موسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603917420130219Time Death, and Social Photo’s Hermeneuticsمرگِ زمان، و هرمنوتیکِ عکسِ اجتماعی5123006210.22059/jfava.2013.30062FAمحمدحسن پورعضو هیئت علمی دانشکده هنر و معماری، دانشگاه سیستان و بلوچستانعلیرضانوروزی طلباستادیار دانشکده¬ی هنرهای تجسمی، پردیس هنرهای زیبا ، دانشگاه تهرانJournal Article19700101Review and analysis of the relationship of human kind beings as being deployed in the world, and the question of how human kind understand the universe, is a fundamental question that Martin Heidegger investigated in his philosophical work, “Being and Time”, and he attempted to open the secret of livingness of human beings. Based on his philosophies, the man, as a being who is trying to understand the universe and comprehension is his innate. He is always trying to interpret the universe with pre understanding of universe and things. A pre understanding that open the life to him. Human as an understandable creature in the world, always with his facilities try to communicate with and understand their world. In this way, the context of tradition, history and society in which he lives, has a special importance for understanding one's self and the worlds. The matter which much more contribute to this understanding is the dignity being of who is understands as one being in the world. Knowing of the being of the world and making a sense of it, that sometimes seems absolutely observational, is essential for better understanding of the being and familiarity with the facilities in the life that he cast them. Meanwhile, what man in his world is facing, either across life, nature, literary text or a work of art, the same way he lived his historic always interpreted it to shape its historicallity. In other words, he leads to cognition himself and the universe with pre understanding, pre having and pre imagination that are completely related to a tradition that his being is depends on it. Understanding and interpretation are human nature and the art; maybe is the world that dreams of human come true in it. Universe appears like the image, and the image truth is evident in the art image by artist. Photographs as well as images Like other objects of this world interprets and interpreter interprets every images with a set of pre understanding, pre having and pre imagination that shapes to his/her identity and understanding, if interpreting be the result of understanding of the image. Understanding and comprehension is not fixed and rigid, but are fluid and dynamic. What is happening in front of some photographs on its viewer, related to these pre understandings that the photograph is related to and it is the same pre understanding – pre having that makes the photograph special and unique to its viewer. What`s really shows in the current life of human by photographs? This challenge shows its importance where the analyzing and considering the photographs that reflect the social subjectivism of human like a creature in this universe, can imitates the existence of human. Such of these photographs and specially personal photos, in the personal world of the viewer, dedicate a special position to itself and demand special reactions. Present paper, tries to shine a bright light in the quiet privacy of social images, and has its particular audience.بررسی و تحلیلِ نحوهی ارتباطِ انسان با وجود، بهمثابهِ موجودی مستقردرجهان، و سوال از چگونگیِ درکِ آدمی از هستی، پرسشی اساسی است که مارتین هایدگر در اثرِ فلسفیِ خویش، وجود و زمان، بدان پرداخت و کوشید که رازِ هستیمند بودنِ آدمی را بگشاید. برمبنای فلسفهی وی، انسان همان وجودی است که سعی دارد بفهمد، و فهمندگی و عالمداشتن، سرشتِ اوست. او هماره با پیشفهمی از اشیا و جهان، در تلاشِ تفسیرِ جهان است. فهم و تفسیر، ذاتِ آدمی است. جهان بهسانِ تصویر آشکار می شود و حقیقتِ هنر توسط هنرمند در تصویرِهنری رخ مینمایاند. عکس نیز بهمثابهِ تصویر، همچون سایرِ ابژههای این جهانی، تفسیر میشود و مفسر با مجموعهای از پیشفهمها و پیشتصوراتی که به-هویت و فهمندگیاش شکل داده، هر تصویری را تفسیر میکند. فهم و فهمندگی امری ثابت و صُلب نیست، بل سیال و پویاست. آنچه در برابرِ برخی عکسها، در مخاطبِ آن رخ میدهد، بههمین پیشفهمهایی بستگی مییابد که عکس بهآن وابسته است، و همان پیشفهم است که عکسرا برای مخاطبش خاص و ویژه مینماید. آنچه عکسها، در زندگیِ اکنونِ انسان، نمایش میدهند، آنجا اهمیتِ خودرا نشان میدهد که تحلیل و بررسیِ عکسهایی که موضوعیتِ اجتماعیِ انسانرا بهمثابهِ موجودی در این جهان، نشان میدهند، میتوانند هستیِ آدمی را محاکات کنند. مقـالهی حاضر، سـعی در تاباندنِ نـوری بهحریمِ خلوتِ عکسِاجتماعی (و خانوادگی)، و مخاطبِ ویژهاش دارد.https://jfava.ut.ac.ir/article_30062_56ad237fff08c41ad173af4a47a7404a.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603917420130219Gopat & Shirdal
In the Ancient Eastگوپت و شیردال در خاور باستان13223006310.22059/jfava.2013.30063FAصدرالدینطاهریاستادیار گروه موزه داری، دانشکده مرمت، دانشگاه هنر اصفهانJournal Article19700101This article tries to pursuing the prototypes of "Gopat" and "Shirdal" in the art of ancient Eastern people, to the Achaemenid era (uproar of these cultures combination), by researching their myths and beliefs and also looking at the motifs of their artifacts. With a comparative analysis we hope to find other evidences about cultural relationships between these cultures. Gopat (winged bull/lion with human face) and Shirdal (eagle-head lion) have used in ancient Eastern art since 3rd millennium BC. Man, eagle, lion and bull each have their magical power and territory. When they combine together, the result would be an unconquerable guardian for shrines. These symbols were common signs for dominant royal power in ancient Egypt, Mesopotamia, Iran, Anatolia, Greece and India with different names and descriptions and had a great importance in their mythology and art. The first statues of lion–man were built by Egyptians in mid 3rd millennium BC. These figurines were showing Pharaoh with his human head and beard and body of a bowed lion, that was a symbol of supernatural powers. Maybe Pharaohs did that to demonstrate their intimacy with Sekhmet (mighty lion–head goddess). Mesopotamians added a pair of wings to this mixture. After that Gopat had become a combination of four formidable and important creatureres, with the head of a man, body of a bull, feet of a lion and wings of an eagle. This beast was a sign of two celestial powers: the goddess Lamasu and the god Shedu. In Cristianity these four species turned to four evangelists, who are gathering upon the lord throne. Man for Matthew, lion for Mark, bull for Luke, and eagle for John. Gopat and Shirdal were appearing in Iranian art since late second milleniom BC. We have followed them in the art of Elamite period, Luristan, North and NorthWest region in Iron Age, and finally Achaemenid art. In Iranian mythology Gopat or Gobadshah is a creature who looks after Saryshuk, the supernal bull. We can find a tale about bull–man in "Matikan-e yusht faryan" and an Islamic replication of that, "Marzban nameh". There is another Iranian fictional creature with human head and body of a lion, named "Marti khwar", who is the origion of Manticore in Europian literature. Greecs named this creature griffin. The oldest image of griffin was found in palace of Knossos, Crete (1500 BC). Sphinx in art and mythology of ancient Greece is a monster with female head, body of a lioness, wings of an eagle and a tail with snake head. Sphinx is malevolent and sinister. She couses damage and misery. The most known tale about sphinx is her question of Oedipus. There is also a synthetic creature in Indian mythology named "Purusham Riga" (sanscrit: man–beast). Unlike Gopat in Egypt, Mesopotamia, Iran, Anatoly and Greece, who is just a part of fictions today, Indaians still believe him. They also call him "Narasima" (sanscrit: man–lion). Shirdal in Hinduism and Buddhism has called "Garuda", king of birds and roadster of god Vishnu.این نوشتار تلاش دارد با نگاهی بر اساطیر و نقشمایههای به جای مانده بر روی آثار هنری، کهن الگوهای گوپت و شیردال را در هنر مردمان خاور کهن تا پایان دوره آهن (سده ششم پ.م) با تأملی ژرفتر بر نمونه های ایرانی پیگیری کند، و در این راه به پی جویی تحلیلی و تطبیقی ارتباط میان این فرهنگها بپردازد. گوپت (انگاره ترکیبی شیر، گاو و پرنده با سر انسان) و شیردال (انگاره ای با بدن شیر و سر عقاب) از بن مایه های کهن مورد استفاده در هنر خاور باستان از هزاره سوم پیش از میلاد به بعد هستند. به نظر می رسد آغازین نمونه های این انگاره را مصریان ساخته اند و پس از آن مردمان میانرودان، عیلام و ایران باختری آن را بر دست سازهای هنری خویش نقش کرده اند. عقاب، انسان، شیر و گاو هرکدام دارای نیروی سحرآمیز و فرمانروای قلمرو خویشتن بودند. هنگامی که درهم آمیخته میشدند، برای نیایشگاهها به نگاهبانانی شکست ناپذیر بدل می گشتند. بهره گیری از این نماد به عنوان نشان شگفت انگیز نیروی برتر در مصر، میانرودان، ایران، آناتولی، یونان و هند با نامها و توصیفات گوناگون رایج گشت و اهمیت بسیاری در اساطیر، هنر و فرهنگ این سرزمینها یافت.https://jfava.ut.ac.ir/article_30063_5abcc4dbcc0615f8499fb069c0ffb4a7.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603917420130219The Study of Sassanid Paintings Affects On Sogdiana Mural Paintingsبررسی تأثیرات نقاشی ساسانی بر دیوارنگارههای سغدی23323006410.22059/jfava.2013.30064FAابوالقاسمدادوردانشیار دانشکده هنر، دانشگاه الزهراء،محمدمعین¬الدینیدانشجوی دکتری پژوهش¬هنر، دانشکده هنر، دانشگاه شاهدالهامعصارکاشانیدانشجوی دکتری پژوهش هنر، دانشکده هنر، دانشگاه الزهراءJournal Article19700101By regarding the rest of pictorial and written documents of Sassanid and Sogdian art – Sogdiana was one of the states under the supervision of Sassanid emperors at many different period - this research is going tosurvey the effects of Sassanid art on the Sogdian mural paintings; the statistic category of this research is 3 sample of Sassanid stone relief and Mural painting as well as 6 sample of Sogdian mural painting. The Methodology is description and analyses of paintings. The goal of this essay is the reconsideration of Sassanid artistic effects on the Sogdian mural paintings,GivenThe geographical location of the Sassanid Empire, Sogdiana was one of the important neighboring countries of Iran, and the cultural links between these two countries had many mutual effects on their cultures, as we can find its true samples on Sogdian paintings. the influence of Sassanid paintings on the use of color, form and decorative elements of clothing, elegant women's draw & ... can be seen in the Sogdian painting;Despite the strong influence of Sassanid art on sogdian paintings, there are many differences between them,for instance the Sassanid artpreferred the stylizations and symbolism on realistic representation, in the other hand Sogdians Sometimes painted their works realistically with moredetails.However, we usually find Sassanid illustrations on Reliefs, but the Sogdian artists prefer mural paintings;The Royal Commission Representation is dominated in Sassanid art, On the contrary,Sogdian painting dose not Focus onkings as much as Sassanid art, in fact folklores and every day themes as parties, hobbies and sports , religious and epics are the main subjects of their paintings.We can find some Sassanid art whichinfluences on Sogdian paintings such as: rhythmic drawing of women, details of customs with plant and animal designs, the crowns of kings, In addition we face withmasks, bells and using Yellow, Red Maroon, sky blue and black colors.in general the formal properties of Sassanid images in the case of visual space, using flat, sharp and diversified colors,omission of perspective, avoiding shadow of light, the absence of thespecified source of light, equal place and importance of human and nature, Simplified forms and ignoring the sequence of time and dimensions of Places as well as approach to linear mode,can be seen inSogdianpaintings.another influentialaspects on the Sogdian mural painting is the immigration of Manichianmen to the central Asia, which transmits the other aspects of Sassanid art traditions to sogdiana;But,despite all, the results of the studies of Sassanid and Sogdian paintings indicate that Sassanid empire as a grate regional power always had stronginfluenceson Sogdian paintings, thus in the case of paintings we see more of the influence of Sassanid art traditions on the Sogdian paintings, but Sogdian paintings have their own originality so it cannot be classified as a Sassanid art branches or any other countries at their neighbors. In fact, both Sassanid and Sogdiana keep their own visual values in their arts.این مقاله با توجه به آثار مکتوب و تصویری باقیمانده از هنر ساسانی و سغدی که در زمان امپراتوری ساسانی در دورههایی زیرمجموعه این پادشاهی بوده است ـ به بررسی تأثیرات هنر ساسانی بر دیوارنگارههای سغدی میپردازد؛ جامعه آماری مورد بررسی 3 نمونه از نقش -برجستهها و نقاشی دیواریهای ساسانی و 6 نمونه از نقاشی دیواریهای سغدی می باشد. روشتحقیق، توصیف و تحلیل نگارههاست و هدف بازشناسی تأثیرات نگارههای ساسانی بر دیوارنگارههای سغدی است، زیرا به اعتقاد بسیاری پژوهشگران نقاشی سغدی عامل انتقال ویژگیهای نگارههای ساسانی به نگارگری ایران پس از اسلام میباشد و نتیجه حاصل از آن نشان میدهد علیرغم موقعیت درخشان سغد، همواره تأثیرات هنری ساسانی در نقاشی سغدی تأثیر گذار بوده است، بیشتر تأثیرگذاری نگارههای ساسانی برنگارههای سغدی در ویژگیهای صوری نگارهها از نظر فضای تصویری، استفاده از رنگهای تخت و درخشان، و نادیده گرفتن توالی زمانی و ابعاد مکانی و رویکرد به شیوه خطی میباشد، لیکن نقاشی سغدی از اصالت خاص خود بهرهمند است و بنا به خاستگاه فرهنگی خویش همواره سعی درحفظ ارزشهای فرهنگی و هنری خود می نمودند. سغدیان در نقاشی های خود نه تنها از ساسانیان بلکه از فرهنگ های تصویری دیگر سرزمین ها مانند خوارزم، هند و یونان نیز تأثیر گرفته اند.https://jfava.ut.ac.ir/article_30064_aa5b4b5ce0114744c8b153968e1669d2.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603917420130219Effect Apart from Manicheans Surviving Painting Decorations on Qurans Decorated in Early Centuries of Islamic Imam Reza Quran Museumبررسی تأثیر تزیینات نگاره های بازمانده از مانویان در تزیین قرآن های قرون اولیه اسلامی موجود در موزه قرآن امام رضا (ع)33443006510.22059/jfava.2013.30065FAعلی اصغرشیرازیاستادیار گروه پژوهش هنر، دانشکده هنر، دانشگاه شاهدابوالفضلصادقپور فیروزآبادکارشناس ارشد پژوهش هنر، دانشکده هنر، دانشگاه شاهدJournal Article19700101Quran, the eternal Word of God and human capital, since the descent to the present and future generations of Muslims will always be special consideration. God's Word in a very short time, swept across borders and across wide territories adjacent to their building and conquered the hearts of patriots. This fascination with the Muslim holy book, owes much to the aesthetics of the Word of God. The scribes and the Muslim religion from the start tried to make manifest the beauty and meaning of the word in the Quran.After the rule of Islam, like other religions Manicheans in Iran for centuries had enjoyed relative freedom in the interaction with the new rulers were, And no doubt the new rule, the experience of new land uses, particularly Iran. Meanwhile, the Iranian Muslims were in the service of his art. Gradually, and was with the spread of Islam, tradition and fan decorated and illuminated Qur'an scribe impact of Iranian art, So that the fan decorated and illuminated work of art in the Islamic era in Iran, was exalted position. Should be said that Manichean thinking in creating works of art as a mystical approach to a particular artist in mind that the verses and the word Muslim and respect for the right time, and continuity. Homesickness in the material world and are thought to travel upward and purge himself of his earthly life, Manichaean teachings can be thought as a continuation of Islamic art, especially in art, decoration and illumination of the Holy Quran repeatedly observed. Graphic characteristics associated with the religious character of that idea at the heart of the artist is Manichean. The nature and characteristics of religion and religious art, art therapy and its transmission through the scribe of the Holy Quran, particularly widely seen in the decorating of Qur'anic manuscripts. The effects of pre-Islamic era in Iran, Manichaean art is his religious ideas and thoughts in the form of pictorial art and spread their propaganda. Although the group moved to the east of Iran, and also were flowing to the West, But in the Islamic era and the Islamic regimes in Iran and Iraq attended the date is confirmed. This study has tried to The effect of the Manichean image on the artistic decoration of deep communication and transmission of the Qur'an and its evolution in the course will examine later. The importance of this configuration sharing and discovery of art as affecting subsequent periods, And its evolution, it can also depend on cultural and historical roots of decorative elements in each period, And the continuing influence of this effect and body functions, we know the more effective is the artistic and cultural commonalities.The purpose of this research by visual features, decorative and applied arts as well as the type of Manichean, Quran in decorated manuscripts from first to sixth century AD The Museum of the Quran, Imam Reza (AS) is, In this Article, an adaptive joint elements are specified above. Methods This study is a descriptive - analytic approach to data collection and the library field.پس از حاکمیت اسلام، مانویان مانند سایر ادیان دیگر در ایران به مدت چندین قرن از آزادی نسبی برخوردار شدند که در تعامل با حاکمان جدید بودند، و بدون تردید حاکمیّت جدید، از تجربه های مختلف سرزمین های جدید بویژه ایران بهره می برد. در همین هنگام بود که ایرانیان هنر خود را در خدمت مسلمانان قرار دادند. به مرور و با گسترش اسلام، سنت و فن تزیین و تذهیب کتابت قرآن کریم به تأثیر از هنر گذشته ایرانیان، قرار گرفت، به طوری که فن تزیین و تذهیب کاری در ادوار اسلامی هنر ایران، مقامی والا یافت. این پژوهش سعی بر آن دارد تا با بررسی تأثیر نگارههای مانوی بر تزیینات قرآنی، ارتباطات عمیق هنری موجود و انتقال و تکامل آن در دورههای بعد را بررسی نماید. هدف این پژوهش، یافتن ویژگیهای تصویری، تزیینی و نیز نوع عناصر به کار رفت? هنر مانوی در تزیین نسخه های خطی قرآن کریم از قرن اول تا ششم هجری موجود در موزه قرآن امام رضا (ع) می باشد. روش این تحقیق به صورت توصیفی– تحلیلی و شیو? گردآوری اطلاعات به صورت کتابخانهای و میدانی است.https://jfava.ut.ac.ir/article_30065_0c9bea13115f948bdf46c8884b866923.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603917420130219Reflection and analyses of composed animals in Islamic pottery of Iranنقوشِ موجوداتِ ترکیبی در هنر سفالگری دوران اسلامی ایران45543006610.22059/jfava.2013.30066FAسیدهاشمحسینیاستادیار باستانشناسی و هنر دوران اسلامی، دانشکدة علوم انسانی پردیس نمین, دانشگاه محقق اردبیلیJournal Article19700101The decorative patterns of Islamic pottery have widespread diversity including floral, geometric, inscriptional, animals and human patterns. Beside these patterns, there is a group of composed animals including harpies, sphinxes, griffins etc that despite of their few presences, are among the most beautiful and most numinous patterns in Islamic pottery. This paper intend to survey different aspects of these patterns in Islamic pottery of Iran. Hitherto many theories have discussed about their resources and their concepts in Islamic art but none of them introduced documented examples. It’s obvious that identifying the different kinds of these patterns and their resources and their concepts in Islamic pottery of Iran can reply to these ambiguities. In this way, have selected several typical examples of pottery wares with composed animals patterns in some interior or foreign museums or collections, and after specifying the methods of making and decorating the potteries as well as identifying the most important periods of using these patterns, have analyzed the most important factors and concepts in their use. Towards the findings of paper we cannot name one factor as the unique factor for using these patterns, rather a complex of factors including certain and uncertain factors as Islamic mysticism, astronomic asterisms and pre Islamic myths of Iran have played role. Islamic mysticism has had the most important role in applying harpy shapes with meaning of ascension of human spirit from earth to heaven in the way of pantheism. Among pre Islamic myths of Iran, we can indicate to griffins that were used in different arts of Achamenian and Sassanid periods. However it sounds griffin’s patterns in Islamic pottery of Iran before Mongols has been ominous and after Mongols has been propitious pattern. Beside foresaid factors, we can name astronomic asterisms as an important factor in use of composed animals. Towards remained examples, the most common astronomic asterism is Leo although it has painted with human head. One of the helpful signs for identifying these astronomic asterisms is dark or brown dots on the patterns likely as stars constitute the asterism. Also these patterns often combined with floral patterns in the background that could be a propitious sign for the asterisms. Alongside these factors, some composed animals could relate to personification for artists contemporary fictions as well as fantastic creatures as bogey and elf. Peak of using these composed animals are 4-7th centuries after Hijrah coincide with Samanid to Mongols periods. An important point about composed animals is difference between depicting harpies and sphinxes patterns in before and after Islamic periods. Because in Islamic period, these patterns are depicted with affable and amiable faces in contrary with harsh and boisterous faces of pre Islamic examples. Another important point is that chine’s art has had none influence in existence of these patterns in Islamic pottery regardless the widespread influence in making and decorating techniques. Also just harpies have been painted under complete influence of Islamic resources.تحقیق پیشِ رو، به بررسی و تحلیل موجوداتِ ترکیبیِ هارپی، اسفنکس و گریفون در هنر سفالگری دوران اسلامی ایران میپردازد که علیرغم تعداد محدود، جزءِ زیباترین و اسرارآمیزترین نقوشِ سفالینههای اسلامی محسوب میشوند. مهمترین اهداف این تحقیق عبارتند از: شناخت مفاهیم و منشاءِ کاربرد نقوش مزبور بعلاوة قرون رواج و انواع سفالینههای حاوی آنها در هنر سفالگری دوران اسلامی ایران. لازم به ذکر است که تاکنون در رابطه با کاربرد این نقوش در هنرهای مختلف اسلامی، نظریههای گوناگونی مطرح شده است، اما اغلب آنها مصادیق مستدل و مستندی را در این زمینه ارائه نکردهاند. بدیهی است که اطلاعات مستخرج از نمونههای بکار رفته در هنر سفالگری دوران اسلامی ایران، میتواند تاحدود زیادی راهگشای بسیاری از ابهاماتِ موجود در این زمینه باشد. از همینرو، ابعاد مختلف تکنیکی و مفهومی کاربرد نقوش موجودات ترکیبیِ مزبور در تعدادی از سفالینههای دوران اسلامی ایران، بصورت مستند مورد بحث و تحلیل قرار گرفته است. بنابر مهمترین یافتة تحقیق، عامل واحدی را نمیتوان بعنوان تنها عاملِ کاربرد این نقوش ذکر کرد بلکه مجموعهای از عوامل و منابعِ شناخته و ناشناخته در کاربرد آنها دخیل بودهاند که مهمترین منابع شناخته شدة آنها مفاهیم بلندِ عرفان اسلامی در قالب انسان-پرنده، بعلاوة برخی صورتهای فلکی و اساطیر ایران باستان میباشد.https://jfava.ut.ac.ir/article_30066_fbd145b1027d8a60dd4573fc1c1e0d8c.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603917420130219Recognition of Similarities between Buddhist Architecture/Islamic Mausoleums and Bronze Incense Burners in Early Islamic Centuriesبازشناسی تشابهات معماری بودایی با مقابر و عودسوزهای مفرغیِ سده های آغازین اسلامی55663006710.22059/jfava.2013.30067FAعلیرضابهارلوکارشناس ارشد پژوهش هنر، دانشکده معماری و هنر، دانشگاه کاشانعباساکبریاستادیار دانشکده معماری و هنر، دانشگاه کاشانJournal Article19700101The study of the interactions among different religions’ related artworks is one of the most important evidences in comparative studies towards attaining new information and insights in the development of these works in different lands and countries. The extant samples of such studies indicate how artistic movements come into being and expand during the evolution of religions in societies and to what extent they can create new artistic qualities and quantities. In here great similarities, and similar forms and motifs of Buddhist architecture in compare to Islamic metal works, especially early centuries’ incense burners and also Islamic mausoleums, is one the abovementioned possible interactions to be discussed. The present article actually tries to recognize and introduce the possibility of the existence of such Buddhist related artistic elements by applying documental analysis method and representing evident samples and cases. The obtained results prove and clarify the fact that the applied elements in the body of these incense burners are taken and imitated from Buddhist symbols. Though the origin and source of motifs like lion, lotus, etc are much older and should be studied and followed in Iran pre-Islamic art, Achaemenids and Sasanians, which have inspired the Indian artists and artisans in some way or other, and imitated by them. We should also mention in here that the early metal incense burners, except in special cases, are containers composed of three main parts- body, lid, and feet. They are in terms of form and structure, the representative of Indian religious buildings (stupas) in some ways. Stupas are mound-like structures containing Buddhist relics, typically the remains of Buddha, used by Buddhists as a place of worship. It is a symbol of enlightened mind, (the awakened mind, universal divinity) and the path to its realization. The stupa represents the Buddha's body, his speech and his mind, but most especially his mind and every part shows the path to Enlightenment. The hemispherical form of the stupa appears to have derived from pre-Buddhist burial mounds in India. As most characteristically seen at Sanchi in the Great Stupa (2nd–1st century BC), the monument consists of a circular base supporting a massive solid dome (the anda, “egg,” or garbha, “womb”) from which projects an umbrella. The whole of the Great Stupa is encircled by a railing and four gateways, which are richly decorated with relief sculpture depicting Jataka tales, events in the life of the Buddha, and popular mythological figures. The early Islamic incense burners surmounted by a hemisphere dome, consist of a square body, elements and ornaments such as lotus, umbrella, etc which are all the common elements used in both stupas and the mentioned artworks. These metal objects-in the present article- were divided into six main groups according to their shapes, parts, and structure. Although it should not be neglected that the presence of such similarities go back to Iran pre-Islamic periods.مطالعه ی تعاملات متقابل آثار هنریِ مرتبط با آیین های مختلف، یکی از مهمترین مصادیق مطالعات تطبیقی جهت دستیابی به اطلاعات تازه در خصوص تکوین و تحول این آثار در سرزمین های مختلف است. مصادیق چنین مطالعاتی نشان می دهند که چگونه جریانهای هنری در پی تکوین و توسعه ی آیینها در جوامع، پدید آمده و گسترش مییابند و تا چه حد موجب کمیت و کیفیت های جدید هنری میگردند. تشابهات زیاد، فرم ها و نقوش معماری بودایی با آثار فلزی اسلامی، خصوصاً عودسوزهای سدههای آغازین و همچنین معماری مقابر اولیهی اسلامی، یکی از همین تعاملات متقابل است. مقالهی پیش رو کوشیده است تا به روش کتابخانهای و به شیوهی تاریخی-اسنادی و تحلیل محتوا و ارائهی نمونههایی مستند، و همچنین با بازشناسی این عناصر و مصادیق آن، احتمال وجود نمونههایی از تأثیرات عناصر هنری وابسته به آیین بودا را بر روی هنر مناطق اسلامی، شناسایی و معرفی نماید. حاصل این بررسی، روشن کنندهی این حقیقت است که عناصر به کار رفته در بدنهی این عودسوزها تا حد زیادی برگرفته از نمادهای بودایی است. البته ریشهی نقوشی همچون شیر، گل لوتوس و ... را باید در هنر پیش از اسلام (هخامنشی و ساسانی) که به نحوی از انحا مورد تقلید هند واقع شده است جست.https://jfava.ut.ac.ir/article_30067_a42d6b1fdd6d563858183f56e7bc15ab.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603917420130219Investigation of Brick Ended Plugs
Considering Yazd Jame Mosqueپژوهشی بر توپی های گچی ته آجری با رویکرد به مسجد جامع یزد67743006810.22059/jfava.2013.30068FAحمیدبهداددانشجوی کارشناسی ارشد نقاشی، دانشگاه آزاد اسلامیبهنامجلالی جعفریعضوهیئت علمی دانشکده هنر و معماری، دانشگاه علم و فرهنگJournal Article19700101Yazd Jame Mosque can be named as the most brilliant building of this city. Ancientness of this mosque refers to before Islam time and it was witness of many changes proportional to its time.The decorations were always one of the Iran architecture principle and are in very special important in evaluating it.We encounter with various decorations during investigating Yazd Jame mosque like other buildings of Islamic era, such as brick ended plugs.Plugs are among those decorations which are considered less as independent decoration created by the researchers and it has been considered mixing plaster and brick working.While the method of work, variety and simple designs applied in it can make the plug significant as a decorative independent element with special visual specifications.The plug is actually pointing among the bricks and it is created by the brick and plaster and it has been applied in brick arrangement inside internal space of some Islamic buildings and it is also used for coating all surfaces and/or some determined part of building. This type of decoration made the wall surface various and covered the uneven hammered bricks; in addition protected the mortar between two bricks and white plaster intensified the environment light.the method of performance was such this way that the vertical lines of brick wall was selected wider and/or some section of brick was cut along vertical lines and bricks surfaces and their spaces were coated with plaster mortar or its compound such as plaster and soil and/or plaster and lime.This type of decoration became usual in Iran since Seljuk era and it reached its peak during Mongol era with more prevalent. Type of materials, shape variety and plugs operation methods are among the questions which excite every addressee’s mind and general aim of this article is to find an answer for these questions. In this thesis, after some examinations about plug array as a independent decorative element, the background of this array has been studied in Iran architectural decorations and also its formed materials. Then, the ancientness of Yazd Jame mosque was studied as a research pattern , and location of plug in the mosque, the proportion of this decoration and its location in this building and the engraved designs on the plugs also have been studied as a visual element effective on space.The engraved designs in this plaster layer include various types of simple geometric designs, floral designs, blessing sentences and holy names of Allah, Ali and Mohammad that some times they have created the designs like cruciform images in wider extent, mixing the designs. Since the engraved designs on the plugs of Jame mosque can be considered as their most distinct features, in this paper, they have been studied from both conceptual and visual aspects. Therefore, after explanation of place of designs on the plugs of Jame mosque and type of artist’s view and aim in creating them, image quality of designs by aid of presenting the picture and schematic designing were classified and studied, emphasizing on their variety.مسجد جامع یزد را می توان درخشان ترین بنای این شهر نامید.?این مسجد تغییرات زیادی را در طول تاریخ، متناسب با زمان خود شاهد بوده است. در بررسی این مسجد مانند دیگر بناهای اسلامی با تزیینات متنوعی روبرو هستیم، از جمله توپی گچی ته آجری. توپی ها از آن دسته تزییناتی هستند که از ترکیب گچ وآجر بوجود میآیند و همراه با آجر چینی فضای داخلی بناهای اسلامی، به ویژه دوره سلجوقی و ایلخانی بکار میرفته اند.?جنس مصالح، تنوع نقش و شیوه اجرای توپی ها، از جمله سوالاتی هستند که در نگاه اول ذهنیت هر مخاطبی را بر می انگیزند و هدف کلی این مقاله یافتن پاسخی بر این سوالات می باشد. در این مقاله تلاش شده است پس از برشمردن سابقه تاریخی، پیشینه و روش اجرای توپی در بناهای اسلامی به عنوان آرایه ای مستقل از تزئیناتی همچون گچبری و آجرکاری، ویژگی های تزئینی و تصویری این نوع تزئین در مسجد جامع یزد نیز مورد مطالعه قرار گیرد.در این بین، مواد بکار رفته در توپی ها، تناسب این نوع تزیین با محل اجرای آنها در این بنا و جایگاه نقوش حک شده بر آنها به عنوان عامل بصری تأثیرگذار، هم از نظر مفهومی و هم از نظر بصری در قالب تصویر، مورد بررسی قرار گرفته است.https://jfava.ut.ac.ir/article_30068_1e739f2bbda2a8eca9cf8eac38cc17c9.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603917420130219Designing the Bicycle Rental System for Kish Island By applying User-Centered Design (UCD) approachطراحی سیستم کرایهی دوچرخه برای جزیره کیش با رویکرد کاربر محور75823006910.22059/jfava.2013.30069FAنداباطنی پورکارشناس ارشد طراحی صنعتی، پردیس بین¬المللی کیش، دانشگاه تهرانیاسمنخدادادهدانشیار گروه طراحی صنعتی، دانشکده هنرهای تجسمی، پردیس هنرهای زیبا، دانشگاه تهراننازنینمحمد¬پورکارشناس ارشد طراحی صنعتی، دانشکده هنرهای تجسمی، پردیس هنرهای زیبا، دانشگاه تهرانJournal Article19700101Bicycle riding is one of the attractions in Kish Island that is known as an entertainment and enjoyable sport. Moreover, it is beneficial to the environmental goals and tourism industry. For this aim, the bicycle rental system is provided by nineteen bicycle stations that have been distributed all around the island by Kish Free Zone Organization; also, to spread the bike riding culture and increase the required safety for cyclists, the 51 km bike lane has been established along the beach. Mostly, the bicycle rental system in Kish is used by tourists who need to rent bicycles from one of the bicycle rental stations. Despite the attractions of this rental bicycle system, there are lots of weaknesses and shortcomings which have led to users' dissatisfaction. So, it seems that the available system needs to be improved. In the design of current system, some factors haven't been considered, such as corporate identity, visual attraction, functional connection, and practical rental service; also, safety of the system for users and bicycles, and suitability of the applied materials in stations' structure haven't been considered plentifully. To improve the available system, including rental service, and bicycle rack, this study was carried out. For encouraging people to use the rental system and improving the bike riding culture, new concept should satisfy users' needs and wants. Furthermore, the abilities of users and limitations of the context should be considered in generating new concepts. For this aim, User-Centered Design (UCD) was chosen as the approach of this study. During the study, Kansei Engineering method was employed to obtain the design parameters. Forty people were asked to explain their expectations of the system. One hundred and ten Kansei Words were collected and reduced to twenty one words by employing Seven Point Scale Rating Questionnaire. According to their affinity, the words were categorized and four Higher-level Kansei Words, including Attractiveness, Comfort, Safety, and Durability were defined. For obtaining the system's properties, a benchmark table was prepared and for identifying the design database, the trend board of users was created. By analyzing and evaluating the images of this trend board the most user-friendly colors, forms, and textures were found and gathered as the design pallet. Regarding the Kansei Words, collected properties and design database (pallet), several concepts were generated for both bicycle rack and rental service. Finally, one concept was developed. The new rental system was evaluated by Kansei Engineering method. Thirty users were selected to evaluate the new rental system in a showroom. For this aim the model of the new bicycle rack and storyboards of interacting with new rental system were presented in the showroom. In this evaluation, the participants were asked to evaluate the Higher-level Kansei words in the new concepts by Seven Point Scale Rating Questionnaire. The results showed how much the relationship between the Higher-level Kansei Words and the attributes of the new rental bicycle system is strong in users' opinion. Due to the users' satisfaction, it was concluded that the new concept could meet its users' expectations.دوچرخهسواری به عنوان ورزشی مفرح و سازگار با محیط زیست، یکی از جذابیتهای گردشگری در جزیره کیش میباشد. بدین منظور، ایستگاههای کرایهی دوچرخه در سطح جزیره، احداث شدهاند. هرچند استفاده از خدمات این ایستگاهها، توسط بسیاری از گردشگران و ساکنان جزیره کیش، تجربه شده است، اما طراحی سیستم موجود اشکالاتی دارد که گویای عدم تطبیق آن با نیازها و خواستههای کاربرانش میباشد. در این مقاله، پارامترهای جدیدی جهت طراحی مجدد سیستم کرایهی دوچرخه در جزیره کیش بدست آمد و سیستم جدیدی بر اساس این پارامترها، پیشنهاد شد. جهت انجام مطالعه، رویکرد کاربر محور و روش مهندسی کانسی بکار گرفته شد. با انجام مصاحبه با 40 نفر از کاربران و با استفاده از منابع مختلف، 110 واژهی کانسی بدست آمد. با بکارگیری مقیاس ارزشیابی هفتتایی تعداد واژگان به 21 واژهی کانسی و در نهایت 4 واژهی نماینده، کاهش پیدا کرد. جهت بدست آوردن ویژگیهای کمی سیستم و پارامترهای طراحی، جدول نمونههای موجود در بازار و پوسترِ علایق و سلایق جمعآوری شدند. سپس، به ایدهپردازی پرداخته شد؛ از بین ایدهها، یک ایده توسعه داده شد و توسط 30 نفر از کاربران مورد ارزیابی قرار گرفت. نتایج بدست آمده نشان دادند که سیستم پیشنهادی توانسته است تا حد بالایی انتظارات استفادهکنندگان را برآورده سازد.https://jfava.ut.ac.ir/article_30069_c457eb6559fa5266fe1c18886bdb86d9.pdf