکلگیری و تثبیت این جریان در ایران دانست؟ جریان هنر مفهومی در ایران چه ویژگیهای منحصر به فردی دارد؟ بر همین اساس، پیشینه هنر مفهومی در ایران با تاکید بر اولین نمایشگاههای برگزار شده، مورد تحلیل قرار گرفت و این نتیجه حاصل شد که با وجود تلاشهای اولیه از دهه 1340ش، برگزاری «نخستین نمایشگاه هنر مفهومی ایران» در سال 1380ش موجب شکلگیری جریان تثبیت شده هنر مفهومی در ایران شده است. مهمترین ویژگی هنر مفهومی در ایران نیز بر خلاف روند جهانی آن به چالش کشیدن تعریف هنر نبوده، بلکه به مسائل فرهنگی، سیاسی و اجتماعی به ویژه دغدغههای فردی و جمعی انسان معاصر در قالب سنت، مذهب و گذشته توجه داشته است.https://jfava.ut.ac.ir/article_94623_5d60ac1c5a202492b0911b95be91540d.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603928420231222A comparative study of the structure of Sharafeh in the Timurid and Safavid Quran’s illuminations and its effect on Gurkanid illumination’s Sharafehمطالعه تطبیقی ساختار شرفه در تذهیب مکاتب تیموری و صفوی و تأثیر آن بر شرفههای تذهیب گورکانی21339575510.22059/jfava.2023.353434.667033FAصمدنجارپورجباریاستادیار گروه کتابت و نگارگری، دانشکده صنایع دستی، دانشگاه هنر اصفهان، اصفهان، ایران.مرضیهجعفرپورکارشناس ارشد هنراسلامی، گروه کتابت و نگارگری، دانشگاه هنر اصفهان، اصفهان، ایران.Journal Article20230123Illumination was always next to book design. Among the various schools of illumination, the Timurid School is considered a turning point in Quranic illumination, and its influence can also be seen in Safavid Quranic illuminations. On the other hand, Iran's political, economic and cultural connection with India in the Safavid era also caused the growth of Gurkanid illumination in that period. Based on this, the present qualitative research examines examples of Timurid, Safavid, and Gurkanid Qur'ans in a descriptive-analytical way, using library sources. The aim of this article is to achieve the structure of Sharafeh in Quran illumination in two Timurid and Safavid periods and its effect on Sharafeh illuminations in Gurkanid Qurans. The main question of the article is: what visual characteristics did Sharafeh has in the Qur'anic illumination of the Timurid and Safavid periods? And what effect did these features have on Gurkanid Qur'anic Sharafeh? The concepts of Sharafeh in the Quranic illumination of the Timurid and Safavid periods are related to rays of sun light, and the illumination artists tried to make it to show in the Quran, what is clear is that Sharfeh has gone through its own evolutionary process in the Timurid and Safavid Qurans. Usually, the sharafeh of the Timurid period were of medium length and it is drawn in a single color, with a medium distance and with the design of two types of simple and productive balconies side by side. As in the Qur'an of Ibrahim Sultan, which was made in Shiraz, these characteristics are clearly evident. In the early Safavid period, due to the fact that the court paid more attention to the art of painting and the establishment of the painting in School of Tabriz II, artists painted magnificent paintings and illuminations. In the Safavid period (16th century AD), Sharafeh were drawn relatively large, single-color, medium-distanced and elaborately painted porches. In the 17th century, the Sharafeh were usually monochromatic, short and with a short and simple distance. In the meantime, it seems that Iranian artists had a great impact on Gurkanids and Indian artists gradually combined their artistic taste with Iranian artistic teachings and after a few decades achieved a more independent style of Iranian illuminations. Therefore, it can be said that the performance of sharafeh in Indian Qurans was inspired by the sharafeh of the Safavid era (16th century AD) and in the 17th century AD, unlike the Sharafeh in Iranian Qurans, it was very prolific, dense, and long. And it was more diverse and, in some versions, it was also drawn in color. The illuminators of Timurid and Safavid schools tried to use Sharafeh in Quranic illumination with a certain balance and order. Gurkanid illuminators have also been greatly influenced by these elements in decorating the Qur'an; while they also applied their tastes. Sometimes the decorations of these balconies in the Gurkanid school - especially at the end of the 17th century - are seen in an extreme form, rich, crowded and with a high variety of colors.تذهیب همواره در کنار کتاب آرایی قراردارد. در میان مکاتب مختلف تذهیب، مکتب تیموری حائز اهمیت است و حضور آن در تذهیب های قرآن صفویه نیز دیده میشود. از طرفی ارتباط سیاسی، اقتصادی و فرهنگی ایران در عصر صفوی با هند نیز باعث رشد تذهیب گورکانیان در آن دوره گردید. بر همین مبنا پژوهش کیفی حاضر، به روش توصیفی-تحلیلی، با استفاده از منابع کتابخانه ای، به بررسی نمونه هایی از قرآن های مُذَهَب تیموری، صفوی و گورکانی می پردازد. هدف این مقاله، دستیابی به ساختار شرفه در تذهیب های قرآن در دو دوره تیموری و صفوی و تأثیر آن بر شرفه های تذهیب در قرآن های گورکانی است. پرسش اصلی مقاله نیز به این صورت است که شرفه، از لحاظ بصری، در تذهیب های قرآنی ادوار تیموری و صفوی چه خصایصی داشته؟ و این ویژگیها بر شرفه های قرآنی گورکانی چه تأثیری داشته است؟ شرفه های تذهیب های قرآنی در دروه تیموری و صفوی با توازن، تعادل و نظم خاصی بودند که در تذهیب های قرآنی گورکانیان نیز دیده میشود. گورکانیان اجرای شرفه را از تیموریان و صفویان الهام گرفته اند؛ و سلایق هنری سرزمین خود را نیز اعمال میکردند. شرفه های نسبتاً شلوغ، شرفه های رنگی و فشرده، استفاده از فرم های اسلیمی و ختایی متنوع و پرکار در قرآن های هندی بسیار دیده می شود.https://jfava.ut.ac.ir/article_95755_aeaa38c350e11647094ce6564a655cf4.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603928420231222Analysis of Cultural Adaptability in Iranian Golestan Rugs of the Twelfth Century AH in the Light of Safavid Ghiyath Textiles and Mughal Paisley Floral Textilesتحلیل«انطباقپذیری فرهنگی» بر بستر قالیهای «طرح گلستان» سدۀ دوازدهم هجری از ورای پارچههای غیاث در دورۀ صفوی و منسوجات «گلوبوته دار» گورکانیان هند35489346710.22059/jfava.2023.361885.667147FAسمانهکاکاونددانشیار گروه فرش، دانشکده هنرهای کاربردی، دانشگاه هنر، تهران، ایرانJournal Article20230709The multivarious cultural contact of the Mughal dynasty and the Iranian coeval dynasties is historically traceable. Although the Indo-Iranian close relations were political on the surface, they were substantially influential in cultural fields. Golestan design combines a reticular layer and a layer of bunched flowers in horizontal rows. The main purpose of this study is to analyze the high frequency of this design in the light of the Indo-Iranian cultural relations. What are the contributing factors to the prevalence of the use of the Golestan design in Iran during the 18<sup>th</sup> century? The available pictorial evidence throughout the history of Iranian art indicates the acceptance of the patterns belonging to the “other” and their indigenization within the cultural framework of the “self”. Paisley floral design (gol-o-boteh in Persian) is one of the instances where the Iranian and Indian cultures meet. The assumptions are that first, Ghiyath al-Din ʿAli-yi Naqshband’s (Ghiyath) textiles that were offered to Indians transformed the designs of Indian machine-made woven products and then, the paisley floral pattern was popularized when Indian textiles were imported to Iran in the Naderi period. This is a qualitative descriptive-analytical study, adapting a desk-based method in data gathering. Findings suggest that the paisley floral pattern was sent to India during the Safavid period via Ghiyath textiles and then returned to the cultural context of Iran. To put it in the terminology of garden carpets, the bird’s point of view was replaced by the observer’s point of view. It is believed that the first time, the donation and sending of pieces of Ghiyath Naqshband cloths to India changed the design of Indian woven fabrics, and the second time, with the arrival of Indian textiles in the Nadir era, the "flower and bush" pattern gained a significant boost. The findings indicate the return of the "flower and bush" pattern from the Safavid era to India through the "Ghiyath" textiles and then return to the cultural context of Iran in a rare era. From another point of view, the point of view has been transformed from the bird's view in the garden carpet to the observer's view. The fact that after the various patterns of carpets in the Safavid era, the examples and pictures of the 18<sup>th</sup> century represent the repetition of a frame pattern, it is questionable what factors have made this happen? The author considers the main reason for the entry of the "flower and bush" design into the domain of Iranian textiles in that period after the conquests of Nadir Shah Afshar, the war of Karnal and the spoils of North Indian textiles. But the study of the life and artistic productions of Ghiyath opened a new project and refuted the previous hypothesis. حکومت گورکانیان هند به انحاء گوناگون با ادوار پادشاهی ایران تماس فرهنگی داشته است. روابط نزدیک دو کشور در دورۀ صفویان اگرچه در ظاهر سیاسی بود؛ اما تأثیر شگرفی در سطوح فرهنگی گذارد. طرح گلستان تزویجی از دولایه شبکهای و دستهگلهای چیده شده در ردیفهای افقی است. پیجویی علل فراوانی این طرح از ورای روابط فرهنگی ایران و هند هدف اصلی پژوهش است. چه عواملی موجبات رونق طرح «گلستان» در سدۀ دوازدهم هجری در ایران را فراهم نموده است؟ تاریخ هنر ایران به روایت شواهدی تصویری پذیرش الگوهای «دیگری» و بومیسازی آن را در وجوه فرهنگ «خودی» گواهی میدهد. از آن میان الگوهای «گلوبوته» ازجمله تلاقیهای فرهنگی است. گمان میرود دفعۀ نخست اهداء قطعاتی از پارچههای غیاثالدین نقشبند طرح بافتههای دستگاهی هندی را متحول نمود و بار دوم با ورود منسوجات هندی در عصر نادری، الگوی «گلوبوتهای» رونق یافت. پژوهش از انواع کیفی بوده و روشی توصیفی- تحلیلی را در بستری تاریخی اتخاذ نموده است. گردآوری اطلاعات کتابخانهای بوده است. یافتهها حاکی از رجعت الگوی «گلوبوته» از عصر صفوی و از خلال منسوجات «غیاث» به هند و سپس بازگشت به بافت فرهنگی ایران دارد. از نگاهی دیگر نظرگاه از دید پرنده در قالی باغی به دید ناظر استحاله یافته است.https://jfava.ut.ac.ir/article_93467_a25b1cd589c9138a3302d26b561fe475.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603928420231222Tile no. 1926-1186 Preserved at the Art Institute of Chicago, a Missing Piece from the Portal of the Royal Mosque in Isfahanکاشی شمارۀ ۱۱۸۶- ۱۹۲۶ مؤسسۀ هنر شیکاگو: گمشدهای از جلوخان مسجد جامع عباسی اصفهان49639479810.22059/jfava.2023.355612.667065FAمحمدغلامعلی فلاحاستادیار مرکز مستندنگاری، مطالعات و مرمت معماری، دانشکده معماری و شهرسازی، دانشگاه شهید بهشتی، تهران، ایران.محمد صادقاکرامیدانشجوی دکتری معماری، مرکز مستندنگاری، مطالعات و مرمت معماری، دانشکده معماری و شهرسازی، دانشگاه شهید بهشتی، تهران، ایران.Journal Article20230220At the Art Institute of Chicago, there is a piece of tile with reference number 1926-1186 under the collection of ‘Logan, Patten, Ryerson’. This seven-colored tile contains a square Kufic inscription, on a 45 * 45 squared grid, including four repetitions of the phrase "Allāh-u lā 'ilāh-a illā huw." The word "huw" and a part of the pattern at the middle of four sides of the design are in turquoise color, and other parts of the text are white on an azure (dark blue) background. In July 2010, the Art Institute of Chicago exhibited this tile in an exhibition entitled "Arthur Pope and a New Survey of Persian Art," which was exclusively devoted to Iranian art. In this exhibition, a collection of Iranian artworks, prepared under the advisory of Arthur Upham Pope, was displayed. Pope was the first scholar who mentioned this tile in his writings. In 1938, he published a photo of this tile in <em>A Survey of Persian Art</em>; As its description, Pope wrote: "Isfahan, Shah Mosque, seven-colored tile, early 17th century, Art Institute, Chicago. 14 inches. (35.5 cm) square". In this description, he clarified the type and technique of this tile and its dimensions; also, he considered it to belong to the Royal Mosque of Isfahan. Nevertheless, he did not clarify to which part of this building this tile originally belonged. None of the subsequent scholars who have paid attention to this tile have raised any questions about the original place of this tile in the mosque. They have not even provided a detailed drawing of the present state of this tile and its design. The ambiguity left by Pope in mentioning the characteristics of this tile caused raising the question of this research: what is the provenance of the tile no.1926-1186 at the Art Institute of Chicago?<br /> <br />By a comprehensive field study of the Royal Mosque of Isfahan and its detailed examination, on the one hand, and by scrutinizing and analyzing historical photos, obtained from the Royal Mosque of Isfahan, on the other, and also by preparing illustrative maps that show the historical state of the portal of the Royal Mosque of Isfahan and the progression of natural damages to its inscriptions, this research answers the mentioned question and reveals that the original place of this tile in this building. According to this research, the tile preserved at the Art Institute of Chicago is strongly suspected to be the tile C7 - in the coding system of this research - related to the southeastern wall of the portal of the Royal Mosque of Isfahan. Also, this research shows that this tile was probably purchased during the Pope's first visit to Iran in 1925. On his first visit to Iran in 1925, Pope was accompanied by Henry J. Patten. During this travel, Pope and Patten visited Isfahan together and probably purchased the tile. In 1926, after Pope and his companion, Henry J. Patten, returned to America, they registered the tile in the Art Institute of Chicago.<br /> قطعهای کاشی هفترنگ در مؤسسۀ هنر شیکاگو به شمارۀ ۱۱۸۶-۱۹۲۶ محفوظ است. اولین بار آرتور اپم پوپ، در سال ۱۹۳۸، تصویر این کاشی را منتشر کرد و ضمن ذکر مشخصات فنی کاشی آن را متعلق به مسجد جامع عباسی اصفهان دانست؛ اما از محل اصیل قرارگیری این کاشی در بنای یادشده خبری نداد. دانشوران پس از او نیز پرسشی از محل اصیل قرارگیری این کاشی مطرح نکردند. پرسش این تحقیق از محل اصیل قرارگیری این کاشی در مسجد جامع عباسی اصفهان است. در این تحقیق با روش سندپژوهی و با ابزار مطالعۀ میدانی و مطالعۀ کتابخانهای و از طریق بررسی دقیق کالبد بنا و نیز جستجو و تحلیل موشکافانۀ عکسهای تاریخی نشان دادهاند که محل اصیل قرارگیری این کاشی بدنۀ جنوب شرقی جلوخان مسجد جامع عباسی بوده است. این تحقیق نشان میدهد که کاشی محفوظ در مؤسسۀ هنر شیکاگو بین سالهای ۱۸۹۷ تا ۱۹۲۵ به صورت منفرد، و در عین سالم بودن همۀ کاشیهای اطرافش، از بدنۀ جنوب شرقی جلوخان این بنا جدا شده است. سپس پوپ و همراه او، هانری جی پتن، در سفر سال ۱۹۲۵ به ایران، به ظن قوی آن را خریداری و از اصفهان خارج کردهاند. این کاشی پس از بازگشت پوپ و پتن به امریکا در ۱۹۲۶ به ثبت مؤسسۀ هنر شیکاگو درآمدهاست.https://jfava.ut.ac.ir/article_94798_33382b8a1a6c104c535a6d3a4ca1ea46.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603928420231222Gene-analysis of a mytho-historical scene: Fantasy of Zulaykha`s partyتبارکاوی یک صحنهی اسطورهای-تاریخی: فانتزیِ مهمانی زلیخا65769370810.22059/jfava.2023.363768.667169FAحسنزین الصالحیناستادیار گروه مطالعات عالی هنر، دانشکده هنرهای تجسمی، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران.حسنبلخاری قهیاستاد گروه مطالعات عالی هنر، دانشکدهی هنرهای تجسمی، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران.یعقوبآژنداستاد بازنشسته گروه هنرهای تصویری، دانشکدهی هنرهای تجسمی، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران.Journal Article20230815Some historical stories, especially because of their religious themes, appeal to the ordinary people in some societies and have been retold in different ways during the time. One of these stories is the story of Prophet Yusuf, which has been frequently considered not only in the history of the Qur'an interpretational tradition by commentators and authors in the field of ethics but also in the history of Iranian poetry, art, and literature. The two important scenes of this story are Yusuf escaping from Zulaykha and also Zulaykha`s party which are considered the two tempting climaxes of Yusuf's story as well. These two scenes refer to moral aspects, on the one hand, and to sexuality on the other. These dramatic and figural scenes have been repeatedly represented in the history of Iranian painting, especially in the Safavid and Qajar eras. There are many paintings in the Qajar era also seemingly referring to and evoking this scene for audience. As a social fantasy, discussed in this paper, the Naranjborii Majlis or Zulaykha`s party somehow discards moral aspects for the sake of sexuality. This scene, not mentioned in the Torah at all and briefly mentioned in the Qur'an, is highly taken into consideration by commentators, poets, writers, painters, and the ordinary people in post-Qur'anic literature in all historical periods, especially in Iran. Therefore, one can question this importance and look for its historical and cultural roots; the visual functions of it can be questioned as well. This essay, with a descriptive and synthetic analytical method, tries to gene-analyze this scene in a social and psychoanalytical approach regarding the collective unconscious of Iranian people. Gene-analysis in this paper provides a theoretical and conceptual framework alongside a methodological and targeted combination of myth-analysis, psycho-analysis, and discourse analysis, with the help of which one can find the mythological origin of this scene and comparatively analyse them in terms of discourse, and expectedly, in terms of psychoanalysis, to know about the conscious and unconscious psychological investment of the collective subject. The results justified that the Creation Myth scene in Bondahish, one of the holy books in Zoroastrianism in the late Sassanian era, is the figural model of Zulaykha's party, also Nerse and Jahi are the archetypal characters of Yusuf and Zulaykha with the same roles and characteristics. The paintings of Zulaykha`s party can present dense and multiple and at the same time contradictory scenarios and can also be a suitable scene for the collective subject`s projection and fantasy; consequently, it causes the multi-faceted circulation of desires and anxiety in an unconscious way. What is considered to be the most significant point of this study is that Yusuf is deemed an attractive prototype for kings, beautiful men and women; like Fath Ali Shah, due to the correlation of power (holiness) and beauty (connected with sexuality). Finally, what can be inferred from this paper is that, this scene due to some indigenous reasons, rooted in Iranian culture and history, has been repeatedly represented in the history of Iranian painting.داستان یوسف یکی از داستانهایی است که در تاریخ هنر و ادبیات ایران بسیار مورد نوگویی قرار گرفته است. مجلس مهمانی زلیخا یکی از نقاط اوج داستان بوده و مکرراً در تاریخ نقاشی ایران تصویرگری شده است. این صحنهی دراماتیک، به مثابه یک فانتزی اجتماعی در بازنمایی جنسیت در ادبیات پساقرآنی و خاصه در ایران بسیار مورد توجه و به نحو مبالغهآمیزی بسط یافته است. بنابراین میتوان چرایی این اهمیت و کارکرد دیداری آن را به پرسش کشید. این مقاله با یک روش توصیفی و تحلیِل ترکیبی، میکوشد این صحنه را در یک رویکرد روانکاوانهی اجتماعی و در ساحت ناخودآگاه جمعی، مورد تبارکاوی-که یک ترکیب روششناختی از اسطورهکاوی، روانکاوی و تحلیل گفتمان فراهم میآورد- قرار دهد. نتایج حاکی از آن بودند که صحنهی اسطورهای آفرینش در بندهش، تبار مجلس مهمانی زلیخا و همچنین نرسه و جهی شخصیتهای کهنالگوییِ یوسف و زلیخا با همان کارکردها و ویژگیها هستند. نقاشیهای این صحنه، با داشتن یک سناریوی متراکم و چندگانه، مورد فرافکنی و فانتزی سوژه-مخاطب جمعی قرار گرفته و در نتیجه گردش چندجانبهی امیال و نیز اضطراب او را به شکلی ناخوداگاه موجب میشود. از این منظر، یوسف پیشالگوی کاملی به جهت داشتن منبع قدرت (فره) و زیبایی (امر جنسی) محسوب شده است.https://jfava.ut.ac.ir/article_93708_09d143519316929675e8736e5919c1b5.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603928420231222Studying the Visbobish Motif in Kermani Qajar Era Handwoven Textile: Kreuzer Allegorical Mythologyمطالعه نقش درخت ویسبوبیش در ترمه کرمانی دوره قاجار از منظر اسطوره شناسی تمثیلی کروزر77899423910.22059/jfava.2023.360078.667121FAنادیاپورعباس تحویلداریکارشناس پژوهشی، پژوهشکده میراث فرهنگی، پژوهشگاه میراث فرهنگی و گردشگری.پینکیچادهااستادیار، گروه هنرهای سنتی، پژوهشگاه میراث فرهنگی و گردشگری، تهران.Journal Article20230531The motif of Visbobish as a pattern has always been represented on works of art in Iranian art from prehistoric times, but, the state of its initial formation and its combination with other elements with the approach of cultural studies and within the cultural texts has not been addressed until now. The approach of cultural studies emphasizes all the elements that are called culture and includes mythology too. On the other hand, German Philologist and Archeologist, Georg Friedrich Creuzer’s allegorical mythological method has also provided the possibility of the structured study of myths as integral elements of cultural studies. Since the motif of Visbobish is represented in many Qajar handlooms, in order to achieve the basic nature of this pattern, the present article has analyzed this pattern with the allegorical method of Friedrich Creuzer, and on a sample of Qajar cashmere shawl. Based on this, the main question of this study is that: from the point of view of Creuzer’s mythology, that considers the mysticism between the icon (work of art) and the idus (a phenomenon that represents something that does not exist) as the basis of the knowledge of mythology, what is the relationship between the motif of Visbobish and its representation on the works of the Qajar period? The research method in this fundamental research will be descriptive and analytical, and the collection of data will be desk-based. According to this research, there is an allegorical relationship between the concept of “immortality and creation” or “eidos” and the “Visbobish tree of Kerman cashmere” or “icon”; and finally, it can be said that an exemplary reason for using Visbobish design in Qajar cashmere is the weaver’s mind and the audience to achieve immortality and eternal life. Analysing the Visbobish pattern through Friedrich Creuzer’s mythological approach leads to the following steps: (a) description of the material cause or existing image and its subject: in this section, according to the first stage of Friedrich Creuzer’s allegorical method, the description of the image and theme of the mythical context of the mentioned cashmere textile was achieved; (b) in the second step, conducting a morphological study based on the narrative to discover the shape or formal cause was achieved and the form or formal cause or the mergence of the motif was attained; (c) in the third step cultural studies seeks in the period the paradigm governing the effect and finds similar forms was accomplished; (d) application of all the samples and discovering the typical cause, was the fourth step: all the obtained samples were compared and the sample cause was discovered; (e)and discovering and consequently understanding the meaning of the work was the fifth and last step: explaining the way of denoting eidos (exemplary cause) in the image (material cause) was discovered and interpreted accordingly. The motifs and similar forms of this tree have roots in the religion of Mazd-yasna, and accordingly, in Pahlavi and Islamic traditions.نقشمایه ویسبوبیش به عنوان الگو و مدل همواره بر آثار هنری بازنمایی میشود، اما تاکنون به نحوه شکل گیری اولیه این نقشمایه و ترکیب بندی آن با دیگر عناصر با رویکرد مطالعات فرهنگی پرداخته نشده است. رویکرد مطالعات فرهنگی بر تمامی عناصری که فرهنگ خطاب می شوند، از جمله اساطیر، تاکید دارد و روش اسطوره شناسی تمثیلی کروزر نیز امکان مطالعه ساخت مند آنها را فراهم کرده است. ازآنجاکه ویسبوبیش در بسیاری از دست بافته های قاجاری بازنمایی شده، پژوهش حاضر به منظور دستیابی به ماهیت اولیه اش، آن را با روش تمثیلی کروزر، و بر روی یک نمونه شال ترمه قاجاری واکاوی نموده است. بر این اساس، پرسش اصلی این است: از منظر اسطوره شناسی کروزر که رمزگرایی میان آیکون و ایدوس را مبنای دانش اساطیر می داند، چه ارتباطی میان ویسبوبیش و بازنمایی آن بر آثار دوره قاجار وجود دارد؟روش تحقیق در این پژوهشِ بنیادین به صورت توصیفی-تحلیلی، و گردآوری مطالب به روش کتابخانه ای خواهد بود. بنابر این پژوهش، میان مفهوم جاودانگی و آفرینش/ ایدوس و درخت ویسبوبیش ترمه کرمان/ ایکون رابطه ای تمثیلی برقرار است و در نهایت می توان گفت علت نمونه ای استفاده از طرح ویبوبیش در ترمه قاجاری نام برده، دستیابی ذهن بافنده و مخاطب به نامیرایی و زندگی ازلی و ابدی است.<br /> <br />[i] Icon<br />[ii] Idos<br />[iii] Mythical relationshiphttps://jfava.ut.ac.ir/article_94239_51880a621a410c49cf23090a095f228e.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603928420231222Investigating the influencing factors on the fluency of printing typefaces based on the reader's habitبررسی عوامل تاثیرگذار بر روانخوانی تایپهای حوزه چاپ بر اساس عادت خواننده911029387310.22059/jfava.2023.357549.667092FAعاطفهمحمدیکارشناس ارشد، گروه ارتباط تصویری، دانشکده هنرهای تجسمی، دانشکدگان هنرهای زیبا، دانشگاه تهرانسارهملکیعضو هیأت علمی گروه معماری، دانشکده معماری و شهرسازی، دانشگاه بینالمللی امام خمینی (ره،) قزوین، ایران.0000-0002-9074-426XJournal Article20230408The subject of this research is to investigate the factors affecting the readability of a font based on the taste and habit of the audience in print publications. Typefaces are practical media that play an effective role in human growth and awareness because their main purpose is to express and convey messages in the fastest and most legible way. Awareness and understanding of the text happen when the audience interacts with the text. This means that in this process, the audience first reads the text, his mind automatically starts to decode the letters and finally stores them in the short-term memory. Prolonging this process will take a lot of energy from the reader, and as a result, he will not continue reading. Therefore, using the optimal font can play an important role in people's awareness.<br />Today, awareness about designing typefaces has become a good thing, which has increased the number of aspiring designers. But the ease that now exists in publishing types online has led to the disappearance of the quality filter. These observations are more evident in non-Latin types such as Persian type where the lack of extensive and available resources and clear design paths has become a big obstacle for Persian type designers. The purpose of this research is to define and explain the model and framework to ensure the correct selection of types that are used in book publishing. To achieve this goal, considering the main mission of typing, which is to transmit information in the fastest and most readable way, the question of "what factors can be considered as the main factors to distinguish text type from other types?" can be considered as the main question. In order to answer this question, other questions such as: Why are only a limited number of Persian types used in the books? What are the characteristics of these types and why publishers do not use new types? will also be answered.<br />It seems that by presenting this research, it is possible to take a step forward in the direction of defining an available and developable coherent pattern or standard in order to optimize all the Persian types of the text of the books. The research method in this study is qualitative, descriptive-analytical in terms of its fundamental nature and in terms of its method. The primary data was obtained by a combined method and through the library method and referring to electronic and digital sources. Data collection is desk-based and the sampling method is theoretical. All the obtained data were finally measured on a test population consisting of 30 employees of Iranian newspaper.<br />The results, which were obtained with the help of t-test, show that among the effective factors in the readability of a text that type designers have emphasized, only reducing the distance between letters and words in a text makes a significant difference in the audience's eye fatigue. Eye fatigue over time makes the audience stop reading and the reading process remains incomplete.<br /> <br /> موضوع این پژوهش بررسی عوامل تاثیرگذار بر روان خوانده شدن یک فونت بر اساس سلیقه و عادت مخاطب در نشر چاپی است. با این فرض که انتخاب درست فونت بر اساس نیاز و عادت مخاطب، باعث تعامل بیشتر او با متن و ترغیب بیشتر او به خواندن میشود. به همین منظور در این پژوهش ابتدا به بررسی تعاریف خوانایی و روانخوانی و عوامل موثر در آن پرداخته شد و با تطبیق این عوامل با اصول خوشنویسی فارسی، الگوی اولیه برای شناخت سلیقه خوانندگان استخراج شد. در نهایت برای شناخت بهتر مخاطب این عوامل بر روی مخاطب آزمایش شدند تا تاثیر هر یک بر سرعت خواندن، درک مطلب و خستگی چشم به عنوان عوامل تکمیلکننده روند خواندن، سنجیده شود. تحلیل نتایج بدست آمده از 30 آزمودنی از کارمندان روزنامه ایران با سنهای 25 تا 45 سال، با قدرت بینایی کامل و بدون سابقه بیماریهای مغزی و ضربه به سر، نشان میدهد با تغییر فونتها، که هر یک نمایندهای از یک عامل موثر بر روانخوانی است، سرعت خواندن، میزان درک مطلب و خستگی چشم تغییر معناداری ایجاد نمیکند و تاثیرگذارترین عامل در روان خوانده شدن یک فونت، فاصله میان حروف و کلمات در آن است.https://jfava.ut.ac.ir/article_93873_50e0790f745ffb99f0cad69f53b0e741.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603928420231222Exploring the Artworks and Naturalistic Perspective of Albrecht Dürerبررسی آثار و دیدگاه طبیعتگرایانهی آلبرشت دورر1031149423810.22059/jfava.2023.354310.667048FAحساماسمعیلیکارشناس ارشد تصویرسازی، گروه ارتباط تصویری، دانشکده هنرهای تجسمی، دانشگاه هنر تهران، تهران، ایران.مصطفیندرلواستادیار گروه ارتباط تصویری، دانشکده هنرهای تجسمی، دانشگاه هنر تهران، تهران، ایران.Journal Article20230129The naturalistic perspective has been formed in the human subconscious since the beginning of history. In the Renaissance period, this attitude, alongside the scientific approach, gradually led to greater perception and understanding of nature. Artists' efforts to represent the objectives made Renaissance art remarkably distinct from previous periods. A movement that prioritized man and nature, and regarding two main trends of naturalism, one based on experience and observation of nature, in Northern Europe, and the other, based on mathematics, in Italy, took a step towards discovering the universe. Accordingly, the study of the perspective of an artist who has faced these trends in his professional activity is considered an important issue in the analysis of the works of illustration of this period, which is pursued in this study aimed at Albrecht Dürer’s works. Dürer, an artist from Nuremberg, is considered one of the greatest artists of the Northern Renaissance due to his paintings, engravings, scientific books based on anatomy and perspective, and innovations in printing techniques. He was the first artist outside of Italy who was able to achieve international fame in his time. He dedicated his life in search for the world's beauty. A world full of mystery, and the desire to understand it made him travel, observe nature, and get to know other artists. By retaining what he had learned in his hometown and his perception of Italian artists’ viewpoint, he effectively combined these two critical concepts. The main purpose of this study is to see how far the artist takes this naturalistic idea that existed in Northern Europe, and in what cases he refers to Italian artists and theorists. For this purpose, the theoretical discussion includes the description of the definitions and basic concepts in the field of nature and its role in art, before and after the Renaissance, and the research focus is devoted to the investigation and analysis of visual, mathematical, and nature-related expressive elements. One of the most important findings of this study is the artist's different approach. Undoubtedly, Dürer has always been fascinated by nature. By extending his repertoire in various techniques, he defined an independent identity for nature's elements in his artworks. This point of view basically refers to various approaches concerning each element of nature (trees, plants, and animals). Nature is expressive, and this is the artist's duty to observe, search and take steps toward discovering it. He works ambitiously in representing landscapes with watercolor technique, which shows that he is not obsessed solely with forms. His depiction of color, light, and atmosphere is reminiscent of Impressionist artworks. Also, the expression of phenomena and natural cycle of life is another aspect of his work. On the other hand, in prints, the artist's focus is not only on the story but also on proportions, perspective, and details. Considering the influence of the artist on the aesthetic standards of the Renaissance, some of his later illustrations present a new form of artistic creation, a depiction that was based on the artist’s perception.دیدگاه طبیعتگرایانه در دوران رنسانس با اضافه شدن رویکردهای علمی منجر به آگاهی بیشتر انسان از پیرامونش شد. کوشش هنرمندان در به نمایش گذاشتن جهان سبب شد تا هنر رنسانس از دورههای گذشته به طرز چشمگیری متمایز شود. جریانی که انسان و طبیعت را سرلوحه قرار داد و با دو گرایش عمدهی واقعگرایی، یکی مبتنی بر تجربه و مشاهدهی طبیعت و دیگری توسل به ریاضیات، به سمت کشف جهان عینی گام برداشت. از اینرو، مطالعهی نگرش هنرمندی که در فعالیت حرفهای خود در مواجهه با این گرایشها قرار گرفته است موضوع مهمی در تحلیل آثار تصویری محسوب میشود که در این پژوهش به شکلی هدفمند در آثار آلبرشت دورر دنبال میشود. اینکه هنرمند در راستای تصویرسازی و نقاشی از چه مؤلفههایی در طبیعت و چه تکنیکهایی بهره میگیرد سؤال اصلی این پژوهش است. بدین منظور، این مطالعه با اتخاذ شیوهی توصیفی-تحلیلی و رویکرد تکنگاری به تحلیل عناصر بصری، ریاضیوار و طبیعتمحور تصویرسازیها میپردازد. از مهمترین نتایج این مطالعه رویکرد متفاوت هنرمند در پرداخت به آثار است و نقش هنرمند در فرمدهی به عینیتگرایی در قالبی جدید به نمایش گذاشته میشود و هنرمند با تمام تأثیرپذیری از معیارهای زیباشناسانهی رنسانس، در اجرا، به آنچه خود از موضوع درک کرده رجوع میکند.https://jfava.ut.ac.ir/article_94238_357e725570024d745549f9a07bb6bc04.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603928420231222A Provenance Study of the Gulzar Script in Persian Artsبنیانهای بصری خط گلزار در هنر ایران1151319426010.22059/jfava.2023.352832.667025FAفرهادخسروی بیژائماستادیار گروه کتابت و نگارگری، دانشکده صنایع دستی، دانشگاه هنر اصفهان.ملیکایزدانیاستادیار گروه هنر اسلامی، دانشکده صنایع دستی، دانشگاه هنر اصفهان.Journal Article20221225Gulzar script is one of the many types of decorative scripts in the history of Persian calligraphy. Most of the works that created in this way belong to the late Qajar era. However, the formal and visual bases of this type of calligraphy go back to the pre-Qajar centuries; this research aims to identify, introduce and determine the origin of its formation based on the available evidences. Therefore, the main question is: When has the Gulzar script been formed? The sampling method of the 23 architectural arrays is Convenience Sampling that based on library and field studies. The samples are in the historical monuments of Samarkand, Mashhad, Farumad, Taybad, Soltanieh, Qom, Tabriz, Yazd, Isfahan and Oshtorjan. The date of construction of these monuments includes from the Seljuk period (429-590 AH/1037-1194 AD) to the end of the Safavid period (906-1135 AH/1501-1736 AD). The results indicate that the early examples of Gulzar can be seen in the form of an architectural decoration so called "Kalouk-band" in the Seljuq and Ilkhanid periods. Its use extends to at least the beginning of the 12th century AD. In addition, this method of decoration is used in the Square Kufic Inscriptions and include the geometrical, herbal and written motifs. The result shows that the use of Gulzar style in calligraphy pieces on paper has been influenced by architectural decorations, because the oldest examples of this type are several centuries after the squared Kufic inscriptions in Jame Mosque of Isfahan, Pir Bakran's tomb, Chalabioglu's tomb etc. The decoration of the inner surface of Squared Kufic inscriptions started from the end of the Seljuk era and continued until the 17th century AD. One of the changes made in the design of decorating the surface of the inscriptions is the use of written motifs in the form of "Kalouk-band" decorated with words (in Oshtorjan and Qom). Another change was the forming of a kind of nested square Kufic which has appeared in the Jame Mosque of Isfahan and Amir Chakhmaq Mosque in Yazd. This method has been continued later in Isfahan's Hakim Mosque (17th century AD) and Nimavard School in Isfahan (18th century AD). In the Safavid era, an example of square Kufic in the western entrance hall of Imam Mosque in Isfahan was decorated with Arabesque motifs, which shows the first use of this kind of ornaments in inscriptions. About 80 years before the formation of this inscription, Zain al-Din Mahmoud Mozahheb created a piece that inspite of having many distinctive features some similarities can be seen in them. The latter work is the oldest known piece that carried out the tradition of ornament on the calligraphic surface on paper. Despite the major difference in the structure of these two works, both of these works are decorated with herbal motifs (Arabesque and Khatai).خط گلزار یکی از گونههای متعدد خطوط تفننی و تزئینی در تاریخ خوشنویسی ایران است که بیشترین آثاری که بدین شیوه خلق شده متعلق به اواخر دوره قاجار است. با این حال، شواهد و نمونه های تاریخی بیانگر آن است که ریشههای فرمی این گونه خوشنویسی به سدههای پیش از قاجار بر میگردد. این پژوهش بر آن است تا ضمن ردیابی خط گلزار در ادبیات سدههای پیشین، منشا شکلگیری آن را نیز بر اساس مستندات و شواهد موجود مشخص کند. از این رو، این پژوهش به دنبال یافتن پاسخ این پرسش است که ریشههای شکلگیری خط گلزار بر پایه مستندات، چه دورهای و چگونه است؟ مطالعات اولیه بیانگر تاثیر تزئینات معماری بر شکلگیری این گونه خوشنویسی تزئینی بود. از این رو، حجم نمونه و روش نمونهگیری آثار در این پژوهش، 23 آرایه معماری به شیوه در دسترس بر پایه مطالعات کتابخانهای و میدانی، بوده است. نتایج بیانگر آن است که وجود نمونههای متعدد گلزار در قالب توپیهای تهآجری یا کلوکبندها در تزئینات معماری دوره سلجوقی و ایلخانی، قدمت استفاده از آن را حداقل تا اوایل قرن 6 ه.ق پیش میبرد. این شیوه تزئین در کتیبههای کوفی گوشهدار مورد استفاده قرار گرفته و شامل نقش مایههای هندسی، گیاهی و نوشتاری است.https://jfava.ut.ac.ir/article_94260_07cd7f877fac822fca1a86dffd2fcbaf.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603928420231222Recognizing the Form and Content of Non-human Figural Representation in the Luster Tiles of Imamzadeh Jafar Qomبازشناسی فرم و مضمون موجودات زنده غیر انسانی در کاشی های زرین فام امامزاده علی بن جعفر قم1331429575610.22059/jfava.2023.360218.667136FAمریمرمضانیکارشناس ارشد پژوهش هنر، گروه پژوهش هنر، دانشکده هنر و معماری، دانشگاه سمنان، ایران.امیرحسینصالحیاستادیار گروه مرمت و احیاء بناهای تاریخی، دانشکده هنر و معماری، دانشگاه سمنان، ایران.Journal Article20230626This research aims to investigate the reflection of social issues on patterns of living beings designed in religious buildings and tombs. To achieve this goal, the focus will be on the motifs of living beings in the Ali-Ibn-Jafar Shrine, located in Qom in the center of Iran. In addition, we will also study the wall paintings of Imamzade Tayyeb and Tahir Shrine. Although depicting living beings in religious buildings has not been permitted in Shiism, these patterns have been used in Shia Holly places, manifested in Zarinfam tiles (luster tiles). So, the main questions are as follows: (1) What were the primary sources of inspiration for depicting non-human living beings in these religious places? (2) What was the main goal of using such motifs of living beings in these religious buildings? After comparative research on motifs of non-human living beings and illustrated religious books, a significant number of similarities was found. These representations' form and subject matter correspond to cases depicted in the Ajaieb-Al-Makhloughat written by Qazvini in the 7th century (Table 1). From our point of view, such coordination and similarity cannot be accidental. It can explain why different animals, such as a boar, an elephant, a winged fish, and a dragon, are depicted in these religious buildings. The wall paintings of Imamzadeh Tayyeb and Tahir (Table 2) provide further confirmation of the use of the living creatures motifs. These wall paintings, which, unlike the tiles, have no possibility of being moved, are similar to the original and Qajar versions of Ajaieb-Al-Makhluqat. This comparative research brings us to the conclusion that Ajaieb Al-Makhluqat was at the center of attention in the decoration of Shia tombs in Qom for several centuries. After finding such a significant connection, our research focuses on this question: who was Qazvini, the author of this book? Our research has shown that he was a Shia scientist, educated in Fiqh (Islamic jurisprudence), a Sufi, and familiar with philosophy and mysticism. One of his methods of explaining complex scientific and religious matters in an understandable way to the public was using illustrations. In his writings, he points to two main attributes of God's righteousness and being the Creator. Most of his treatises have the color of preaching and guidance. Using the picture of living creatures in paintings of religious places seems to have a similar message. Using this type of expression of ideas could be a suitable and understandable way of showing to ordinary people that everything in this world represents the Creator, God. This view can also be rooted in the theory of the existential unity proposed by Ibn Arabi, who was Qazvini’s mentor. In addition, a few pieces of evidence of the founders of this building, completed in the post-Ilkhani period, show that the Al-Safi family in Qom generally had been affected by Qazvini's ideas. They were lovers of knowledge and Shiism, and familiar with mysticism.پژوهش پیش رو با هدف بررسی بازتاب موضوعات اجتماعی در نقوش موجودات زنده در کاشیهای زرینفام در بنای مذهبی و آرامگاهی است. بر این اساس تلاش می شود تا به ماهیت نقشمایههای موجودات زنده و بکارگیری آنها در بنای آرامگاهی علیبن جعفر قم و به موازات آن نقاشی دیواری امامزادگان طیب و طاهر پرداخته شود. اصلیترین پرسشهای مطرح شده بدین قرار است:۱- منبع تصویری موجودات زنده غیر انسانی کاشی های زرین فام بقعه علیبن جعفر قم چه بوده است؟ ۲- استفاده از نقشمایه های موجودات زنده در این بنای مذهبی در راستای چه ایده هایی شکل گرفته؟ بررسی ها نشان داد که فرم و موضوع نقشمایه ها با نمونه های تصویر شده در نسخه قرن هفتمی عجایب المخلوقات قزوینی مطابقت دارد. با این هدف که با زبانی ساده به مردم نشان دهد که همه چیز این دنیا جزیی از نمود آفریدگار است که شاید ناشی از همان دیدگاه وحدت وجودی باشد که ابن عربی استاد قزوینی مطرح می کند. این عقاید با سوگیری های فکری بانیان احتمالی بنا یعنی خاندان صفی در قم نیز هم راستا بوده. توجه به نقشمایه های عجایب المخلوقات به استناد نقاشی های دیواری امامزاده طیب و طاهر تا قرن ها بعد ادامه داشته است.https://jfava.ut.ac.ir/article_95756_4a6533e19c280628b5e67b607bfa929e.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603928420231222Analyzing the hidden themes in Pictures of Bazm in the small murals of the central hall of Chehel Sotoun Palaceواکاوی مضامین پنهان مجالس بزم در دیوارنگارههای کوچک تالار مرکزی کاخ چهلستون1431559479610.22059/jfava.2023.358795.667113FAبتولمعاذالهیدکترای گروه پژوهش هنر، دانشکده پژوهشهای عالی هنر و کارآفرینی، دانشگاه هنر اصفهان.زینبصابردانشیار گروه هنر اسلامی دانشگاه هنر اصفهان.Journal Article20230506Chehel Sotoun Palace was the largest palace of Safavid government in Isfahan. This palace was the place for the meeting of foreign representatives and big celebrations. There are many small paintings on the lower walls of the main hall of Chehel Sotoun Palace. These paintings are often called Majles-e-Bazm (A party where wine is consumed) by the interpreters of the image. Although the naming of these paintings is correct, but it is very general. This description of the paintings has caused the study of their discourse dimensions to be ignored. Studying the paintings by a descriptive-analytical method shows that they emphasize the display of wine drinking dishes. These containers represent the concept of consumption. The display of this concept has been created through a series of image policies. These image policies include a set of absences and a set of emphases. At first, architecture is removed from painting. While nature is painted in the background, not much attention is drawn to it. This makes the viewers of the paintings pay little attention to the nature. It should also be noted that musicians and dancers are not present in most of the paintings. These absences draw viewers' attention to the foreground of the paintings. In this section, there are bodies and dishes. Both of them are carefully designed. The concept of consumption is shown through the repetition of dishes which is a recuurring theme in the paintings. This makes the bodies floating in leasure and happiness while they are far from anxiety and sadness. The concept of consumption is revealed by the frequent repetition of dishes and special emphasis on them. When we trace this topic in the political discourse of Isfahan, we find out that in the political-economic discourse of the Safavid government, the concept of consumption was under the authority of the king and the noble family. The Safavid government controlled the economic resources in a monopolistic way. In this way of economic policy, the resources of the country were consumed individually and the production activity was reduced. Aristocrats and people related to the king, who are seen in the paintings of Chehel Sotoun Palace, display the concept of monopolistic consumption. Their image can be seen as people who are consuming and consumption resources are available to them in large quantities. Cups, jars, glasses and other containers that represent objects for consumption are available to the subjects. The nobles are not engaged in any active action.They seem idle and consumerist. And the focus of the image is also on these topics., therefore It can be said that the small paintings that can be seen in the main hall of Chehelston Palace depict an important part of the economic policies of the Safavid government in the 17th century.کاخ چهلستون به عنوان بزرگترین کاخ در مجموعهی دولتخانه اصفهان صفوی بود. این کاخ به پذیراییهای رسمی از سفرا و برگزاری جشنها اختصاص داشت. در تالار مرکزی آن، مجموعهای از نقاشیهای کوچک در بخش بالای ازارهها وجود دارد که غالباً به عنوان مجالس بزم توصیف میشوند. این توصیفِ درست اما کلی، موجب شده امکانات گفتمانیای که در نحوهی به تصویر کشیدن مفهوم بزم وجود دارد، از نظرها دور بماند. بررسی نقاشیهای مذکور به روش توصیفی-تحلیلی، نشان میدهد که آنها تأکید ویژهای بر نمایش ظروفِ متعدد مینوشی دارند و مجموعهای از غیابها، همچون معماری، طبیعت زیسته، اسباب موسیقی، نوازندگان و رقاصان، نمایش تأکید مذکور را تقویت نمودهاند. مطالعهی چگونگی و چرایی این موضوع ذیل گفتمان سیاسی صفویان در همان دوران، روشن میسازد که این نقاشیها فراتر از نمایش بزم درباری عمل کردهاند. تنگها، صراحیها، ساغرها، پیالهها، قدحها و سایر ظروف، نه فقط نمایش مصرف باده، که در خوانشی عمیقتر، بازنمایی خود مفهوم مصرف هستند. آنها رابطهای از مصرف و بدن را به نمایش میگذارند که در همان دوران، در گفتمان سیاسی-اقتصادی صفویان ذیل انحصارطلبی شاه و طبقهی دربار، منابع اقتصادی را به سوی مصرف فردی(در مقابل مصرف تولیدی)، سوق داد. مقالهی حاضر به شرح رابطهی این تصاویر و گفتمان معاصرشان میپردازد.https://jfava.ut.ac.ir/article_94796_1623d0b0b6436ab836347910b26525ee.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603928420231222The Space Syntax of urban parks; identifying areas inducing sense of fear of crime in visitors (a case study of Tappeh-Bashi Park in Naghadeh)چیدمان فضایی پارکهای شهری؛ تعیین نقاط القا کننده حس ترس از جرم (مطالعه موردی: پارک تپه باشی شهر نقده)1571709461010.22059/jfava.2023.363563.667165FAاحمدفرخندهکارشناسی ارشد طراحی صنعتی، گروه طراحی صنعتی، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران.مهرانفاطمی نیااستادیار گروه طراحی صنعتی، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران.زهراحسین قلی پورکارشناس ارشد طراحی شهری، گروه شهرسازی، دانشکده معماری و شهرسازی، دانشگاه هنر اصفهان، اصفهان، ایران.Journal Article20230812The syntax of spaces is one of the significant factors affecting visitors' sense of security in urban parks. Due to the vitality and green nature of parks, they are expected to provide more sense of peace and security to visitors than other urban spaces; However, Tappeh-Bashi Park in the city of Naghadeh, located in West Azarbaijan province, Iran, is a counterexample. This park, despite its glory days not so far past, has become a place for addicts and criminals because of a lack of surveillance, ethnic conflicts, and the stoning of two people there. Recently, measures have been taken by the municipality to improve the security of the park, such as taking out criminals, implementing some sports facilities, and planting trees, and flowers. Although this has significantly reduced the rate of crime, citizens still do not desire to visit this park due to their sense of fear of possible crimes. The root of this issue is both subjective and objective and this study's focus is on the objective aspect.<br />The purpose is to find the areas inducing a sense of fear of crime in visitors in the case study by assessing the role of the objective factors related to the spatial syntax of the park in both physical and visual dimensions. To do so, the qualities affecting the sense of fear in visitors of Tappeh-Bashi Park and their extracted indicators were evaluated by space syntax technique and through Depthmap software.<br />In this research, the four qualities of accessibility, choice, controllability, and integration in the physical dimension, and the qualities of lighting, visibility, and attraction in the visual dimension were evaluated. First of all, the base map of the site was updated, and the axial maps of indicators including connectivity, mean depth, metric depth, permeability, and mysteriousness were prepared in DepthMap software and valued in Geographic Information System (GIS). Next, the obtained quality maps were weighed and overlaid to get the final axial map. Then, the visual graph of the clustering coefficient indicator was combined with the final map, which gave us three areas inducing a sense of fear among visitors.<br />Finally, three areas were also examined in terms of visibility indicators such as maximum radial line, compactness, and occlusivity, which gave us a good insight to analyse the potentials of each area for reducing sense of fear. For findings validation, the agent analysis of the site was applied, which proved area two has the potential for designing against the sense of fear of crime with the aim of enhancing social interaction. The site also was assessed according to the intensity of lighting at night showing that area three lacks proper lighting.<br />The results showed that the dead-end and undefined routes in the park have reduced the mobility and integrity of pedestrian paths. Moreover, spaces with low levels of lighting at night, spaces that lack natural surveillance, and mysterious and abandoned spaces in the park have the highest potential to induce feelings of insecurity and a sense of fear of crime.نحوه چیدمانِ فضا از مهمترین عوامل تأثیرگذار در احساس امنیت بازدیدکنندگان از پارکهای شهری است. هدف این پژوهش یافتن نقاط القا کننده احساس ترس از جرم در پارک تپهباشی نقده از طریق بررسی نقش مؤلفههای مربوط به نحو فضایی پارک میباشد. بدین منظور کیفیتهای تاثیرگذار بر احساس امنیت در پارک توسط تکنیک چیدمان فضا و نرم افزار Depthmap، از منظر دسترسی فیزیکی و بصری مورد ارزیابی قرار گرفتند. در این پژوهش چهار کیفیت دسترسیپذیری، انتخاب، قابلیتکنترل و همپیوندی در مؤلفه فیزیکی و کیفیتهای نورپردازی، رؤیتپذیری و رمزآلودگی در مؤلفه بصری، به عنوان چارچوب نظری پژوهش تدوین شدند. نقشههای محوریِ شاخصهای مربوط به دسترسیپذیری، انتخاب، قابلیت کنترل و همپیوندی تهیه و ارزشگذاری شدند. سپس، نقاط بدست آمده به همراه نقشه نواحی رمزآلود بصری در نرم افزار جی آی اس همپوشانی داده شدند که سه محدوده دارای پتانسیل القاکننده احساس ترس از جرم بدست آمد. در نهایت محدودهها از نظر شاخصهای رؤیتپذیری، تحلیل عاملی و میزان روشنایی در شب نیز مورد بررسی قرار گرفتند. نتایج نشان داد که مسیرهای گردشی ناقص و تعریف نشده، فضاهای با روشنایی پایین در شب، فضاهای بدون نظارت طبیعی و رمزآلود و فضاهای رها شده در پارک بیشترین پتانسیل القای احساس عدم امنیت و ترس از جرم را دارند.https://jfava.ut.ac.ir/article_94610_611c27eb2cdbb73760b3a92c4b89b128.pdf