موسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603929120240420A Comprehensive Model of Usability Based on Meta-Synthesisارائه مدل جامع کاربردپذیری: یک مطالعه فراترکیب7229482710.22059/jfava.2023.362790.667154FAکاوهتبیانیدانشجوی دکترای طراحی صنعتی، گروه طراحی صنعتی، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران.0000-0001-5345-5277ابراهیمباقری طالقانیاستادیار گروه طراحی صنعتی، دانشکده هنر، دانشگاه سمنان، سمنان، ایران.0000-0002-9047-3017Journal Article20230805 <br />Today, we are witnessing the increasing expansion of websites, applications and computer systems, each of which, according to its characteristics, responds to a series of modern human needs. However, many of these products are rejected by users despite their huge costs. The reason for this is the inability of the product to provide favorable interaction conditions with users and the inability of users to achieve their goals and meet their needs. In other words, the low quality and inefficiency of interactive projects causes their failure. One of the most important factors affecting the quality of systems and products is usability. Usability is one of the main concepts in the field of interactive design and user experience design. This concept is a criterion for evaluating the acceptability of interactive systems and products in the opinion of users. Various models and definitions have been presented for this concept up to now; But each of the usability models have considered distinct components according to different definitions, and based on this, a comprehensive model that covers most of the factors affecting the process of interaction between the user and the product is missing. Identifying the components and factors effective on usability and then providing a comprehensive definition of it, can have a great impact on the accurate and favorable evaluation process of this concept. Based on this, this research has been done with the aim of providing a comprehensive view of the concept of usability. In line with the mentioned goal, the following questions were formulated:<br />What components do the existing and presented models of usability have? In the presented models, how is the relationship between the concepts and usability components, and how much do they overlap? How can usability models be integrated in the form of a comprehensive model and what characteristics will this model have?<br />For this purpose, the provided usability models were extracted from the research literature and their common and distinctive aspects were examined using the qualitative meta-synthesis method in order to identify all the factors affecting the interaction process. Then, by synthesizing the related components, the core components of the usability model were determined. The result of this process is a comprehensive conceptual model that displays usability components in relation to the user and the product, as well as the stages of the interaction process. According to this model, the concept of usability is not a feature unique to systems or products, but is defined as a feature of the process of interaction between a specific user and a specific system or product in a specific field of use. This model can be used to design various interactive systems and products. Also, can be used to evaluate the usability of different products, services and systems and can be a basis for designing a questionnaire or checklist for usability evaluation. The effect of the context of use on usability was not considered in this research and it can be one of the concerns of future researches.کاربردپذیری یکی از مفاهیم اصلی حوزهی طراحی تعاملی و طراحی کاربرمحور و معیاری برای ارزیابی میزان مقبولیت سامانهها و محصولات توسط کاربران است. تاکنون مدلها و تعاریف مختلفی برای این مفهوم ارائه شده است؛ اما مدل جامعی با پوشش اکثر عوامل تأثیرگذار بر فرایند تعامل بین کاربر و محصول، ارائه نشده است. لذا هدف پژوهش حاضر، نگرشی جامع به مفهوم کاربردپذیری و ارائه یک مدل جامع در این خصوص است. این پژوهش بنیادی به شیوه فراترکیب و با این سوال اصلی آغاز شد که چگونه میتوان مدلهای کاربردپذیری را در قالب یک مدل جامع ادغام نمود و چه مشخصاتی خواهد داشت؟ بدین منظور مدلهای کاربردپذیری از ادبیات پژوهش استخراج شده و اغلب عوامل موثر بر فرایند تعامل، شناسایی شدند. سپس با سنتز مولفههای مرتبط، مولفههای محوری مدل کاربردپذیری تعیین گردید. در نتیجه، یک مدل جامع ارائه شد که ارتباط مولفههای کاربردپذیری را با کاربر، محصول و مراحل فرایند تعامل معرفی میکند. در این مدل، کاربردپذیری یک ویژگی منحصر به سامانهها و محصولات نیست، بلکه یک ویژگی از فرایند تعامل بین کاربر با سامانه یا محصول، در یک زمینه مشخص تعریف میشود. این مدل میتواند برای طراحی سامانهها و محصولات تعاملی مختلف و یا بهمنظور ارزیابی کاربردپذیری آنها مورد استفاده قرارگیرد.https://jfava.ut.ac.ir/article_94827_82bcc47ac89d327a3e1fbcec885452d4.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603929120240420Clive Bell’s Aesthetic Theory of Significant Form in
the Light of Piet Mondrian’s Neo-Plasticismنظریه زیباییشناختی فرم معنادار کلایو بل در پرتو مکتب نئوپلاستیسیسم پیت موندریان23369587810.22059/jfava.2024.367786.667207FAعلیفلاح زادهاستادیار گروه آموزش هنر، مرکز آموزش عالی شهدای مکه، دانشگاه فرهنگیان، تهران، ایران.0000-0002-0414-8702زهرارهبرنیادانشیار گروه پژوهش هنر، دانشکده هنر، دانشگاه الزهرا (س،) تهران، ایران.0000-0002-6679-5323Journal Article20231106Although Clive Bell’s aesthetic formalism has had a significant impact on development of later modern art theories in the twentieth century, in the last decades its authenticity has been noticeably declined due to many objections raised against it. In spite of significant contributions of scholars to elucidate and resolve shortcomings and ambiguities of Bell’s theory of significant form, yet the nature of his key conception ‘significant form,’ mutually and circularly defined in terms of another controversial term ‘aesthetic emotion,’ is obscure. In this regard, many vague points in respect to the relationship between aesthetic theory of formalism and modern art can be proposed that need to be addressed. Above all, how Bell’s formalism has been construed and employed by Modern theorists and artists, particularly in case of Piet Mondrian as one of the most prominent formalist and modernist pure abstract painters of the first half of the 20th century? Indeed, this article aims at evaluating the authenticity of this hypothesis that ambiguities of Bell’s theory of formalism will be resolved, though to some extent, by scrutinizing this theory in the light of Mondrian’s theory of Neo-Plasticism; an enriched art theory which is basically shaped by many philosophical doctrines (especially Plato, Hegel, Schopenhauer, and theosophists) and artistic theories (particularly Cubism and De Stijl), artistic movements which they themselves are founded and developed based on tenets of formalism.<br />Therefore, this article aims to further shed light on ambiguities of Bell’s theory of significant form. To this end, it firstly attempts to explain the analogies and disparities between Bell’s theory and Mondrian’s Neo-Plasticism in respect to two key conceptions: significant form and aesthetic emotion, and secondly to further illuminate some of the ambiguities overly discussed by scholars in regard to this polemical theory.<br />The data for this article has been collected by using library research (mainly latest articles and books). However, for the sake of comparison, original and first published version of Bell’s theory of formalism, published in his seminal book titled <em>Art</em>, has been used. Analysis and results have been written by using intertextual approach and a descriptive-analytical method to examine Mondrian’s account on Bell’s key conceptions “aesthetic formalism” and “aesthetic emotion” and the vicious circularity found in their definition.<br />At the end of this article, it becomes evident that there are intimate analogies between Bell’s theory of significant form and Mondrian’s Neo-Plasticism in respect to conceptions of plastic means (formal elements of his art) and equilibrium, or new harmony. It becomes clear that Mondrian in his writings explicitly refers to Bell’s key notions significant form and aesthetic emotion and he defines the former in the light of his Neo-Plastic principles. Moreover, it will be deduced that unlike Bell, Mondrian’s rendition of Bell’s notions significant form and aesthetic emotion is discharged of any circularity. Lastly, the results of this article clarify the formalist roots of Neo-Plasticism, which have been mostly construed in relation to other artistic theories and philosophical doctrines.علیرغم نقشِ محوری نظریه فرمالیسمِ کلایو بل در شکلگیری نظریاتِ گوناگون هنر مدرن در قرن بیستم، سوالات بسیاری در این زمینه قابل طرحند که هنوز پاسخ درخوری نیافتهاند. از جمله مهمترین آنها اینکه این نظریه چگونه نزد هنرمندانِ نظریهپرداز مدرن تاویل و تفسیر شده است؟ به عبارتی این مقاله در صدد پاسخ به این پرسش است که آیا ابهامات نظریه فرم معنا دارِ بل در پرتو نظریات هنری مدرن، بویژه مکتب نئوپلاستیسیسمِ پیت موندریان، روشن و مرتفع می گردد؟. هدف این مقاله کشف تناظرات و تباینات میان نظریه فرم معنا دارِ کلایو بل و مکتب نئوپلاستیسیزمِ موندریان و ابهامزدایی از نظریۀ فرمالیسمِ بل است. نتایجِ این مقاله با اتکا به روشِ بینامتنی و بر پایه روشِ توصیفی-تحلیلی و استفاده از منابع کتابخانه ای حاصل شده است. بدین ترتیب که مفاهیمِ فرم معنا دار و احساسِ زیبایی شناختی و وجود دور در تبیین این نظریه با ارجاع و قیاس بین نوشته های نظری بل و موندریان مورد واکاوی قرار گرفته است. در انتهای این مقاله در خواهیم یافت که شباهتها و تناسبات ظریفی بین نظریۀ فرم معنادارِ بل و مکتب شکل آفرینیِ نو موندریان وجود دارد و تفسیر و تاویل موندریان از نظریه فرم معنا دار، برخلاف بل، عاری از دورِ باطل است.https://jfava.ut.ac.ir/article_95878_b94a3f555cc529e2ef5d5277651a33c1.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603929120240420TThe Confrontation of Identity Syndromes from the Perspective of Globalization and Glocalization
Case Study; Selected Works of Ane Mohammed Tatari and Rabee Baghshaniتقابل نشانگان هویتی از منظر رویکرد جهانیسازی و جهانمحلیگرایی مطالعه موردی؛ آثار منتخب آنهمحمد تاتاری و رابعه باغشنی37489596410.22059/jfava.2024.361219.667137FAمنصورحسامی کرمانیدانشیار گروه نقاشی، دانشکده هنر، دانشگاه الزهرا، تهران، ایران.0000-0002-9845-1859مریمپیکری علمداریکارشناس ارشد نقاشی، گروه نقاشی، دانشکده هنر، دانشگاه الزهرا، تهران، ایران.0009-0009-2517-983XJournal Article20230703Identity is the basis of the existence of every person and human society; in this way it starts with a familiarity with one other and another and causes awareness of oneself and one's identity. Globalization recently made the familiarity between the self and the other to be largely economic and one-way from the West to the East. Many thinkers believe that the expansion of communication and the increase in the volume of information transfer through social networks have caused the people of different societies with all their cultural diversity to tend to a kind of standardization of lifestyles and in this way lose their plural identity. On the other hand, the glocalization approach tries to deal with the homogenization of identity. This confrontation has appeared in various fields, including art and painting, but due to the complexity and interdisciplinary nature of the issue, less attention is paid to it. This research tries to look at the status of signs of Iranian-Islamic identity at the two levels of sub-national (ethnic) and transnational (globalization) identity, relying on the semiotics methodology. For this purpose, the selected works of Ane Mohammad Tatari and Rabee Baghshani has been analyzed to find out that "how can we compare the signs of Iranian identity in the works of artists who believe in globalization with the paintings of artists who believe in global-localism?" From the point of view of semiotics, every artist lives in society as a biological being and tries to have a critical representation of that society and represent this attitude in his works. In this method, there is no difference between verbal, non-verbal or even combined symptoms and all of them are symptoms that criticize the existing situation. Accordingly, our main hypothesis here states that "both groups of painters who believe in globalization and glocalization have used symptoms of Iranian identity in their works with the difference that artists who believe in the idea of globalization use the symbols of Iranian identity in the context of the symptoms of the unified culture considered by globalization, while the artists who believe in the idea of glocalization have used the symbols of Iranian identity in the context of the symptoms of the specific culture of their place of residence. Semiotic analysis has revealed that each artist has established a contrast between Iranian identity and the global identity signs. Briefly the findings of this research show that Baghshani focuses on the signs of national identity and globalized identity in his works. On the other hand, Tatari in his works focuses on sub-national and transnational signs, and focuses on the identity signs of the Turkmen nation and its introduction to the world. This research was carried out through desk-based method and was organized by the principles of the descriptive-analytical approach to show the differences and similarities between the works of these two artists and how they have looked at the conflict between their national identity and the identity of another world.مفهوم هویت تحت تأثیر پروژه جهانی سازی تغییر کرده؛ جهانی سازی با گسترش ارتباطات در شبکه های اجتماعی، مردمان جوامع مختلف را با وجود تنوع فرهنگی، به سوی استانداردسازی سبک زندگی سوق داده و باعث شده از این طریق تکثر هویتی خود را از دست بدهند. این پژوهش با تکیه بر روش نشانه شناسی به عنوان هدف پژوهش به وضعیت نشانه های هویت ایرانی-اسلامی در دو سطح هویت فروملی (قومی) و فراملی (جهانی سازی) در برخی آثار هنری آنه محمد تاتاری و رابعه باغشنی می پردازد تا به این سوال پاسخ دهد که چگونه میتوان نشانه های هویت ایرانی در آثار هنرمندان قائل به جهانی سازی را با نقاشی هنرمندان قائل به جهان محلی گرایی مورد مقایسه و تحلیل قرار داد؟ فرضیه اصلی این پژوهش، احتمال می دهد هر دو هنرمند از نشانگان هویت ایرانی در آثار خود استفاده کرده باشند. یافته های این پژوهش بیان میدارد که باغشنی در آثار خود با تمرکز بر نشانه های هویت ملی و هویت جهانی شده، اصل را بر نشانه های هویت جهانی قرار می دهد. در مقابل، تاتاری در آثار خود با تمرکز بر نشانه های فروملی و فراملی، اصل را بر نشانه های هویت قوم ترکمن و معرفی آن به جهانیان می گذارد. این پژوهش از مسیر روش کتابخانه ای- اسنادی انجام شده و بر اساس اصول روش توصیفی-تحلیلی تنظیم گردیده است.https://jfava.ut.ac.ir/article_95964_a00c2cc9c6ce5728611b43b9aeac77f7.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603929120240420The Three-Dimensional Interaction of “Title” in the Cover Design of Three Children’s Picture Booksبرهمکنش سهوجهیِ «عنوان» در طرح روی جلد سه کتاب تصویری کودک49609573410.22059/jfava.2024.366008.667187FAامیرحسینزنجانبرکارشناس ارشد ادبیات کودک و نوجوان، گروه ادبیات کودک و نوجوان، دانشکده ادبیات و زبان خارجی، دانشگاه پیام نور، تهران واحد جنوب تهران، تهران، ایران.0000-0002-3517-9798Journal Article20231001In children’s literature, the title functions beyond mere labeling for identification purposes. Rather, the titling itself serves a linguocognitive role. Titles are viewed before the book is opened, thereby they can convey aesthetic significance by employing strategic typographic techniques that visually preview a book’s tonal direction. The intentional typographic design choice in formatting the title graphically depicts the relative conceptual space the book will inhabit. Additionally, the interaction between the formatted typographic title presentation on the front cover and the illustrative cover imagery contributes an essential role in coalescing the intended holistic cover design impression.<br />This research aims to closely investigate the three-way interaction occurring between “title” (defined here as the linguistic facet encompassing the verbal meaning of the printed title text), “typography” (defined here as the aesthetic facet encompassing the graphical formatting and styling of the printed title text) and “cover image” (defined as the illustrative artwork encompassing the pictorial depiction on the front book cover) within the conceptual structure underlying the unified cover design presentation. The research methodology enacted is applied in nature, based fundamentally in library data collection, and analytical-descriptive in its systematic approach. The target domain under examination focuses exclusively on children’s picture storybooks classified for age groups “A” and “B,” while concentrating deliberate analysis specifically on three recently published titles selected expressly for their diversity exhibited in typographic title formatting and styling choices implemented: The Big Question (Erlbruch, 2009), Wise Honey (Piumini, 2017), and Sun Detective (Bahari, 2017).<br />Unlike former studies pursuing a one-dimensional correlation between title and cover image, this research proposes a two-dimensional identity operating within the functional book title itself. It explores the complex three-way interaction by closely examining how the linguistic reading aspect, aesthetic/graphical typographic aspect, and illustrative cover image aspect relationally interconnect across all three domains through a conceptual triangular dialogue.<br />The book title, like any other written sign, has both a visual and a reader-oriented aspect. This research demonstrates that these two aspects not only individually interact with the cover image but also have internal interactions with each other. Factors such as font size, color, thickness, and font type (visual aspect) can internally interact with the linguistic meaning of the title (reader-oriented aspect). Thus, the cover design results from the triangular relationship of the "reader-oriented aspect of the title," the "visual or typographic aspect of the title," and the "cover image."<br />This triangular relationship initiates with a dual interaction, such as decoding based on the internal interaction of the title (reader-oriented and visual interactions) and subsequently using the decoded information as an introduction for deciphering the codes of the cover image. The diversity in visual structures and themes of each artistic work continues to revolve around a central theme. In each interaction, the main visual structures engage in semantic and interpretative interaction, followed by the sequential interaction of other visual elements in the triad of "title," "typography," and "cover image."در کتابهای کودک کارکرد عنوان به اسمگذاری محدود نمیشود. اسمگذاری، کارکرد زبانشناختی عنوان بهشمار میآید. عنوان میتواند فضای نسبیِ محتوای کتاب را پیش از خواندن بازنمایی کند. عناوین پیش از اینکه خوانده شوند، دیده میشوند. از همین رو، عناوین میتوانند با استفاده از شگردهای تایپوگرافیک کارکرد زیباییشناختی خود را نیز به منصۀ ظهور برسانند. افزون بر این، برهمکنشِ عنوان کتاب و تصویر روی جلد نیز عامل مهمی در مفهومسازی طرح روی جلد است. پژوهش حاضر در پی پاسخگویی به چگونگی برهمکنش مثلثِ «عنوان» (بعد زبانشناختیِ عنوان)، «تایپوگرافی» (بعد زیباییشناختی عنوان) و «تصویر روی جلد» در ساختار مفهومیِ طرح روی جلد است. این پژوهش بهلحاظ گردآوریِ داده، کتابخانهای و بهلحاظ روش، توصیفی-تحلیلی است. جامعۀ هدف، کتابهای تصویری گروه سنی «الف» و «ب» است؛ نمونۀ مورد مطالعه به سه کتاب <em>سؤال بزرگ</em> (ارلبروش، 1388)<em>،</em> <em>شیرۀ دانایی</em> (پیومینی، 1396) و <em>کارآگاه آفتابی</em> (بهاری سعدی، 1396) محدود شده است. علت انتخاب کتب مذکور، سبکهای متفاوت در شیوۀ عنواندهی و تایپوگرافی کلماتی است که در عنوان کتاب به کار رفته است. پژوهشهای پیشین بین عنوان و تصویر روی جلد دنبال رابطهای تکوجهی بودهاند؛ پژوهش حاضر برای عنوان هویتی دوبعدی قائل است؛ از همین رو، برهمکنشِ عنوان با تصویر را در قالب رابطهای سهوجهی واکاوی میکند.https://jfava.ut.ac.ir/article_95734_6c3fc3af3f8d4c9722bf4f095e1daf7a.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603929120240420Ekphrasis as a Qualitative Approach in Visual Text Analysis
(Case Study: Bahram Gur in Haft Gonbad (Seven Domes)«اکفراسیس به مثابه رویکردی کیفی در تحلیل متن تصویری» (نمونه مطالعه شده: قالیچه تصویری بهرام گور و هفتگنبد)61729621310.22059/jfava.2024.371989.667243FAسحردیانتیدانشجوی دکتری پژوهش هنر، گروه پژوهش هنر، دانشکده علوم نظری و مطالعات عالی هنر، دانشگاه هنر، تهران، ایران.0000-0001-8622-3050Journal Article20240205The purpose of this article is to understand the similarity and correspondence between the elements of the written text of the story of “Bahrām Gur in Seven Domes” in Haftpeykar, written by Nezami and its visual narrative in Bahrām Gur in Seven Domes Pictorial rug. To achieve such a goal, this article used a two-stage theoretical framework. Thus, a descriptive-analytical method and four components are used in this article. These four descriptive components are: 1. Description of persons 2. Places 3. Times 4. Events.<br />After the transition from the first stage of this theoretical framework and after measuring the correspondence of the visual text to the written text, in the second stage, by using two subtypes of intertextuality, which are allusion and citation, an attempt was made to answer the main question: Is “Bahrām Gur and Seven Domes” rug a creative and allusive text or repetitive and cited text?<br />In response to whether the pictorial carpet “Bahrām Gur in Seven Domes” is a creative and allusive text or a repetitive and cited one these results are obtained: it can be said that although the elements and motifs of the pictorial rug which were examined through the four components in some details have common features with Haftpeykar and ekphrasis has occurred in some elements, and they are faithful to the written text; but on the other hand, pictorial rug is not entirely a copy of the Haftpeykar and did not seek to repeat it. Rather, the pictorial rug (host text) creatively took the written text (guest text) and recreated it in its own way. In other words, Bahrām in Seven Domes rug received Haftpeykar and then reproduced it.<br />In conclusion, in this research, the visual text (pictorial rug) is an allusive and creative text. One of the important reasons that can be used to emphasize that the “Bahram in the Seven Domes” rug is a creative text and it didn’t try to imitate the Haftpeykar in all details, is the conscious selection of three red, white and turquoise domes among the seven domes which are mentioned in Haftpeykar. The reasons for choosing these three domes are not clear to the author, but it can be said that the designer of the carpet was faithful to the written text and the general narrative of the story, but he made a conscious choice and included only three of the seven domes in the pictorial rug (Visual Text), while he could use all the seven domes.<br />The research results showed that only in the description of people and events there is an ekphrastic communication between the written text (Haftpeykar) and the pictorial rug. Also, in examining of the actual or notional ekphrasis, it showed that only the character of Bahram Sassani and the Princess are belonging to the field of actual ekphrasis. All other descriptions belong to the field of notional ekphrasis.از جمله رویکردهایی که با اتکا به آن میتوان رابطۀ میان متن و تصویر را تحلیل و بررسی کرد؛ رویکرد کیفی اکفراسیس است. مقالۀ حاضر با اتکا به رویکردی دومرحلهای به این پرسش پاسخ میدهد که: متن تصویری (در اینجا قالیچۀ تصویری بهرام گور و هفتگنبد) تا چه میزان به متن مکتوب (هفتپیکر نظامی) وفادار بوده و درنهایت متن تصویری، متنی نقلقولی و تکراری است یا تلمیحی و خلاقانه؟ بهمنظور قضاوت در خصوص وفاداری متن تصویری به متن مکتوب و درک تکراری یا تلمیحی بودن آن، هر دو متن در مرحله اول با اتکا بر رویکرد اکفراسیس و در مرحله دوم با بهرهگیری از دو مؤلفه زیرگروه بینامتنیت یعنی تلمیح و نقلقول، تحلیل شدند. تحلیل نقشمایههای قالیچه تصویری ذیل چهار مؤلفه رویکرد اکفراسیس (1. توصیف افراد 2. مکانها 3. زمان و 4. رویدادها) و بهکارگیری روش توصیفی - تحلیلی نشان داد: باوجوداینکه متن تصویری (میزبان) در برخی عناصر به متن مکتوب (مهمان) وفادار بوده و ارتباط اکفراستیک بین این عناصر وجود دارد؛ اما این عناصر اکفراستیک به شکلی آگاهانه در برخی جزئیات با متن مکتوب تفاوت دارند و از متن تصویری حذف یا به آن اضافه شدهاند. درنتیجه متن تصویری، متن مکتوب را بازآفرینی کرده و متنی خلاقانه و تلمیحی است.https://jfava.ut.ac.ir/article_96213_3f493f86e3020393cfae48941d244a92.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603929120240420A Narratological Analysis of the Imprisonment of Zahhak in Baysunghur Shahnameh Based on the Theory of Gérard Genetتحلیل روایتشناسانه به بند کشیدن ضحاک در شاهنامه بایسنقری بر مبنای نظریه ژرار ژنت73849492710.22059/jfava.2023.361118.667134FAعلی رضاخواجه احمد عطاریدانشیار گروه صنایع دستی، دانشکده صنایع دستی، دانشگاه هنر اصفهان، اصفهان، ایران.0000-0002-0984-9102بهارهتقوی نژاداستادیار گروه صنایع دستی، دانشکده صنایع دستی، دانشگاه هنر اصفهان، اصفهان، ایران.0009-0004-2478-8768نرگس خاتونطغانکارشناس ارشد هنر اسلامی، گروه صنایع دستی، دانشکده صنایع دستی، دانشگاه هنر اصفهان، اصفهان، ایران.0009-0004-4895-381XJournal Article20230621Narratology is one of the methods of understanding the principles governing narratives. Many theorists have researched in the field of narratology. Gérard Genet is one of the most prominent structuralists in this field. Genet's theory focuses on how to look at the text and allows the reader to understand how texts are internalized in other texts. Accordingly, there are five factors to analyze the body of a narrative: continuity, frequency, order, face and tone – which are related to time. Interestingly one of the characteristics of the art of painting in Iran is its connection with poetry. One of the goals of painters has been to use visual themes and spaces in poems. The stories of Shahnameh have been illustrated many times by painters. These stories, in addition to entertaining function, have an educational and moral aspect. The story of chaining Zahhak is one of the stories of the Shahnameh, which has an educational aspect due to the dominance of light over darkness and good over evil. It has inspired the painters who emphasized the permanence of this part of the story, that is, to drawing oppression and darkness and portraying and narrating it in different ways in different periods and schools according to the characteristics unique to their time. The purpose of the present research is to analylze the visual narrative of the arrest of Zahhak in Baysunghur <em>Shahnameh</em> according to the factors describred in Genet's theory of narratology. The research method was descriptive-analytical, while describing the visual space, its interrelation with the verbal text has been explored. Visual and written data collection was desk-based. Consequently, questions have been raised: how can the narrative analysis of the mentioned image be based on Genet's theory? Also, how did the painter show the time in the picture? Due to the structural differences between the verbal text and the visual text, it is not possible for the painter to use the continuity of the image to show the events like the poet. By using the story and its features, the poet can follow the connection of events step by step and in this way use all the verbal capacities such as the orderly sequence of events, the repetition of story spaces and the continuity of an event. But this capacity does not exist for the painter. Therefore, he tries to break the time sequence of events and display image by connecting two or more events and in this way by intervening in things such as face, it draws new angles for the audience and makes the role of the audience more colorful from this point of view. It can be said that the painter's role is more colorful in tone as a visual expression and acts as an omniscient.روایتشناسی یکی از روشهای تحلیل روایت است. نظریهپردازانی در زمینه روایتشناسی به تحقیق پرداختهاند از جمله آنها میتوان به ژرار ژنت اشاره نمود. از نظر ژنت برای تحلیل روایت پنج عامل وجود دارد: تداوم، بسامد، نظم که به زمان مربوط میشوند و دو عامل دیگر وجه و لحن هستند. هدف از این پژوهش، انطباق روایت تصویری به بند کشیدن ضحاک در شاهنامه بایسنقری بر اساس عوامل تحلیل کننده روایت در نظریه ژنت است. روش تحقیق توصیفی – تحلیلی بوده و گردآوری مطالب کتابخانهای است. برایناساس این سؤال مطرح است که چگونه نقاش داستان ضحاک را بر اساس تصویر، روایتگری نموده است؟ عناصر روایت در نظریه ژنت چگونه با روایت تصویری نگاره منطبق میشود؟ از نتایج تحقیق چنین برمیآید که باتوجهبه تفاوتهای ساختاری میان متن کلامی و متن تصویری برای نگارگر این امکان وجود نداشت که همچون شاعر از پیوستگی تصویر برای نشاندادن رخدادها استفاده کند؛ بنابراین نگارگر تلاش کرده بود تا توالی زمان رخدادها را شکسته و با پیوند دو یا چند رخداد یک تصویر را به نمایش بگذارد. همچنین با مداخله در مواردی چون زمان و وجه، نقش مخاطب را پررنگتر کرد. میتوان گفت نقش نگارگر در لحن بهمثابه بیان تصویری پررنگتر بوده و بهعنوان دانای کل عمل کرده است.https://jfava.ut.ac.ir/article_94927_17ba4b0f5b8bff185d7359c88548f8b7.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603929120240420Explaining the Aesthetic Components of Ashikaga Japanese Painting Based on Zen Buddhismتبیین مؤلفههای زیباشناسانۀ نقاشی ژاپنی دورۀ آشیکاگا مبتنی بر ذن بودیسم85969583810.22059/jfava.2024.370364.667231FAمحدثهحقانی حصاریکارشناس ارشد پژوهش هنر، گروه پژوهش هنر، گروه پژوهش هنر، دانشکده هنر، مؤسسه آموزش عالی فردوس، مشهد، ایران.0009-0007-0479-3481جوادامین خندقیاستادیار گروه پژوهش هنر، دانشکده هنر، مؤسسه آموزش عالی فردوس، مشهد، ایران.0000-0002-4846-829XJournal Article20240106Japan has always been one of the most important ancient and noble cultures. Despite having many different neighbors throughout history, Japan has managed to maintain its originality and cultural status. There are many different genres in Japanese art. Among Japanese arts, painting is one of the oldest types of Japanese art and includes many genres. Naturalism is a crucial aspect of traditional Japanese painting. Chinese painting and Western art influenced Japanese painting before the 16th century. Japanese painting styles that are important include Buddhist ritual paintings, paintings with a change in ink concentration, and Japanese calligraphy. Japanese painting has a significant historical period known as the Ashikaga period (1333-1568), which is also known as the Muromachi period. The Ashikaga period is critical because of the influence of Buddhism and Zen Buddhism in art. In this study, to explain the aesthetic components of the form and content of Japanese paintings of the Ashikaga period concerning Zen Buddhism, 15 samples of paintings from this period are analyzed after expressing the theoretical framework. In this research, data collection is done using the library method and image viewing, and the qualitative approach is used for analysis. This research shows that, like Japanese ritual, Japanese art can have dual meanings. Aesthetic concepts in Japanese culture include Wabi, Sabi, Eugene, Kire, and Mono No Aware. The characteristic of ancient Japanese aesthetics promotes respect, importance, and attention to others, both human and non-human. A composite painting based on Zen's revelatory and contemplative quality emerged during the Ashikaga period. Emphasis on the lines forming the Chinese painting method and ancient indigenous themes and motifs are the characteristics of the painting of this period. The aspects of the painting art of this period are similar to the elements of Zen Buddhism art in Japanese culture. In general, the general characteristics of Japanese painting can be summarized in the following points: virginity and little influence of other arts on it (except Chinese art), geographical features of the country and the direct impact of mountains and seas on the works, lack of distinction between the real and Idealism and the dual atmosphere of peace and chaos. Essential features of Ashikaga painting are the distance of art from temples, ancient indigenous themes and motifs, the gradual decline of the vitality of pen and ink, the emergence of Tessa and Kano painting schools, the emphasis on shaping lines, and ink painting based on the quality of Zen revelation. In the case studies from the Ashikaga period, narrative and ritual subjects played a minimal role. Landscape and nature topics or animals have the most share. In almost all cases, the angle of view is opposite. The combination of warrior and samurai concepts, with ritual and philosophical foundations and components of Buddhism and Zen Buddhism, is the basis for the formation of Japanese art in the artistic periods corresponding to these developments. In Japanese culture, a unique relationship between Buddhism and Shinto exists. The sum of these features reflects Zen's influence on the Ashikaga art.در میان هنرهای ژاپن، نقاشی دورۀ آشیکاگا، به دلیل تأثیرپذیری از ذن بودیسم، اهمیتی مضاعف دارد که تحلیل این آثار، جنبههای متفاوتی از آن را آشکار میکند. در این پژوهش، 15 نمونه از نقاشیهای دورۀ آشیکاگا با توجه به ذن بودیسم تحلیل شدهاست. هدف اصلی در این پژوهش، تبیین ارتباط میان مفاهیم فلسفی و آئینی ذن بودیسم و ویژگیهای فرمی و معنایی نقاشی دوره آشیکاگا است. در این پژوهش، گردآوری اطلاعات، با روش کتابخانهای بههمراه مشاهدۀ تصاویر و تحلیل از نوع کیفی است. همچنین نمونهگیری با شیوه گزینشی غیرتصادفی است. این پژوهش نشان میدهد که هنر ژاپنی، همچون آئین ژاپنی، متضمن مفاهیم دوگانه است. در دورۀ آشیکاگا، نوعی نقاشی مرکبی مبتنی بر کیفیت مکاشفهای و متفکرانۀ ذن بروز کرد. هنر نقاشی این دوران را میتوان مشابه هنر ذن بودیسم در فرهنگ ژاپن دانست. مهمترین ویژگیهای نقاشی دورۀ آشیکاگا شامل مواردی همچون دور شدن هنر از معابد، وجود مضامین و نقشمایههای کهن بومی، کاهش تدریجی سرزندگی قلم و مرکب و سهم اندک موضوعات روایی و مذهبی است. در این آثار، موضوعات منظره و طبیعت و یا حیوانات بیشترین سهم را دارند. تقریباً در تمامی موارد، زاویۀ دید از روبهرو است. مجموع این ویژگیها، بیانگر تأثیر مستقیم ذن بر فرم و انتخاب مضامین نقاشیهای دورۀ آشیکاگا است.https://jfava.ut.ac.ir/article_95838_b93fa23d610cab51bc887e717df6c63f.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603929120240420Exploration of Mythical Duty-Consciousness of Devs in the Works of Mohammad Siyahghalamواکاوی خویشکاریهای اساطیری دیوان در آثار محمد سیاه قلم971099578210.22059/jfava.2024.366084.667189FAزهراعلی اوغلی ضیائیکارشناسی ارشد پژوهش هنر، گروه پژوهش هنر، دانشکده هنرهای تجسمی، دانشگاه هنر اسلامی تبریز، ایران.0009-0007-8260-7664حمیدهحرمتیاستادیار زبان و ادبیات فارسی، دانشکده چندرسانهای، دانشگاه هنر اسلامی تبریز، ایران.0009-0000-4291-2321Journal Article20231008The dev, in mythological beings, is often depicted as malevolent and tyrannical throughout various eras. Due to some of the dev's duty-consciousness characteristics, such as shape-shifting, reversibility, and proficient enchantment, they have attracted the attention of artists in the depiction of some books and other artistic works. In this regard, Mohammad Siyahghalam, a renowned artist of the 15th century, and according to many researchers, Ghiath al-Din Mohammad Nagghash, was sent by Shahrokh to China as part of a political delegation and was tasked with documenting his experiences and observations. During this trip, he has repeatedly incorporated devs into his works of art. In his depictions, Siyahghalam had multiple reflections on portraying the character of the dev and frequently utilized devs in his collection of works. Furthermore, in these illustrations, Siyahghalam addresses some of the duty-consciousness of the dev, which, from a mythological perspective, mainly involve performing various tasks and functions of the dev. These duty-consciousness have witnessed changes in the character and functions of the dev over different periods, from mythological times to historical periods. The main objective of this research is to investigate the duty-consciousness of the dev in the works of Siyahghalam and compare them with their mythological duties. The present research method is of a descriptive-analytical nature and involves collecting library data through tools such as bibliography extraction, image interpretation, and analyzing various tasks of the dev in tables, presenting findings in statistics. To this end, 28 images by Mohammad Siyahghalam from the Topkapi Museums in Istanbul, the Farer Art Gallery, and the Metropolitan Museum of Art in New York have been systematically collected. In the first step, there is a general introduction to this dev, followed by the categorization of various tasks and duty-consciousness in different tables. Subsequently, the obtained results are analyzed statistically, and finally, a conclusion is reached. This research aims to answer the question of what duty-consciousness Mohammad Siyahghalam had and to what extent they have remained faithful to their mythological character based on these duty-consciousness. The results obtained classify the dev's duties based on duty-consciousness into eight categories: conflict, occupation, transportation, theft, dance, drinking, wandering, and debate. Among these, the dev's most significant duty-consciousness are related to occupation, where the dev is shown in the act of performing actions such as cutting a tree trunk (deforestation), spinning, and rescuing, grinding, as well as stealing actions. Another significant duty-consciousness is theft. The conclusion drawn is that despite Mohammad Siyahghalam's use of his experiences from traveling to China and recording his observations and humanizing the devs in his Devs, the characteristics and behaviors of the four devs remain faithful to the mythical traits of devs, of which a significant part such as fighting like Anast Dev and Aeshm Dev, stealing like Drivi Dev, drinking wine like Saurva Dev, and on the other hand, deceiving like the Aktash Devs, Fariftar, and Kasvish, and debating like Spazg Dev, generally have their roots in the devic and misleading nature of these creatures.دیو موجود اهریمنی اسطورهای است که طی دورههای مختلف بهواسطه برخی از خویشکاریهای خود مورد توجه هنرمندان در تصویرگری قرار گرفته است که از آن میان میتوان به طور ویژه از محمد سیاه قلم نام برد. وی با تأملی مضاعف در ترسیم نقش دیو، با بیانی آشکار به تصویرگری برخی از خویشکاریهای دیوان پرداخته است. تأمل بر نقش دیوان محمد سیاه قلم به لحاظ واکاوی خویشکاری و تطبیق آن با وظیفه اساطیری ایشان اهداف اصلی این پژوهش است. روش پژوهش به لحاظ هدف بنیادی، از نوع توصیفی- تحلیلی و گردآوری اطلاعات مطالعات کتابخانهای است که هر 28 نگاره وی را شامل میشود. این پژوهش درصدد یافتن پاسخ به این پرسش است که دیوان سیاه قلم چه خویشکاریهایی داشتهاند و تا چه اندازه به وظایف اساطیری خود وفادار ماندهاند؟ در حاصل نتایج خویشکاری دیوان سیاه قلم در هشت عمل نزاع دیوان، انجام پیشه، حمل، دزدی، رقص، بادهنوشی، رامشگری و مباحثه دستهبندی گردید که انجام وظیفه انسانی و داشتن پیشه مهمترین وجه ممیزه دیوان سیاه قلم است. در تطبیق با چهره اساطیری ایشان میتوان گفت بخش قابل توجهی از خویشکاریهای دیوان سیاه قلم به چهره اهریمنی آنان مربوط است که این امر بهنوبه خود ریشه در متون اساطیری اوستایی و پهلوی دارد.https://jfava.ut.ac.ir/article_95782_6efdd500b4f55cad1115dd4ae7d70184.pdf