University Of Tehran Press Journal of Fine Arts: Visual Arts 2228-6039 19 2 2014 07 23 From Prohibition of Portraiture to Naked Pictography* A Brief Review of the Evolution of Human Figure Representation in the History of Art especially Iran From Prohibition of Portraiture to Naked Pictography* A Brief Review of the Evolution of Human Figure Representation in the History of Art especially Iran 5 16 51435 10.22059/jfava.2014.51435 FA Mina Mohammadi Vakil Ph.D. Student of Art Research, College of Fine Arts, University of Tehran, Tehran, Iran 0000-0002-4817-569X Hasan Bolkhari Associate Professor of Advanced Studies of Art, College of Fine Arts, University of Tehran, Tehran, Iran 0000-0002-7927-5116 Journal Article 2014 08 30 Abstract Throughout history, art in its many existing applications has been a receptacle for the expression of religious believes and rituals. The various religions’ approach, since the most ancient ages of human civilization, has been one of portraiture and human figure representation has sometimes been regarded as instruments of propaganda of religion and at times inhibiting. The perceptions of various religions of human figure, which sometimes appear as symbol of divine portraiture and sometimes as indecent because of man’s sinful and self-exhibitory presentation brings the discussion of human figurative art to the center of attention. From prehistoric to contemporary art the subject of human image is in the center of attention. Sometimes like in the art of cave dwellers, Akhenaton age imagery in Egypt, Buddhism, Judaism, Islam and the Byzantine iconoclasm movement, the human iconography is forbidden. In some ages and religions, like in ancient Greece, ancient India, Vishnu worshipping rituals, and the age of Renaissance, the representation of naked human figure freely becomes the subject of art. The union of art and religion in the world of tradition is deep and lasting and sometimes stellar but this seemingly unbreakable connection began to come apart by the emergence of new social forces in the age of Renaissance and brought about a free and independent form in the arts. The representation of naked human figure that in some ancient traditional cultures bore holiness and mystery was replaced by self-exhibitory manifestation of human figure that reflected the self-centeredness of mankind in the Renaissance and his freedom from divinity. In this article, after a study of different religions and cultures approach on human iconography, contrariety and contradiction in the meaning of naked imagery and the dichotomy in the implication of this concept from the viewpoint of terminology will be reviewed with mention of different types of nude imagery in history and culture. After the study of nude pictures by a closer look at Iranian art the change in the Qajar era artist’s approach to human pictures will be closely reviewed. Although, prior to this period traditionally the human dignity was always posed as an element spiritual element in painting but due to new humanist teachings the modern Qajari artist found a chance to portray a different form of human; a human who with belief in his supremacy remained in the center of the universe. The passage from semi-idealistic semi-realistic portraits of Fath Ali Shah to completely naturalistic pictures of the Nasseri era followed by nude pictures with epicurean approach was the product of the advancement and perfection of this concept. The Iranian reading of western humanism changes the position of man while rubbing off its idealism brought the materialistic aspects of human life to the center of attention. Spiritual concepts and artistic sacredness changed to materialistic and humanistic tendencies. This process brought in new subjects such as nude painting in the Qajar art. Abstract Throughout history, art in its many existing applications has been a receptacle for the expression of religious believes and rituals. The various religions’ approach, since the most ancient ages of human civilization, has been one of portraiture and human figure representation has sometimes been regarded as instruments of propaganda of religion and at times inhibiting. The perceptions of various religions of human figure, which sometimes appear as symbol of divine portraiture and sometimes as indecent because of man’s sinful and self-exhibitory presentation brings the discussion of human figurative art to the center of attention. From prehistoric to contemporary art the subject of human image is in the center of attention. Sometimes like in the art of cave dwellers, Akhenaton age imagery in Egypt, Buddhism, Judaism, Islam and the Byzantine iconoclasm movement, the human iconography is forbidden. In some ages and religions, like in ancient Greece, ancient India, Vishnu worshipping rituals, and the age of Renaissance, the representation of naked human figure freely becomes the subject of art. The union of art and religion in the world of tradition is deep and lasting and sometimes stellar but this seemingly unbreakable connection began to come apart by the emergence of new social forces in the age of Renaissance and brought about a free and independent form in the arts. The representation of naked human figure that in some ancient traditional cultures bore holiness and mystery was replaced by self-exhibitory manifestation of human figure that reflected the self-centeredness of mankind in the Renaissance and his freedom from divinity. In this article, after a study of different religions and cultures approach on human iconography, contrariety and contradiction in the meaning of naked imagery and the dichotomy in the implication of this concept from the viewpoint of terminology will be reviewed with mention of different types of nude imagery in history and culture. After the study of nude pictures by a closer look at Iranian art the change in the Qajar era artist’s approach to human pictures will be closely reviewed. Although, prior to this period traditionally the human dignity was always posed as an element spiritual element in painting but due to new humanist teachings the modern Qajari artist found a chance to portray a different form of human; a human who with belief in his supremacy remained in the center of the universe. The passage from semi-idealistic semi-realistic portraits of Fath Ali Shah to completely naturalistic pictures of the Nasseri era followed by nude pictures with epicurean approach was the product of the advancement and perfection of this concept. The Iranian reading of western humanism changes the position of man while rubbing off its idealism brought the materialistic aspects of human life to the center of attention. Spiritual concepts and artistic sacredness changed to materialistic and humanistic tendencies. This process brought in new subjects such as nude painting in the Qajar art.

https://jfava.ut.ac.ir/article_51435_4eec63d480e1dfd1f4c93200fdc343e7.pdf

University Of Tehran Press Journal of Fine Arts: Visual Arts 2228-6039 19 2 2014 07 23 Research on Men’s Motifs in Elam Civilization: From Early Days of the Third Millennium to the Middle of the First Millennium B.C Research on Men’s Motifs in Elam Civilization: From Early Days of the Third Millennium to the Middle of the First Millennium B.C 17 26 51436 10.22059/jfava.2014.51436 FA Abolghasem Dadvar Associate Professor, Faculty of Art, Al-Zahra University, Tehran, Iran. 0000-0001-9869-9283 Ali Sadeghi Taheri M.A Student of Islamic Arts, Faculty of Architecture and Art, Kashan University, Kashan, Iran Journal Article 2014 08 30 The remaining artworks from different periods and places in Iran show the beliefs, customs, traditions and life in that times and places. Using men’s motifs has been prevalent in the remained works of different civilizations and historical periods since the most ancient times. One of the most important and oldest civilizations of the Iran plateau is Elam. Elam was an ancient civilization centered in the far west and southwest of modern day Iran, stretching from the lowlands of what is now Khuzestan and Ilam Province, as well as a part of Fars and Lorestan province. Elam is an artificial construct, a name coined by Mesopotamian residents to describe regions of highland southwest Iran and its people. The Elamites called their country Haltamti, Sumerian Elam, Akkadian Elamu. Large and small human sculptures made from different materials and human images on dishes and other things in Elam civilization shows that how much importance Elamit people attach to themselves. In fact the human motifs are the most important pictorial sources in order to identify Elamit culture. This research, which has been done in a historical-descriptive way, and by using written materials, investigates the human motifs specially men’s images in Elam civilization. The civilization is well-known among researchers for its special attention to women, so we are going to give more information about Elamit people’s social and cultural situation by investigating more men’s images. The purpose of the research is to investigate and study men’s motifs which can explain more about the Elamit men’s role and position. Motifs such as their hair and shaving styles, their hats and clothes and the kinds of men’s sculpture presentations which has been repeated in Elamit works , has been investigated using pictorial sources. We paid a special attention to men’s features in motifs that can explain men’s position in Elam civilization and describe the differences between men and women in Elamit society .this research shows that despite the fact that Elam has been influenced by Mesopotamia civilization, it has different features in its men’s images. Elam emphasis on the difference between men and women position in the society is evidently observable in their works. In spite of the great importance that they attach to women, they keep men’s position in cultural, social and political affairs and this is what human being has been looking for in different civilizations during the history. The history and archaeology of Elam are marked by the intermittent reconfiguration of the entity which we call by that name but we can see Elamite art works from early days of the third millennium to the middle of the first millennium B.C Elam despite influence of neighboring cultures and civilizations has distinct characteristics in culture and civilization. We can see these characteristics by study of their architecture, sculpture and reliefs. In this article beard, hair, clothes, hats, and position of Elamite mans were studied. The remaining artworks from different periods and places in Iran show the beliefs, customs, traditions and life in that times and places. Using men’s motifs has been prevalent in the remained works of different civilizations and historical periods since the most ancient times. One of the most important and oldest civilizations of the Iran plateau is Elam. Elam was an ancient civilization centered in the far west and southwest of modern day Iran, stretching from the lowlands of what is now Khuzestan and Ilam Province, as well as a part of Fars and Lorestan province. Elam is an artificial construct, a name coined by Mesopotamian residents to describe regions of highland southwest Iran and its people. The Elamites called their country Haltamti, Sumerian Elam, Akkadian Elamu. Large and small human sculptures made from different materials and human images on dishes and other things in Elam civilization shows that how much importance Elamit people attach to themselves. In fact the human motifs are the most important pictorial sources in order to identify Elamit culture. This research, which has been done in a historical-descriptive way, and by using written materials, investigates the human motifs specially men’s images in Elam civilization. The civilization is well-known among researchers for its special attention to women, so we are going to give more information about Elamit people’s social and cultural situation by investigating more men’s images. The purpose of the research is to investigate and study men’s motifs which can explain more about the Elamit men’s role and position. Motifs such as their hair and shaving styles, their hats and clothes and the kinds of men’s sculpture presentations which has been repeated in Elamit works , has been investigated using pictorial sources. We paid a special attention to men’s features in motifs that can explain men’s position in Elam civilization and describe the differences between men and women in Elamit society .this research shows that despite the fact that Elam has been influenced by Mesopotamia civilization, it has different features in its men’s images. Elam emphasis on the difference between men and women position in the society is evidently observable in their works. In spite of the great importance that they attach to women, they keep men’s position in cultural, social and political affairs and this is what human being has been looking for in different civilizations during the history. The history and archaeology of Elam are marked by the intermittent reconfiguration of the entity which we call by that name but we can see Elamite art works from early days of the third millennium to the middle of the first millennium B.C Elam despite influence of neighboring cultures and civilizations has distinct characteristics in culture and civilization. We can see these characteristics by study of their architecture, sculpture and reliefs. In this article beard, hair, clothes, hats, and position of Elamite mans were studied.

https://jfava.ut.ac.ir/article_51436_dec6acdc3905891e7ef9655bd6a43148.pdf

University Of Tehran Press Journal of Fine Arts: Visual Arts 2228-6039 19 2 2014 07 23 The Analytical Investigation of Qajarian Reliefs in Taq-i-Bustan Collection, Kermanshah* The Analytical Investigation of Qajarian Reliefs in Taq-i-Bustan Collection, Kermanshah* 27 36 51437 10.22059/jfava.2014.51437 FA Mohammad Mortezaei 1Assistant Professor, Iranian Center for Archaeological Research (ICAR), Tehran, Iran Maryam Dehqan MA Graduated, Department of Archaeology, Faculty of Literature, University of Tehran, Tehran, Iran Ydolah Heydari Babakamal PhD Student, Department of Archaeology, Faculty of Art and Architecture, Bu Ali Sina University, Hamadan, Iran. 0000-0002-1682-7104 Journal Article 2014 08 30 Abstract Reliefs are one the most important archaeological evidences to elucidate vague facts of previous cultures. This tradition has a long history in Iran`s culture that revitalized in Qajarians in different parts of Iran, there are forty seven reliefs with engraved decoration in stone collection of Taq-i-Bustan, too. So far, no report or newsletter about Qajarian reliefs in Taq-i-Bustan collection has been published. As such, this research is the first attempt to introduce it. The goal of the research is to identify the reliefs and their formation process. this collection which is detected and seized by intelligence ministry of Kermanshah when it was being taken out of the country at the middle of 1370s, seems to be acquired from a construction out of Kermanshah and not to be related to Qajarian construction in Kermanshah.The authors couldn’t find any clues about the main origin of the reliefs construction in filing center or documents in Taq-i-Bustan museum. However, etched impressions of this collection are similar to tiles in Eram garden, Qavam house, Atrvash house in shiraz, or patterns in Chaleshtorcastles (Kodarahm Khan and Sotudeh House), Shalamzar, Shams Abadand Dezak castle in ChaharMahal and Bakhtiari province. The pictures on these reliefs are generally showing party scenes, celebrations, courtier festivities to which most of the collection has been devoted to, regal hunting on hunting ground, that the majority of them have been affected by ancient carvings, especially from Sassanian hunting motifs and silver medallions. In addition, a similar example of such motifs could be seen on both sides of the big arch of Taq -i - Bustan relating to Sassanid era. Moreover, Portrait of soldiers with arms in hand, generally, stand among the flowers and plant, bird and flowered motifs have composed the other painting of this collection. The most important questions of this research are: what are artistic effective patterns in creation of the reliefs of Kermanshah stone museum? And how could we recognize and explain them? What are our reasons on reliefs` creation? The results of this study showed that reliefs are more created during the Qajar dynasty than any other periods after Islam. Also, in Islamic period for the first time the king or courtier motifs has been exposed in a large scale as relief. Base on the results of the study, It could be concluded that Qajarian kings have been influenced by safavian, ancient Iran and western art. goals of Qajarian kings to create relief were: Assimilation of ancient Iran`s emperor, representation of a great dynasty in order to extent the influence and power of the kings among the common people, Qajarian multiple defeats against Russia and Britain`s government and their effort to retrieve their status among people, advertising kings’ constructions and services. Furthermore, based on comparative studies of reliefs, this collection probably relates to an aristocratic building in Shiraz or its district, and it has probably constructed in Fathalishah`s time. We used comparative studies and firsthand sources of Qajar`s period in order to clear entity, the main position and the artistic process which have had influence on them Abstract Reliefs are one the most important archaeological evidences to elucidate vague facts of previous cultures. This tradition has a long history in Iran`s culture that revitalized in Qajarians in different parts of Iran, there are forty seven reliefs with engraved decoration in stone collection of Taq-i-Bustan, too. So far, no report or newsletter about Qajarian reliefs in Taq-i-Bustan collection has been published. As such, this research is the first attempt to introduce it. The goal of the research is to identify the reliefs and their formation process. this collection which is detected and seized by intelligence ministry of Kermanshah when it was being taken out of the country at the middle of 1370s, seems to be acquired from a construction out of Kermanshah and not to be related to Qajarian construction in Kermanshah.The authors couldn’t find any clues about the main origin of the reliefs construction in filing center or documents in Taq-i-Bustan museum. However, etched impressions of this collection are similar to tiles in Eram garden, Qavam house, Atrvash house in shiraz, or patterns in Chaleshtorcastles (Kodarahm Khan and Sotudeh House), Shalamzar, Shams Abadand Dezak castle in ChaharMahal and Bakhtiari province. The pictures on these reliefs are generally showing party scenes, celebrations, courtier festivities to which most of the collection has been devoted to, regal hunting on hunting ground, that the majority of them have been affected by ancient carvings, especially from Sassanian hunting motifs and silver medallions. In addition, a similar example of such motifs could be seen on both sides of the big arch of Taq -i - Bustan relating to Sassanid era. Moreover, Portrait of soldiers with arms in hand, generally, stand among the flowers and plant, bird and flowered motifs have composed the other painting of this collection. The most important questions of this research are: what are artistic effective patterns in creation of the reliefs of Kermanshah stone museum? And how could we recognize and explain them? What are our reasons on reliefs` creation? The results of this study showed that reliefs are more created during the Qajar dynasty than any other periods after Islam. Also, in Islamic period for the first time the king or courtier motifs has been exposed in a large scale as relief. Base on the results of the study, It could be concluded that Qajarian kings have been influenced by safavian, ancient Iran and western art. goals of Qajarian kings to create relief were: Assimilation of ancient Iran`s emperor, representation of a great dynasty in order to extent the influence and power of the kings among the common people, Qajarian multiple defeats against Russia and Britain`s government and their effort to retrieve their status among people, advertising kings’ constructions and services. Furthermore, based on comparative studies of reliefs, this collection probably relates to an aristocratic building in Shiraz or its district, and it has probably constructed in Fathalishah`s time. We used comparative studies and firsthand sources of Qajar`s period in order to clear entity, the main position and the artistic process which have had influence on them

https://jfava.ut.ac.ir/article_51437_0976c4c36e094ea21d819ee3b2258033.pdf

University Of Tehran Press Journal of Fine Arts: Visual Arts 2228-6039 19 2 2014 07 23 Recognition Study of Materials and Techniques Construction Decorative Sassanian Mosaics (Bishapour Palace) Recognition Study of Materials and Techniques Construction Decorative Sassanian Mosaics (Bishapour Palace) 37 48 51438 10.22059/jfava.2014.51438 FA Ali Reza Bahreman Members of Scientific Board in Research Center for Conservation of Cultural Relic, Iranian Cultural Heritage and Tourism Organization, Tehran, Iran. Journal Article 2014 08 30 Abstract The mosaic art as a decorative element in buildings enjoys several thousand years of age in Egypt, Mesopotamia, Greece, Rome and Byzantium and is widely usedbut technically speaking, the earliest mosaic forms have poorly made. They were made by insertion of fruit cores or broken pottery pieces in the wet mud mortar of walls. Later, the art evolved rapidly and extensively used for architectural decoration, especially in the Greek and Roman civilizations. Mosaic Art, reached its zenith in Byzantine period. In the ancient Iranian architecture, mosaic art has been rarely used in buildings, and the only discovered one is in the Bishapūr Palace dating back to the Sasanian Empire. In 1935, Professor Ghirshman discovered a piece of decorative mosaic on the floor of Bishapūr Palace. They was made of small pieces of colored stones. The mosaics images include portraits of Sasanian princes or dancing and or musician women. This research is a laboratory study for identification of materials and technique that was employed in making of Bishapūr mosaics. It also compared the techniques and materials of Bishapūr mosaic with the Roman mosaic art. Laboratory results obtained from this study and at the same time, the identified materials and technique of the Sasanian mosaics were compared with the similar Roman ones. At the beginning, the site where the mosaics were unearthed in Bishapūr was studied. And at site, we sampled from the remaining pieces of stone mosaics as well as mortar of the mosaics. Samples were studied and tested through petrography and SEM analysis. The result of petrography and SEM analysis showed that the mortar used in mosaics of Bishapūr, is lime mortar. Lime mortar was used in making mosaics because they were laid down in the yard and open space. The very same mortar has been used for outdoor spaces (including bathroom and yard) in mosaic works in Greece and Rome. However, Iranian architects were highly skilled in making lime mortars it was widely used in construction of bridges. In addition, these tastes revealed that the stones used for Bishapūr mosaic are limestone. Consequently, the study findings proved that materials used in Bishapūr mosaics are similar to the Roman mosaics. it is noteworthy that the designs of Bishapūr mosaics are completely rooted in the Iranian painting design. Hence, perhaps mosaics were made in Bishapūr through Roman techniques by the Iranian artisans. As we can see similar depictions on Sasanian silver mares (including Raytheon and dishes) There exists another theory that the mosaic makers were Roman as such mosaics were disappeared in later periods due to return to their homeland These tasting also showed that the type of mosaic stones is limestone. The study results showed that material used in Bishapour mosaic is the similar to the Rome mosaic. But the designs of Bishapur mosaics are completely Iranian painting design, Because Most of them, special women pictures, are same the picture of silver object from Sassanid period that some of that show in this article. finally, With result of this studies, is the possibility to Reconstruction of mosaic with technique of Sassanid Abstract The mosaic art as a decorative element in buildings enjoys several thousand years of age in Egypt, Mesopotamia, Greece, Rome and Byzantium and is widely usedbut technically speaking, the earliest mosaic forms have poorly made. They were made by insertion of fruit cores or broken pottery pieces in the wet mud mortar of walls. Later, the art evolved rapidly and extensively used for architectural decoration, especially in the Greek and Roman civilizations. Mosaic Art, reached its zenith in Byzantine period. In the ancient Iranian architecture, mosaic art has been rarely used in buildings, and the only discovered one is in the Bishapūr Palace dating back to the Sasanian Empire. In 1935, Professor Ghirshman discovered a piece of decorative mosaic on the floor of Bishapūr Palace. They was made of small pieces of colored stones. The mosaics images include portraits of Sasanian princes or dancing and or musician women. This research is a laboratory study for identification of materials and technique that was employed in making of Bishapūr mosaics. It also compared the techniques and materials of Bishapūr mosaic with the Roman mosaic art. Laboratory results obtained from this study and at the same time, the identified materials and technique of the Sasanian mosaics were compared with the similar Roman ones. At the beginning, the site where the mosaics were unearthed in Bishapūr was studied. And at site, we sampled from the remaining pieces of stone mosaics as well as mortar of the mosaics. Samples were studied and tested through petrography and SEM analysis. The result of petrography and SEM analysis showed that the mortar used in mosaics of Bishapūr, is lime mortar. Lime mortar was used in making mosaics because they were laid down in the yard and open space. The very same mortar has been used for outdoor spaces (including bathroom and yard) in mosaic works in Greece and Rome. However, Iranian architects were highly skilled in making lime mortars it was widely used in construction of bridges. In addition, these tastes revealed that the stones used for Bishapūr mosaic are limestone. Consequently, the study findings proved that materials used in Bishapūr mosaics are similar to the Roman mosaics. it is noteworthy that the designs of Bishapūr mosaics are completely rooted in the Iranian painting design. Hence, perhaps mosaics were made in Bishapūr through Roman techniques by the Iranian artisans. As we can see similar depictions on Sasanian silver mares (including Raytheon and dishes) There exists another theory that the mosaic makers were Roman as such mosaics were disappeared in later periods due to return to their homeland These tasting also showed that the type of mosaic stones is limestone. The study results showed that material used in Bishapour mosaic is the similar to the Rome mosaic. But the designs of Bishapur mosaics are completely Iranian painting design, Because Most of them, special women pictures, are same the picture of silver object from Sassanid period that some of that show in this article. finally, With result of this studies, is the possibility to Reconstruction of mosaic with technique of Sassanid

https://jfava.ut.ac.ir/article_51438_bb1a46b2b16238f66c31e19f78b79247.pdf

University Of Tehran Press Journal of Fine Arts: Visual Arts 2228-6039 19 2 2014 07 23 Sefidchah, An Image Beyond of a Cemetery Recognition and Study on themes and Visual Motifs of Sefidchah`s Cemetery Sefidchah, An Image Beyond of a Cemetery Recognition and Study on themes and Visual Motifs of Sefidchah`s Cemetery 49 56 51439 10.22059/jfava.2014.51439 FA Roja Alinezhad MA in Graphic, Lecturer at Tabari University of Babol, Babol, Iran. Journal Article 2014 08 30 (Received 4 Jan 2014, Accepted 2 Mar 2014) Abstract Mazandaran, the northern province of Iran, as an area with a different climate and political situation in their own special place has been allocated with itself in the history of this land. Researchers familiar with the history, culture and art of ancient civilizations, have Known this place a good platform for own exploring and searching. The study and survey manifest and covert quality of historical places such as ancient cemeteries In order to further understanding of the universe is important, for such researchers and Interested who are active in this field. Sefidchah is the title of cemetery filled with wondrous patterns and symbols has changed this cemetery from the place for keeping the corpse to historic treasures. the patterns are carved on rocks in different periods very simple devoid of any deception have been depicted, in different kinds such as: Practical tools, Animal motifs, vegetal, Geometric, Symbolic, Calligraphy and Human motifs, traveling in lines path of each of these motifs has track of thoughts, Beliefs and opinions of own region people. Due to the structure, kind of images and also special atmosphere dominate at this historic area and also a specific approach to this faces, Has provided, base of creation this research in order to Introduction and keeping more this eternal heritage. The research method of this study is the kind of research of descriptive- analytical and data gathering .This present writing probe the visual contents and common motifs in tombstones and with introducing some of the most important trying to discover the meaning and concepts of living in a period of history. Study and Knowledge from this pattern and visual and spiritual perception path in order to had been achieved the artistic, cultural, social values, insights and thoughts of the people of the region and own outcome acquaintance whit the human history and civilization and even achieving to own recognition. Unfortunately, experts have been considered Slightly the place with this width and extend of motifs, totally cases such as Cemetery and Gravestone is debated slightly that such as could pointed to article(A Study of the Islamic Stone Works in Tabriz Armenians Cemetery)( Mohamadbagher Kabirsaber, 2013),(Pir-e Morad Shrine, the Cultural-Religious Perspective of Baneh City)( Farnoosh Mokhles, Ahmad Ali Farzin, Shohre Javadi, 2013) published in The Scientific Journal of NAZAR Research Center, and also article (semiology of Shiraz Darol salaam cemetery gravestone motifs) (published in Ketabmah-Art, 2010)that the last case has discussed and explored about motifs on gravestone in large-scale. the other extend case that in this field, the research of Mrs Shahrbanoo Vafaei, 2002 has tried to study of Sefidchah`s Cemetery that needs attention to different organizations in order to extended published more and more. Difference between this research and Mentioned example was most attention with the visual contents and artistic attitude and try to introduce historical places in order to keep visual rich Inheritance, justify present research need. (Received 4 Jan 2014, Accepted 2 Mar 2014) Abstract Mazandaran, the northern province of Iran, as an area with a different climate and political situation in their own special place has been allocated with itself in the history of this land. Researchers familiar with the history, culture and art of ancient civilizations, have Known this place a good platform for own exploring and searching. The study and survey manifest and covert quality of historical places such as ancient cemeteries In order to further understanding of the universe is important, for such researchers and Interested who are active in this field. Sefidchah is the title of cemetery filled with wondrous patterns and symbols has changed this cemetery from the place for keeping the corpse to historic treasures. the patterns are carved on rocks in different periods very simple devoid of any deception have been depicted, in different kinds such as: Practical tools, Animal motifs, vegetal, Geometric, Symbolic, Calligraphy and Human motifs, traveling in lines path of each of these motifs has track of thoughts, Beliefs and opinions of own region people. Due to the structure, kind of images and also special atmosphere dominate at this historic area and also a specific approach to this faces, Has provided, base of creation this research in order to Introduction and keeping more this eternal heritage. The research method of this study is the kind of research of descriptive- analytical and data gathering .This present writing probe the visual contents and common motifs in tombstones and with introducing some of the most important trying to discover the meaning and concepts of living in a period of history. Study and Knowledge from this pattern and visual and spiritual perception path in order to had been achieved the artistic, cultural, social values, insights and thoughts of the people of the region and own outcome acquaintance whit the human history and civilization and even achieving to own recognition. Unfortunately, experts have been considered Slightly the place with this width and extend of motifs, totally cases such as Cemetery and Gravestone is debated slightly that such as could pointed to article(A Study of the Islamic Stone Works in Tabriz Armenians Cemetery)( Mohamadbagher Kabirsaber, 2013),(Pir-e Morad Shrine, the Cultural-Religious Perspective of Baneh City)( Farnoosh Mokhles, Ahmad Ali Farzin, Shohre Javadi, 2013) published in The Scientific Journal of NAZAR Research Center, and also article (semiology of Shiraz Darol salaam cemetery gravestone motifs) (published in Ketabmah-Art, 2010)that the last case has discussed and explored about motifs on gravestone in large-scale. the other extend case that in this field, the research of Mrs Shahrbanoo Vafaei, 2002 has tried to study of Sefidchah`s Cemetery that needs attention to different organizations in order to extended published more and more. Difference between this research and Mentioned example was most attention with the visual contents and artistic attitude and try to introduce historical places in order to keep visual rich Inheritance, justify present research need. https://jfava.ut.ac.ir/article_51439_d1b945be66701ae08177c9aa3b8cbf70.pdf

University Of Tehran Press Journal of Fine Arts: Visual Arts 2228-6039 19 2 2014 07 23 Development of Criteria of Aesthetics in Iran Web Pages Development of Criteria of Aesthetics in Iran Web Pages 57 68 51440 10.22059/jfava.2014.51440 FA Somayeh Mehrizi-Sani PhD. Student in Art Research, Faculty of Art, Tarbiat Modares University, Tehran, Iran. 0000-0001-8829-6253 Mohamad Khazaei Associate Professor, Department of Visual Communication, Faculty of Art, Tarbiat Modares University, Tehran, Iran Journal Article 2014 08 31 Abstract Web development and entry of multi-level living space unilateral Based on information space, attention to aesthetics Respondent-driven is unavoidable. In the space of technological features and interactive environment of Web the creator and recipient status effect changes. Therefore, the focus on audience metrics we call elegance and structure popular in certain categories and updated with lubricating properties achieved. The ultimate goal of this research is to propose a way of getting audience feedback and analysis of the results is Respondent-driven to the achievement of aesthetic criteria. It is hoped that the results of this study may provide a new method for obtaining feedback from the audience with the possibility of extension and change of several variables, help the designers to design the Respondent-friendly and personalized websites. Transcending the graphics printed on a space with varying capabilities, sister technology, interactivity and hypertext, requires a different pattern of behavior based on the audience. Placed on top of the audience, needs to consider differences in behavioral and cultural characteristics of each culture emphasizes. Extending these approaches in the context of interactive and diverse web that has major differences with printed graphics, using audience reception towards research and attention to aesthetics multi-trends consequently led toward globalization. The basic assumption is that the text in the Web context, New meanings are not fixed or innate, but at the moment it is received by the respondent are meaningful. Because of the interactive web environment, the audience as consumers of media content is not influenced by the cultural background to decode deals. What is known today as the culture of "discourse" of a dominant culture affected. By default it is the result of cultural differences get in contact with all cultural groups, common criteria can be achieved. This approach, in the defining of the cultural environment of a country, defined as "Singh" in his book by the dominant culture was performed. Research methods, descriptive-analytical, along with library research, field research was conducted. The three-stage model is designed. For the analysis of raw data obtained from interviews, reviews, convenience inductive content analysis using the proposed technique "Mayring" three general categories; Status Professional, Technical and aesthetic features has been done. As a result, Web pages have been raised as part of a new aesthetic. Thus, visual perception system to organize and measure the levels of cultural adaptation, three theories of semiotics, Gestalt and orthopedists affordance Semiotic analysis of visual elements, outlines the rules governing the internal pages of the site deals with the subjective perception of how audience interaction, was used . Implementation of these three studies showed that the Iranian audience is able to detect a signal patterns are derived from indigenous cultures. But more willing to make a simple site design is based on Gestalt laws and repetitive patterns are identified. In contrast, the lower the ability to reach out and explore the mysteries of behavioral interactions, websites are designed based on affordance interactive features. The result is higher quality and Semiotic in affordance earns low rating. Abstract Web development and entry of multi-level living space unilateral Based on information space, attention to aesthetics Respondent-driven is unavoidable. In the space of technological features and interactive environment of Web the creator and recipient status effect changes. Therefore, the focus on audience metrics we call elegance and structure popular in certain categories and updated with lubricating properties achieved. The ultimate goal of this research is to propose a way of getting audience feedback and analysis of the results is Respondent-driven to the achievement of aesthetic criteria. It is hoped that the results of this study may provide a new method for obtaining feedback from the audience with the possibility of extension and change of several variables, help the designers to design the Respondent-friendly and personalized websites. Transcending the graphics printed on a space with varying capabilities, sister technology, interactivity and hypertext, requires a different pattern of behavior based on the audience. Placed on top of the audience, needs to consider differences in behavioral and cultural characteristics of each culture emphasizes. Extending these approaches in the context of interactive and diverse web that has major differences with printed graphics, using audience reception towards research and attention to aesthetics multi-trends consequently led toward globalization. The basic assumption is that the text in the Web context, New meanings are not fixed or innate, but at the moment it is received by the respondent are meaningful. Because of the interactive web environment, the audience as consumers of media content is not influenced by the cultural background to decode deals. What is known today as the culture of "discourse" of a dominant culture affected. By default it is the result of cultural differences get in contact with all cultural groups, common criteria can be achieved. This approach, in the defining of the cultural environment of a country, defined as "Singh" in his book by the dominant culture was performed. Research methods, descriptive-analytical, along with library research, field research was conducted. The three-stage model is designed. For the analysis of raw data obtained from interviews, reviews, convenience inductive content analysis using the proposed technique "Mayring" three general categories; Status Professional, Technical and aesthetic features has been done. As a result, Web pages have been raised as part of a new aesthetic. Thus, visual perception system to organize and measure the levels of cultural adaptation, three theories of semiotics, Gestalt and orthopedists affordance Semiotic analysis of visual elements, outlines the rules governing the internal pages of the site deals with the subjective perception of how audience interaction, was used . Implementation of these three studies showed that the Iranian audience is able to detect a signal patterns are derived from indigenous cultures. But more willing to make a simple site design is based on Gestalt laws and repetitive patterns are identified. In contrast, the lower the ability to reach out and explore the mysteries of behavioral interactions, websites are designed based on affordance interactive features. The result is higher quality and Semiotic in affordance earns low rating.

https://jfava.ut.ac.ir/article_51440_1d12a27938060c1690dab74be929cc29.pdf

University Of Tehran Press Journal of Fine Arts: Visual Arts 2228-6039 19 2 2014 07 23 The Clothing as Artworks: A Study of Iranian Artists’Approaches in the Exhibitions of 1380s The Clothing as Artworks: A Study of Iranian Artists’Approaches in the Exhibitions of 1380s 69 82 51441 10.22059/jfava.2014.51441 FA Marzieh Zare Faculty Member, Department of Painting, Faculty of Art, University of Uremia, Uremia, Iran. Soodabeh Salehi Assistant Professor, Department of Graphic, Art University Of Tehran, Tehran, Iran Journal Article 2014 08 31 Abstract Since ancient time clothes has been integrated into human life, though this is the 1960s and after when clothes have been described as an artistic concept. Nowadays, clothes in addition to their traditional functions including protection, coverage and beauty have found communicative function as well. Since 1960s, artists have benefited from such a powerful tool presenting their desired concepts and dispositions and have employed clothes in their installations, performances, videos, photographs, etc. to create artistic works and to communicate audiences. Similarly, in recent decades in Iran there have been exhibitions dealing with the issue of clothing as artworks. The main purpose of this research is to understand the status of Iranian conceptual clothing exhibitions held in the 2000s and to study the artists’approaches in these exhibitions. To achieve this purpose, after reviewing related literature to clothes and conceptual art as well as conceptual clothes as the bridge between these two concepts, the conceptual artists working with clothes in Iran were identified and their works were examined. Since such artists are rare in Iran and there is no archive of their opinions, approaches and works, in this research, participants were purposely selected and semi-structured interviews with them were conducted. Data gathered from these interviews were analyzed using quantitative methods. The collected data from face-to-face interviews and emails were transcribed, coded and finally the categories and patterns were identified and analyzed. The research findings indicate that this area of art in Iran has not developed extensively and only few artists have involved in the field of conceptual clothes. The results also show that one of the most salient factors in such disachivement can be a dearth of theoretical information and resources, unfamiliarity and indifference of audiences toward this field as well as various social, cultural and political obstacles in Iran. Artists who participated in this study could be divided in two groups in terms of their motivations in using clothes as artistic objects: 1) those view clothing as the second skin allowing artists communicate their ideas and feelings more openly and effectively with the audiences; 2) the group understanding clothes as a historical and cultural materials and uses them to represent their relationships with the world. The second group usually has addressed social and political issues. The most artists who presented conceptual clothing in their exhibitions during 2000s are educated in visual arts. The rest of artists under study have their education in fabric and clothing design and architecture. The study reveals that there is a meaningful relationship between the artists’ approaches to clothing and their educational background. Artists with education in fabric and clothing design had more functional approach to clothing than the other participants and more poorly presented in their exhibitions compared to the artists with visual art background. It seems these artists need stronger underlying theoretical basis sufficient to develop their initial ideas and to begin their artistic process of creation Abstract Since ancient time clothes has been integrated into human life, though this is the 1960s and after when clothes have been described as an artistic concept. Nowadays, clothes in addition to their traditional functions including protection, coverage and beauty have found communicative function as well. Since 1960s, artists have benefited from such a powerful tool presenting their desired concepts and dispositions and have employed clothes in their installations, performances, videos, photographs, etc. to create artistic works and to communicate audiences. Similarly, in recent decades in Iran there have been exhibitions dealing with the issue of clothing as artworks. The main purpose of this research is to understand the status of Iranian conceptual clothing exhibitions held in the 2000s and to study the artists’approaches in these exhibitions. To achieve this purpose, after reviewing related literature to clothes and conceptual art as well as conceptual clothes as the bridge between these two concepts, the conceptual artists working with clothes in Iran were identified and their works were examined. Since such artists are rare in Iran and there is no archive of their opinions, approaches and works, in this research, participants were purposely selected and semi-structured interviews with them were conducted. Data gathered from these interviews were analyzed using quantitative methods. The collected data from face-to-face interviews and emails were transcribed, coded and finally the categories and patterns were identified and analyzed. The research findings indicate that this area of art in Iran has not developed extensively and only few artists have involved in the field of conceptual clothes. The results also show that one of the most salient factors in such disachivement can be a dearth of theoretical information and resources, unfamiliarity and indifference of audiences toward this field as well as various social, cultural and political obstacles in Iran. Artists who participated in this study could be divided in two groups in terms of their motivations in using clothes as artistic objects: 1) those view clothing as the second skin allowing artists communicate their ideas and feelings more openly and effectively with the audiences; 2) the group understanding clothes as a historical and cultural materials and uses them to represent their relationships with the world. The second group usually has addressed social and political issues. The most artists who presented conceptual clothing in their exhibitions during 2000s are educated in visual arts. The rest of artists under study have their education in fabric and clothing design and architecture. The study reveals that there is a meaningful relationship between the artists’ approaches to clothing and their educational background. Artists with education in fabric and clothing design had more functional approach to clothing than the other participants and more poorly presented in their exhibitions compared to the artists with visual art background. It seems these artists need stronger underlying theoretical basis sufficient to develop their initial ideas and to begin their artistic process of creation

https://jfava.ut.ac.ir/article_51441_cc75aafab66bdbbd714fbd6e6fcdbc92.pdf

University Of Tehran Press Journal of Fine Arts: Visual Arts 2228-6039 19 2 2014 07 23 Applying Kansei Engineering method on investigating mobile phones' brand image amongst Iranian young designers Applying Kansei Engineering method on investigating mobile phones' brand image amongst Iranian young designers 83 90 51442 10.22059/jfava.2014.51442 FA Mehdi Aslefallah Faculty Member, Department of Industrial Design, Faculty of Applied Arts, The University of Art, Tehran, Iran Nasser Koleini Mamaghani Assistant Professor, Department of Industrial Design, School of Architecture and Environmental Design, Iran University of Science and Technology, Tehran, Iran. 0000-0002-9678-9565 Sina Khalkhali Bsc., Faculty of Art and Architecture, Islamic Azad University, Central Tehran Branch, Tehran, Iran. (Received 2 Mar 2014, Accepted 4 May 2014) Journal Article 2014 08 31 Abstract In marketing mix, mental image of a company among different target groups and their emotional responses toward brands, play an important role. Corporate awareness of their brand image among potential and actual audiences in the market, is a valuable input that reveals the compliance rates of their branding strategies and the real facts in the market. This can help companies to define organizational perspectives and strategic plans and draw new horizons for their short term and long term activities. With this in mind, the aim of this research is to investigate the brand image of top-selling mobile phone manufacturers amongst a group of young design students in the telecommunication sector of Iranian local market. Iranian population constitutes one of the youngest countries in the world; on the other hand the young designers are generally considered as ICT-savvy individuals that steer the market inclinations. Therefore, this segment of users has been selected as the target group. To achieve the aim of this study, the Kansei Engineering method is utilized for verbalizing the associated qualities of the brand images. This method is a practical and useful tool for extracting and evaluating psychological reactions and emotional responses toward a specific brand. To find customer's perception of brand images, six brands were chosen respectively as followed in alphabetical order: Apple, HTC, LG, Nokia, Samsung and Sony. According to their relevance for brand characteristics, 30 Kansei pair-words have been selected. One hundred Design university students (fifty boys and fifty girls) aged between 18-30 years old participated in the study. Each participant separately filled series of questionnaires regarding each brand which given them randomly. In order to analyze the obtained data, factor analysis method has been used to find the internal relation between the image and the aforementioned Kansei words which are corresponding to psychological mapping of the subject mindset towards these brands. The results of this study showed that in Iran's mobile phone's market, there is meaningful difference in brand images among boys and girls. Using Kansei Engineering and the 5-points Semantic Differentiation methods, revealed these differences well. On the other hand, it was found that brands with specific and planned strategies in market, have more sustainable and identical brand image among boys and girls. From strategic point of view, this study indicated the typical strengths, weaknesses, opportunities and threats ahead of studied brands. Also it exposed some tips and hints for these brands for empowering their brand images in the market. So, the outcomes of this survey could be used by all six studied brands for developing strategies, new products, marketing campaigns and market segmentation projects at the near future. At the future, this research could be done for broader target groups in Iran's mobile phone market for extracting the same data and results. Also the same studies could be arranged in further markets such as home appliances, computer products, audio and video products, home furniture, etc. for analyzing the brand image of active companies in mentioned markets. Abstract In marketing mix, mental image of a company among different target groups and their emotional responses toward brands, play an important role. Corporate awareness of their brand image among potential and actual audiences in the market, is a valuable input that reveals the compliance rates of their branding strategies and the real facts in the market. This can help companies to define organizational perspectives and strategic plans and draw new horizons for their short term and long term activities. With this in mind, the aim of this research is to investigate the brand image of top-selling mobile phone manufacturers amongst a group of young design students in the telecommunication sector of Iranian local market. Iranian population constitutes one of the youngest countries in the world; on the other hand the young designers are generally considered as ICT-savvy individuals that steer the market inclinations. Therefore, this segment of users has been selected as the target group. To achieve the aim of this study, the Kansei Engineering method is utilized for verbalizing the associated qualities of the brand images. This method is a practical and useful tool for extracting and evaluating psychological reactions and emotional responses toward a specific brand. To find customer's perception of brand images, six brands were chosen respectively as followed in alphabetical order: Apple, HTC, LG, Nokia, Samsung and Sony. According to their relevance for brand characteristics, 30 Kansei pair-words have been selected. One hundred Design university students (fifty boys and fifty girls) aged between 18-30 years old participated in the study. Each participant separately filled series of questionnaires regarding each brand which given them randomly. In order to analyze the obtained data, factor analysis method has been used to find the internal relation between the image and the aforementioned Kansei words which are corresponding to psychological mapping of the subject mindset towards these brands. The results of this study showed that in Iran's mobile phone's market, there is meaningful difference in brand images among boys and girls. Using Kansei Engineering and the 5-points Semantic Differentiation methods, revealed these differences well. On the other hand, it was found that brands with specific and planned strategies in market, have more sustainable and identical brand image among boys and girls. From strategic point of view, this study indicated the typical strengths, weaknesses, opportunities and threats ahead of studied brands. Also it exposed some tips and hints for these brands for empowering their brand images in the market. So, the outcomes of this survey could be used by all six studied brands for developing strategies, new products, marketing campaigns and market segmentation projects at the near future. At the future, this research could be done for broader target groups in Iran's mobile phone market for extracting the same data and results. Also the same studies could be arranged in further markets such as home appliances, computer products, audio and video products, home furniture, etc. for analyzing the brand image of active companies in mentioned markets.

https://jfava.ut.ac.ir/article_51442_ae0bb1efb479568dc1a3fddcd91a7ca0.pdf