موسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603919420141222Role of Imagination in the Phenomenology of Aesthetic Experience on Mikel Dufrenne
Case Study: Paintings of Charles VIIIنقش قوة خیال در پدیدارشناسی ادراک زیباییشناختی از دیدگاه میکل دوفرن مطالعة موردی: نقاشی شارل هشتم4145541510.22059/jfava.2014.55415FAفاطمهبنویدیدکتری فلسفة هنر، دانشگاه آزاد اسلامی، واحد علوم تحقیقات، تهران،Journal Article20151104Mikel Dufrenne is one of the most important figures in phenomenology of art. His voluminous book named <em>phenomenology of</em><em> aesthetic experience</em> has created a fundamental development in aesthetics, which continued and formed the book called <em>about</em> <em>poetry</em>. This book is one of the most considerable events in modern history of philosophy, and also the second complete French work as "phenomenology", and only in this case Merleau-Ponty's <em>phenomenology of perception</em> takes precedence. Dufrenne undoubtedly has been fully informed about works of different philosophers such as: Moritz Geiger and his emphasis on the experience of aesthetic pleasure in phenomenological psychology, Roman Ingarden and his emphasis on the role of art in shaping the actions of intentionality is sufficient; and has completely read Sartre and Merleau-Ponty's works. Also, in their essays covers a lot of ground and draws into his discussion on aesthetics a whole range of thinkers, including Barthes, Foucault, Lyotard, Metz, Freud and Derrida …. These essays are well worth reading both for the quality of the writing and for the continual insights which come to the surface along the way. From the very beginning he clearly does not follow the exact footsteps of Husserl, but he wants to understand phenomenology as Sartre and Merleau-Ponty used this French term. Aesthetic perception is one of the controversial discussions on the new aesthetics that Dufrenne has tried to express it from a special point of view. In his idea, artwork provides a structure for an aesthetic object which is the most important distinction between these two in perception. In this paper, we try to determine this differentiation and show the process of aesthetic perception and role of imagination from Dufrenne’s point of view. Dufrenne distinguishes three stages in aesthetic perception. The first stage is presence which he is influenced by Merleau-Ponty at this stage. The second stage is imagination which he is influenced by Sartre and the third stage is perception and feeling influenced by Kant. In Dufrenne’s idea in understanding the art work, the spectator of art work should understand these three aspects simultaneously. Therefore, in this quest we try to examine the second stage by descriptive and analytical method and also propound the impact that Dufrenne got from Sartre. Library research and writing studies and theoretical study of internal and external sources, we have analyzed the views Dufrenne. A qualitative approach to data analysis is based on a phenomenological approach. Also, the influence of Sartre Dufrenne been mentioned. Finally, Dufrenne concluded that imagination is a process of perception and protests Sartre for neglecting understanding because of the mind and emotions and considers this negligence the reason of Sartre’s misinterpretation of aesthetic experience. Emphasis on aesthetic perception, Merleau-Ponty Dufrenne closer to the generally accepted position. He tries to talk about the perception of the nature of aesthetic experience to explain and discuss the position of Sartre and Merleau-Ponty on the Judiciary emphasizes the fact that the perception will be driven approach. However, the discussion of the object and its relationship with Merleau-Ponty perception is also controversial.ادراک زیباییشناختی از جمله مباحث بحثبرانگیز در حوزة زیباییشناسی جدید است که میکل دوفرن از یک منظر خاص پدیدارشناختی به بیان آن مبادرت ورزیده است. به باور وی، اثر هنری ساختاری را برای ابژة زیباییشناختی فراهم میکند که مهمترین تمایز بین این دو در ادراک است. در این مقاله تلاش میشود این تمایز را مشخص کرده و فرایند ادراک زیباییشناختی و نقش قوة خیال از دیدگاه دوفرن نشان داده شود. دوفرن سه مرحله برای ادراک زیباییشناختی قائل شده است. مرحلة نخست حضور است که در آن از مرلوپونتی تأثیر پذیرفته است. در مرحلة دوم، یعنی خیال از سارتر تأثیر پذیرفته، و سرانجام در مرحلة سوم، یعنی تأمل و احساس متأثر از کانت است. از نظر وی، تماشاگر اثر هنری در ادراک اثر هنری باید این سه ساحت را همزمان درک کند. در این جستار کوتاه، با روش توصیفی و تحلیلی، مرحله دوم بررسی میشود. همچنین به تأثیری که دوفرن از سارتر گرفته، اشاره خواهد شد. در پایان، دوفرن نتیجه میگیرد که خیال یک مرحله از ادراک است و به غفلت سارتر از ادراک به خاطر خیال و عواطف اعتراض میکند و این غفلت را باعث و بانی سوء تفسیر سارتر از تجربة زیباییشناختی میداند. <br /> https://jfava.ut.ac.ir/article_55415_490525eec45c34fcc513773d10af0f03.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603919420141222Abstract Art and Narrative Eliminationهنر آبستره و حذف روایت15245541610.22059/jfava.2014.55416FAویدافرهمندکارشناس ارشد پژوهش هنر، پردیس هنرهای زیبا، دانشگاه تهرانسعیدحقیراستادیار دانشکده معماری، پردیس هنرهای زیبا، دانشگاه تهرانJournal Article20151104In the modern era and through abstraction, art turns to a path in which the beginning and end of an artwork get closer together than in any other era in an attempt to make the minimum space between the subject and the object, or the work and viewer so that the work is created while receiving the minimum influence from the external world and maximum closeness to the very essence of abstraction and artist’s mental and personal picture in mind. In order to omit as much as external influence as possible, the modern artist tries to omit verbal and narrative elements from his work which in the end forms the main basis of abstract creation. Therefore, it seems that in the period dominated by the linguistics and comparative literature, the path of visual representation tends to an anti-narrative creation in which the painting turns to silence and the abstract art in particular is inclined to a kind of visual language of forms trying to erect a wall between visual and verbal elements. The decision of abstract art in making a silent work and bringing the representation to an exclusive visual territory as well as the artist’s obsession with eliminating the verbal and literal elements from art, is itself a manifesto of this tendency in art. But, the main paradox here is that the modern artist, more than any other era, is affiliated to and dependent upon the modern ideologies as well as the literal and linguistic theories governing the period and this is contrary to the objective of narrative elimination and creation of a pure abstract art. In the present research, after analyzing the process of elimination of narrative elements and natural comparison from visual representation and the change in relation of representation and truth, the elimination will be visually explained in selected works of abstract painting art based on which one could claim that in an attempt to eliminate narration, the abstract art completely outcasts the very act of art creation and tries to make a minimum or no communication between the work and the viewer in favor of making a silent art which unfortunately resulted in abstract art becoming a mere bourgeois style. The abstract artist’s main goal is to create an independent “text” capable of justifying its existence on its own and free from any external influence other than those raised from the artist’s mental and personal experiences. On another side, the undeniable reliance upon the modern ideologies and the governing literal and linguistic theories is in complete contradiction with this claim. In the modern era, despite of the claim for creating pure abstract art, artists are more prone to the governing literary and linguistic theories which makes creation of a pure art almost impossible. The results of this research show that at the culmination of abstraction and narrative elimination, abstract art somehow exits the cycle of representation and turns to existence; an existence which cannot be included under any definition including the definition of representation itself.<br /> به نظر می رسد در راستای دورانی که زبانشناسی و ادبیات تطبیقی نبض مباحث انتقادی را در دست می گیرند، مسیر تجسم به خلقی روایت گریز متمایل می شود که در خلال آن تصویر به سکوت و خلق آبستره به نوعی زبان بصری از فرم میگراید. تصمیم هنرِ آبستره به سکوت و واردسازی تجسم به قلمروی انحصاری بصری و دفاع از آن در برابر سخن و در همین راستا وسواس هنرمندِ مدرن برای حذف عناصر ادبی و روایی، خود معرف این گرایش در تجسم است. اما از طرف دیگر، هنرمند مدرن بیش از هر دورهای وابسته به ایدئولوژیهای مدرن و نظریات ادبی و زبانشناشانه حاکم بر زمانه است و این با نفس حذف روایت در تضاد است. در مقاله حاضر پس از بررسی روند حذف روایت و قیاس از تجسم و تغییر تناسب میان بازنمایی و روایت و همچنین تحلیل بار روایی در چند اثر منتخب، میزان موفقیت این گرایش در حذف عناصر روایی مورد بررسی قرار خواهد گرفت که براساس آن میتوان مدعی شد که گرایش آبستره نه تنها در تلاش برای پرهیز از روایت و کمینهگرایی روایی در نهایت از خودِ اثر تهی شد، بلکه وابستگی آشکار به نظریات زمانه نیز کاملاً در تضاد با این مدعا بود.https://jfava.ut.ac.ir/article_55416_ec2337053979023909c87f4ea0e1b200.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603919420141222Intersemiotic Analyses of Relation between Form and Spaceتحلیل بینانشانه ای روابط فرم و فضا25365541810.22059/jfava.2014.55418FAبابکامراییعضو هیئت علمی گروه طراحی صنعتی دانشگاه هنراسلامی تبریزJournal Article20151104Nowadays “Design” is considered as an independent discipline which is neither a science, nor an art, but an interdiscipline with strong relations with both art and science. Therefore, this new understanding demands reidentifying all design sub-disciplines. “Space” as one of this sub-disciplines, has a pivotal role in shaping form in both design and architecture. While concrete understanding of Space is of vital importance in the field of design, architecture and interior design, yet there are not ample scientific analyses about the relation between form and space. This understanding depends on having efficient scientific critique methods. Nowadays, new criticisms are used to analyze and read different kinds of text and shows acceptable results. “Intertextualism” and “Intersemiotics” are two of them. Julia Kristva and her associates in Tel Quel group popularized the intertextualism since 1960s and nowadays, there are many different schools under this approach. Beginning form literature criticism, intertextualism is utilized in different fields of art, for reading different kinds of text. Usinfg intertextualism in different art forms evoked the need to undertsand the interaction between different semiotic systems in a text. Not just in arts (arts except literature), even Roland Barthes determined five parallel code systems in a literary text. According to intersemiotics, we are faced to a text, not a messeage and every text is shaped by interaction between different code systems. There are many parallel cod systems that convey the meaning. The interaction between cod systems generates a new cod system. Hence, Intersemiotics is a new effective branch of intertextualism which, despite its capability, has not been developed in design and architectural studies yet. The so-called space is a text by many different intersemiotic cod systems, thus, the aim of this research is studying the relation between form and space through intersemiotics analyses. In order to achive this goal, at first in literature review, the literature of intertextualism and intersemitics have been studied. Then, the terminology and diverse identifications and concepts of form and space have been reviewed. Based on literature review, there are two type of approach toward relation between form and space: the architectural approach and the designerly approach. Based on the first one, space dominates form, Space as a whole shapes form, as a detail. In contrary, the designerly approach is on the opinion that space is shaped by the relation between forms. This research is based on the second one. In the second phase, according to excavated concepts, factors and designerly strategy, the cod systems that are ambient in form were identified, then the intersemiotic relations between forms in the space were analyzed. According to conclusions there are four (visual) code systems which are efficient in understanding the space: physical dimension codes, visual codes, significant codes and hidden dimension codes. Each of them have its sub-codes. According to these codes the spatial relations of form with other forms are classified into two classes: the relation with forms of other products and the relation with form of architectural framework. Finally according to the codes, a framework has been developed.<br /> امروزه نقدهای نو برای تحلیل و خوانش متون مختلف مورد استفاده قرار میگیرند و نتایج قابل قبولی از خود نشان میدهند. بینامتنیت و نقد بینامتنی ـ و بینانشانهای ـ از آن جملهاند. نقد بینامتنی از دهة 1960 توسط یولیا کریستوا و سایر اعضای حلقة تل کل رواج یافته است و امروزه مکاتب مختلفی در این زمینه فعالیت دارند. یکی از شاخههای نوین و پرکاربرد بینامتنیت، «نقد بینانشانهای» است. متاسفانه این روش نقد هنوز آنچنان که باید در خوانش متون معماری و طراحی صنعتی به کارگرفته نشدهاست. این پژوهش، با هدف رسیدن به یک شناخت نظاممند از فضا و روابط فرم و فضا، این روش نقد را بکار گرفته است. بر اساس تحلیلهای صورت گرفته در این پژوهش، چهار رمزگان مؤثر در خوانش فضا شناسایی شدهاند که عبارت اند از: رمزگان ابعاد فیزیکی، رمزگان بصری، رمزگان معنایی و رمزگان بعد پنهان که هر کدام از این رمزگانها، زیررمزگانهایی دارند. براساس رمزگانهای یاد شده، روابط فضایی فرم با سایر فرمها در دو گروه «فرمهای سایر محصولات» و «فرمهای کالبدی» شناسایی شده است. در نهایت، براساس چهار رمزگان یاد شده، الگویی از روابط فضایی فرم بدست آمده است.<br /> https://jfava.ut.ac.ir/article_55418_852c96a3e4a39de4fe9016bf03715925.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603919420141222Feasibility Study of Utilizing Iconology in Interpretation of Abstract Works of Artامکان سنجی استفاده از آیکونولوژی جهت تفسیر آثار هنری آبستره37465541910.22059/jfava.2014.55419FAمهیاراسدیدانشجوی دکتری پژوهش هنر، دانشکده هنر ادیان و تمدنها، دانشگاه هنر اصفهانحسنبلخاریmahyar.asadi@ymail.comJournal Article20151104Iconology as an approach- method in Art history Studies which has had a long history and in Iran has always been the center of attention and many books and articles have been compiled about this method. The studies in which this method is used, the studied works has had historical record. In spite of using this method in modern art, it has never been used in interpretation of an Abstract works of art. Using Iconology in mere interpretation of a historical work paved the way to utilize it in Abstract art. In fact, the objective of this feasibility Study is the possibility of using the method of Iconology in interpretation of the Abstract Visual works. The hypothesis of this research is that whether the method of iconology wants recognition of meaning in front of form. In interpretation of the Abstract works (regarding the multiplicity of meanings and relativity of the meaning) is that a practical method or not. According to the hypothesis, iconology is on the basis of the meaning and this meaning in the relative world of Abstract art is inaccessible fundamentally multiple, and relative. The method of collecting informations is library method and the method of this research is analytical-historical. The finding of this research is that understanding the primary and immediate meaning in abstract nonrepresentational art is not feasible, because Iconology seems a deficient method for interpretation of Abstract works of art according to its bases that is a method attends to Content versus of Form. There is no <em>Image</em> in many of Abstract works of art and those contain some line and color spots that shape nothing. In many works of art, the visual elements have no symbolic modes because they are nonrepresentational and there is no icon or symbol in them and iconology emphasizes on symbolic values. Then about the nonrepresentational works of art, iconology is ceased in the first step. In abstract works which carry image is not possible to get access to a unified meaning through the form and the recognized identity does not reconcile with essence and nature of the work because one of the structures of the Abstract art is multiplicity of meanings in a single form. According to attitudes to relative ideas in science, philosophy and art across the modern world, it seems no way to finding the meaning of works of art. In many of artworks the meaning that the artist wants to say, is not the meaning that the viewer recognizes and there are many differences between the intention of artist and perception of viewer. Many of works of art no represent any thing of the nature, then the viewers cannot recognize any thing in the work of art that exists in the nature environs them. Consequently, it should be said that iconology is applicable on the representational works of art works that taking their identity from the texts, oral culture, and generally from the nature, not for the Abstract art which has a relative identity.آیکونولوژی به عنوان یک رویکرد- روش در مطالعات هنر، جهت تفسیر آثاری با سابقة تاریخی دستمایه قرار گرفته و علیرغم ادعای کارکرد آن در باب تفسیر آثار هنری مدرن، هیچگاه در تفسیر یک اثر هنری آبستره مورد استفاده قرار نگرفته است. هدف این مقاله امکانسنجی استفاده از روش آیکونولوژی در تفسیر آثار تجسمی آبستره است و پرسش این پژوهش بدین قرار است که آیا روش آیکونولوژی که در پی شناخت معنا در مقابل فرم(صورت) است، در تفسیر آثار هنری آبستره روشی کاربردی خواهد بود یا خیر. فرضیه این جستار اینچنین است که آیکونولوژی مبتنی بر معنای اثر بوده و این معنا در دنیای نسبیگرای هنر آبستره خارج از دسترس و اساساً متکثر و نسبی است. بنابراین آیکونولوژی در باب آثار هنری آبستره کاربردی نخواهد بود. روش گردآوری اطلاعات، کتابخانهای و روش تحقیق بکار برده شده در این پژوهش تحلیلی- تاریخی است. یافتههای تحقیق بدین قرار است که شناخت معنای واقعی یا ابتدایی در آثار آبستره نانگارهپرداز ممکن نیست و این بدان معناست که آیکونولوژی در همان گام اول متوقف میشود. در آثار آبسترة حامل تصویر هم، از پس صورت اثر نمیتوان به معنای واحدی رسید و هویتی که بازشناخته میشود متکثر بوده و منطبق بر ماهیت اثر نیست.https://jfava.ut.ac.ir/article_55419_3838609a7f2866f5fc24a2f6cae1c6ba.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603919420141222An Overview of Influential Elements on Persian Paintingنگاهی به عناصر تاثیرگذار در شکل گیری نگاره ایرانی مطالعه موردی: نگاره زاری بر مرگ رستم در شاهنامه بایسنقری47545542010.22059/jfava.2014.55420FAاشکانپوریاندانشجوی کارشناسی ارشد باستانشناسی، گروه باستانشناسی، دانشکدهی ادبیات و علوم انسانی، دانشگاه تهرانحسینعزیزیکارشناس باستانشناس، گروه باستانشناسی، دانشکدهی ادبیات و علوم انسانی، دانشگاه تهرانJournal Article20151104Research about Persian painting (generally, all objects of Art), has its own difficulties. One of these difficulties, of course, is that, how was its creation. The creation of any object of art, is a twisted problem, deals with several factors, some apparent some stealth, but never a fixed number of them existed that could act like variables. In this paper, we tried, with help of some obvious considerations, to find some of these factors. The seven factors that we consider as seven principal points of act are content patterns (stereotypes/ icons), formal patterns (formal traditions/styles), patron, social- economical- political- religious conditions, primary context, artist (whether single artist or a group of them) and audience. All of these elements have not an equal place in comparison with the others. Audience is the most important one, because it has a twosome projection, in one hand, it have an influence on formation of painting (the painting is for audience whether it is a single king or a wide range of scholars or a wider one of usual people), in the other hand, it is the audience that uses (= read, look and so on) the painting and as a user, he is the true interpreter of that. The elements of formation of paintings are not the variables that can posit in any situation they are just factors that have causal and random roles. So is their scale of influence in each painting that cannot be determined. We have tried to introduce and explain all seven elements with the case study by a painting from baysunghuri Shahname:” lament of faramarz on coffins of his father, rustam, and his uncle, zavare.” This painting has not any special formal or conceptual elements that merits over the other painting, and just this make it a potential one for neutral study. Of course without any special mode, this painting has some important aspect in case of storytelling. First, the story is a secondary one and has no importance in Shahname. Second, the baysunghuri Shahname is an important one and has been produced for special purpose, that is, maybe, the ambition of baysunghur for reign. In any case, this painting has some important implications that is more than telling a story. The death of rustam as a most important hero in Shahname, have not been painted, just his coffin and this is the act of defamiliarization of this painting. For interpreting this factorial element, one must look for an element that conjoins form and content. In this case, the linker is Arabic phrases, who by verbal means, try to transfer the contents that mean for artist. In this case, the content is fatalism. In other word, every text has two conceptual modes. On is denotation and the other is connotation. By denotation, we mean what the object of art shows directly and by connotation, what the object shows covertly and, of course, the connotation mode can be artificial or otherwise natural. The end of paper will deal with the meaning of the painting.در پدیدآیی نگارهها، همانند تمام آثار فرهنگی دیگر، ساختها، زیرساختها و روساختهای مختلفی دخیلاند. از آنجا که این سه اصطلاح برخاسته از ایدئولوژیهای مدرن هستند، قصد پژوهشگران، لزوما ًدرک اینها از طریق رمزگشایی اثر فرهنگی نیست، بلکه نگاهی طبقهبندیشدهتر، روشنتر و عینیتر است. در این نوشته سعی شده تا از طریق مطالعه عوامل ایجادکنندة اثر فرهنگی، پاسخی مقتضی به شرایط دوگانه تقابل فرمی و مضمونی دادهشود. الگوهای مضمونی(کلیشه ها/ شمایلها)، الگوهای فرمی(سنن فرمی/ سبکها)، حامی، شرایط اجتماعی- اقتصادی- سیاسی- مذهبی، بافت بنیادین، هنرمند(چه کار گروهی چه اثر دست یک شخص) و مخاطب، 7 عامل کلیدی در مطالعة نگارهها (حداقل در این مطالعه موردی) میباشند. در اینجا با مطالعه موردی نگاره زاری فرامرز بر تابوت رستم و عمویش زواره، سعی در جایابی هر یک از این عوامل شدهاست. با توجه به این عوامل، ساخت نگاره مورد نظر تحلیل شده و هدف آن از طریق مطالعة دو سطح صریح و ضمنی اعادة مطلب تحلیل شده است. روش پژوهش در اینجا مطالعهای کیفی براساس عناصر بصری موجود در تصاویر است و اینکه هر عنصر چه جایگاهی در طبقهبندی مورد نظر دارد. نتیجة حاصل از پژوهش این است که تکاثر مورد پژوهش بر مبنای طبقهبندی مضمونی/ فرمی و شناخت ساحتهای دلالی مضمونی جبرگرایانه (تسلیم در برابر امر الهی) دارد.<br /> <br /> https://jfava.ut.ac.ir/article_55420_8a5a6863f8202b0d4fd3e81f9576be8b.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603919420141222The Ornamentations of Girih Tiling in Buildings of the Khanebar Neighborhood in Masoulehتزئینات گره چینی در بناهای محله خانه بر ماسوله55665542110.22059/jfava.2014.55421FAحسنستاری ساربانقلی1 استادیار گروه معماری، دانشکده هنر و معماری، دانشگاه آزاد اسلامی واحد تبریز، تبریز، ایرانسعیدحسن پور لمر2 دانش آموخته کارشناسی ارشد معماری، گروه معماری، دانشگاه آزاد اسلامی واحد خلخال، خلخال، ایرانJournal Article20151104Due to avoiding utilization of human figures and abstaining from idolatry, decorations have specific geometry in Islamic art and architecture. One of the striking characteristics of the knots (girih) that has caused to dynamicity throughout its thousand-year history is its regeneration and diversification of the diverse geometric properties. Girih tiling decoration is part of geometric arts in the traditional buildings of the historic town of Masouleh dates back to eight hundred years. Traditional and local architects of this historical town have adopted special and intellectual plans for creating visual attractions in expression and creation of girih tiling in the walls of the monuments. One of these valuable solutions is diverse geometric decorations patterns .Since the main facades of the houses in this town are directly located in the sunrise direction and it is accepted landscape for the citizens of this historical town, so the artists have shown their art and style in this part of the monument and built beautiful and harmonic diverse wooden windows and variety of these patterns are seen in all five neighborhoods in this town. Girih tiling consists of straight and broken lines on a regular basis that could be reasonably expanded in the surface. In the present study, it has been tried to classify the decorations in girih tiling in the neighborhood of Masouleh and also investigate girih tiling including scrolls and edges, and also the role of decoration in this element. The methodology of the research is based on field study and direct observation of the monuments and decorations and taking image and converting into Auto CAD files with dimensional analysis .Also, for description of girih tiling, descriptive and library studies have been conducted. Questions that the research seeks to answer in this paper are: Can it be offered a defined pattern for opening girih tiling by analyzing of the decorations in neighborhood of Khanehbar in Masouleh? And also is the largest usage of the patterns seen in scrolls (middle or central plan)? Does scroll use most patterns in its margins? The girih tiling patterns of “gavarehbari” with “boteh jegeh” designs (paisley), eight squares ornamental layout, rectangular, “hasht-chahr longeh tokhmedar”, and gavarehbari with the scales patterns are more common patterns. Fourteen patterns were seen in studying the girih tiling patterns employed in the combined windows that “alat jafari chokhati” and then rectangular tiling and seven and eight sides tiling patterns were common. The patterns used in the friezes are mostly eight squares layouts. The most common patterns in the margins are four- side tiling in all parts. Diverse patterns of girih tiling, besides with diverse combinations resulted from placing together and offering shapes in the friezes and marginal patterns have offered rich visual ornamentation in the historical city of Masouleh. Such studies aid reproduction of these patterns in the contemporary fine arts while preservation and documentation of the fine and visual patterns in the Iranian girih tiling. گره چینی، هنر ایرانی در رده تزئینات هندسی قرار دارد. نظم ساختارهای هندسیای که با نظام مشخصی تکرار میشوند؛ بازآفرینی مداومِ متشابه، ولی نه همسانِ الگوهای خاصِ تزییناتی در هنر گره چینی، چشم را مینوازند. پژوهش حاضر با هدف مطالعه تزئینات گره چینی به کار رفته در محله خانه بر ماسوله تدوین گشته است. طرح گره چینی مشتمل بر کتیبهها و حاشیههای آن در محله خانهبر ماسوله، مورد تحلیل و بررسی قرار گرفته است. روش پژوهش در این تحقیق بر مبنای مطالعات میدانی و با حضور عینی در محل و مشاهده مستقیم از بناها و تزئینات و تصویربرداری از آنها و در نهایت تبدیل تصاویر به فایلهای اتوکدی با مقیاس جهت تحلیلهای بعدی بوده است. تحقیق در پی یافتن الگوهای حاکم بر نظام تزییناتی گرهچینیها در محله خانهبر ماسوله بوده است. نتایج حاکی از تحقیق، نشاندهنده آن است که در محله خانهبر، سی و یک الگوی گرهچینی وجود دارد. گرهچینی عمدتاً در قسمت بازشوها به صورت اُرسی، بَریَه، سر بَریَه و یا پنجرهای تلفیقی استفاده شده است. الگوهای بکار رفته در کتیبهها نیز تنوع بیشتری را نسبت به الگوهای حاشیه داراست.<br /> <br /> https://jfava.ut.ac.ir/article_55421_a11161c376e91aaa338bbdad21b16d5a.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603919420141222Semiotic of Isfahan s Takht-e Foulad Cemetery Motifs
(With Emphasis on Animal Motifs of Lion and Fishنشانه شناسی نقوش سنگ قبور قبرستان تخت فولاد اصفهان67765542210.22059/jfava.2014.55422FAنیناصفی خانیدانشجوی کارشناسی ارشد گرافیک، دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهرانسید ابوتراباحمدپناهاستادیار دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهران، ایرانعلیخدادادیکارشناسی ارشد معماری، پردیس هنرهای زیبا، دانشگاه تهران، تهران، ایران.Journal Article20151104Isfahan Takht-e Foulad cemetery is one of the oldest ancient places in Iran. What makes this place special is not only because of the literati who rest in peace, but also because of the decoration and variety of the gravestones which itself is considered a valuable artistic treasure, and a narrator of the history and historical identity of people of that time. One of the most important and beautiful motifs is animal motif, which is proximity with plants and human motifs recreated the different symbolic meaning. One of these motifs is the animal motif of “lion” and “fish”. These two are indicate, alone or alongside other motifs, such as plant, human, object, etc. that carved on gravestones are not only for decorative aspect, but also for their particular role and position among human beliefs. Through this ancient cemetery, the lion motif can be found in different forms of scoop, pit and sculpture; which for a long time have been occupied a particular position among human beliefs. In art and cultures of many nations “lion” is the symbol of courage, power, bravery, fire, sunlight, victory, airy living, kingdom and dominion, wisdom, pride, care, and protection. “Fish” motif is another motif which can be found plentiful among the artworks before and after Islam eras. This motif has been the image inside the pit as individual and collective in gravestones. Besides the extraordinary beauty of the shapes, they include lots of direct and symbolic concepts that have caused, in various eras, artists, whether in Iran or in other cultures to draw and create these motifs once again by adding meanings and concepts. Over time, the usage of these motifs which have had religious and symbolic aspects has reduced and their symbolic meaning has been forgotten. Today it is needed to pay more attention and do more deep study on semantic dimension of artworks than before because of weathering erosion and negligence of authorities. Survey and investigation on symbolic and archetype meanings of these motifs need to be interpreted, paraphrased and referred to in several sources. The researchers have collected 600 samples of gravestones, and then have selected 150 of them for this study. The collecting method was based on historical study and combined method of descriptive, analytical and research methods that were used in literature study. In this review, the motif features have been analyzed from the perspective of semiotic, the upcoming result of which may help to decode part of this historical collection. In decorative identification trend of this collection the species motifs have been classified according to shape of plant, human, animal and objects. In addition, the different shapes of lines in each motif have been analyzed by the researchers. Base on the findings, the existing gravestones motifs not only were used for decorative purposes, but also referred to specific concepts, and in some samples they’ve got profound and mystical implications which arose from a human belief. These implications can be useful documents for finding the religious, cultural and social characteristics of that particular period of time.در قبرستان تخت فولاد اصفهان که قدم بگذاریم، از مشاهیر و دانشمندان آرمیده در آن که بگذریم، این مکان حاوی گنجینهای از نقوش و تصاویر میباشد و در این رهگذر، تبلور نقوش حیوانی شیر و ماهی در کنار دیگر تصاویر، نشان از اهمیت و نقش ویژه آنها در میان باورها و عقاید انسانی میباشد. شیر که در این قبرستان به صورت نقش گود، برجسته و مجسمه نمود پیدا کرده است، در هنر و فرهنگ بسیاری ملل، به عنوان سمبل شجاعت، قدرت، دلاوری، آتش، پرتو خورشید، پیروزی، روح زندگی، سلطنت، عقل، غرور، مراقبت و محافظت شناخته شده است. ماهی نیز که به صورت تکی و جمعی غالباً داخل گودال حوض مانند تصویر گردیده، علاوه بر زیبایی فوقالعاده کالبدی، دربرگیرنده مفاهیم مستقیم و نمادین بسیاری است. در این تحقیق با گردآوری 600 نمونه از سنگ قبور و بررسی 150 نمونه شاخص، با روش توصیفی– تحلیلی، در روند شناسایی تزئینات، به طبقهبندی گونههای نقوش در قالب اشکال گیاهی، انسانی، حیوانی و اشیاء، پرداخته شده است. یافتههای این مقاله نشان میدهد که نقوش، صرفاً جنبه تزئینی نداشته و علاوه بر اشاره مستقیم به مفاهیم، سندی است که ویژگیهای اعتقادی، فرهنگی و اجتماعی دوران را آشکار میسازد.https://jfava.ut.ac.ir/article_55422_3c265df0274caff5fc8713e866ef4287.pdfموسسه انتشارات دانشگاه تهراننشریه هنرهای زیبا: هنرهای تجسمی2228-603919420141222A Comparative Study of the Visual Signs of Persian Mirror Work and the
Photo Collage Art*مطالعه تطبیقی نشانه های بصری در آینه کاری ایرانی و هنر فتوکلاژ* (مورد مطالعاتی فتوکلاژهای دیوید هاکنی)81955542310.22059/jfava.2014.55423FAرضاپورزرینعضو هیأت علمی گروه هنرهای کاربردی، دانشگاه هنر شیراز، شیراز، ایران.اصغرجوانیاستادیار دانشکده هنرهای تجسمی و کاربردی، دانشگاه هنر اصفهان، اصفهان، ایران.Journal Article20151104One of the important elements of Islamic architecture is mirror and mirror work. The art of mirror work is a Persian traditional art which is usually used in the interior decoration of historical buildings, particular religious buildings. Mirror work is considered as a kind of mural painting, but it is different from other types of mural paintings all around the world regarding its conceptual, thematic and structural features. In fact, mirror work consists of a special kind of visual language which is based on the interaction of pieces of broken mirror with geometric patterns. These elements consist of small geometrical forms, regular triangles and natural simplified forms. Geometrical methodology which is used for adjusting the structural elements has a history in Persian art. Therefore, the mirror work artist does this work with preciseness and clarity. In this context, Geometry, can be defined as a collection of simplified triangles, squares and circles which show their most abstract characteristics. The construction of geometrical shapes starts by dividing the circle in to equal parts. The rhythmic basis of this network can be equilateral, square, pentagon and the multiple of these shapes will be hexagonal, two combined triangle or octagon. The construction of the geometrical designs and girih tiles is accompanied with mystical debates. Actually the artist makes uses of each situation to emphasize on the divinity of her work by combining the broken pieces of mirror with geometrical designs. The mirror work artist makes uses of a coherent aesthetics system which is based on geometrical designs. The mirror work artist does not attempt to represent the landscape but actually he/she is trying to illustrate the natural essence of the entities. Thus, time and place is not specified in his or her works. Such a qualified work is constructed by the application of irregular colors and lines and also by the use of geometrical methodologies that are used in construction as well as rules for the construction of circular and spiral compositions. The use of this methodology for presenting the space has resulted in a novel methodology; the visual designs of which can be seen in photo collages of David Hackney This study attempts to find an answer to the following question: Is there a similarity between the aesthetics designs of Persian mirror work and photo collages of David Hackney? Therefore, this study aims to study the common characteristics of specified samples by making use of descriptive and analytical methodology as well as field and library data collection methodology. The results of the study showed that: 1- the Persian mirror work has discovered an organization what is exactly, computed of the ordered and visual scales from space relations. Then exhibits it with dialectical path by the mirror pieces.2- the applied visual signs in the Persian mirror work and photo collages by David Hackney are used similarly. 3-the visual signs like: form analysis, visual synchrony, and motion dynamism, have manifested in the art of Persian mirror work before to be appearance in the modern painting aesthetic system.آینه کاری ایرانی گونهای دیوارنگاری به شمار میآید ولی به اعتبار ویژگیهای بینشی، مضمونی و ساختاری، با انواع دیگر دیوارنگاری در جهان متفاوت است؛ در حقیقت ما در آینهکاری شاهد زبان تصویری ویژهای هستیم که از تعامل میان قطعات خرد شده آینه با نقوش هندسی شکل گرفته است؛ محتوای شکلی این عناصر را فرمهای کوچک هندسی، سه گوشهای منظم و فرمهای ساده شده طبیعی تشکیل دادهاند؛ از جهت ظرافت دید، این روش نتایج درخشانی دربرداشته و سبب بوجود آمدن شیوه نوینی از اجرا گردیده که معادل تصویری آن را میتوان در اشکال گوناگون هنر نوین بویژه هنر فتوکلاژ مشاهده کرد؛ این مقاله تلاشی است برای پاسخگویی به این مسئله که آیا تشابهی میان نشانههای زیباییشناختی در آینهکاری ایرانی و فتوکلاژهای دیوید هاکنی وجود دارد؟ از این رو با بهره جستن از روش توصیفی- تحلیلی و با جمعآوری اطلاعات کتابخانهای و میدانی، به مطالعه پارهای از وجوه اشتراک نمونههای موردنظر میپردازیم. حاصل تطبیق و نتیجه بررسیها نشان میدهد که نشانههای بصری بکار رفته در آینهکاری ایرانی و فتوکلاژهای دیوید هاکنی فارغ از مجموع شرایط زمانی و مکانی به صورت مشابه بکار رفته است.https://jfava.ut.ac.ir/article_55423_1d5532da115d1eca226e53dd9df6353a.pdf