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دانشکدگان هنرهای زیبانشریه هنرهای زیبا: هنرهای تجسمی2228-603926220210823Representation of the Oriental Lovers in the Illustrations of Khayyam's Quatrainsبازنمایی دلدادگان شرقی در تصویرسازیهای رباعیات خیام5158153410.22059/jfava.2020.264003.666002FAافسانهکامراناستادیار دانشکده هنر و معماری- دانشگاه خوارزمیJournal Article20180819Unlike the illustrations of poetry works such as Ferdawsi's Shahnameh or Nezami’s Khamseh, the illustration of Khayyam’s quatrains [ruba’iyat] do not originate from the Iranian painting [miniature] tradition, and can be considered as an imported phenomenon. The present study has examined over 20 illustrated versions of Khayyam's Quatrains. By considering Stuart Hall’s Representation Theory, the discourse context of the poems, and the sociocultural settings of the 19th-century Europe, an answer can be given to the hypothesis that the illustration of lovers in Khayyam’s Quatrains and accentuation of the erotic elements in this representation is in fact the offset of the Western Orientalist mindset of depicting the East with dreamy hues and hints of the One Thousand and One Nights stories. <br />Lovers are not in fact the core concept of this literary work. Meanwhile, the subtleties of the form and content of the poems encouraged FitzGerlad to adeptly and creatively highlight those concepts that appealed to his target community in his translation of Khayyam. One of the themes centrally highlighted in the translation and particularly in the illustration of the quatrains was love and romance. In the meantime, social and cultural causes such as the Oriental literary translation movement and especially the translations of Persian poetry works along with the representation of the Orient in visual arts factored in the formation of the Westerners’ mental representation of the East. This fabricated mentality of the East gave a hue of fantasy to the representation of Oriental lovers in the illustration of Khayyam’s quatrains, and cast the concepts of love and romance in the shape of principles and standards of the 19th century Europe including the heterosexual passion. The evident eroticism intertwined with the depiction of lovers in such illustrations accompanied by the images of wine, musical instruments, and books in gardens manifested and stabilized the archetypes of the harem, paradise, and the One Thousand and One Nights in the Occidental minds. The fascinating fact was that even though the Eastern painters and particularly Iranian artists did not face language barriers in conceiving the culture and world view of the poet, they succumbed to the Orientalist expectations and desires of their Western audience and remained zealously loyal to their representation patterns of the Oriental lovers. In fact, the representation of lovers in such images is a fabricated representation which is delivered by the Western mentality of love and romance within the moral norms of the western community, which are relatively in contrast with the norms of the Iranian society. Therefore, it would not be surprising that the illustration created by Ali Tajvidi of one of Khayyam's quatrains appeared on the chinaware and melamine bowls and plates gradually started to be referred to as that of Leyli and Majnun. Thus, it is more feasible for them to credit this image as one of the works of lyric poetry, and in particular, one from Nezami’s Khamseh. Denomination of such an image is also a matter of contemplation given how these images may vary based on the general public’s contextual features, perceptions, and collective memories. <br /><em> </em>سنت تصویرگری رباعیات خیام در زبان فارسی برخلاف شاهنامه و خمسه نظامی برخاسته از سنت نگارگری ایرانی نیست، بلکه بیشتر باید آنرا پدیدهای خارجی دانست. پژوهش حاضر توصیفی- تحلیلی است و گردآوری اطلاعات آن به روش کتابخانهای و به شیوه اسنادی- تاریخی صورت گرفته است و به بررسی بیش از 20 نسخه انگلیسی مصور رباعیات خیام و چند نسخه فارسی میپردازد. پرسش اصلی این مقاله اینست که چه رابطهای میان نقش معروف لیلی مجنون و رباعیات خیام وجود دارد؟ آیا این نقش برگرفته از سنت بازنمایی دلدادگان در نگارگری ایرانی است؟ بازنمایی دلدادگان یا عشاق یکی از مهمترین ایدههای بصری شده رباعیات است، که بخشی از این ادراک نتیجه ترجمه بینازبانی و بیننشانهای است. مقاله بر اساس نظریه بازنمایی استوارت هال، مطالعه در بافت گفتمانی اشعار و در نظر گرفتن شرایط اجتماعی و فرهنگی اروپای قرن نوزدهم به این فرضیه پاسخ میدهد که تصویرسازی دلدادگان در رباعیات و برجسته کردن عناصر اروتیک در این بازنماییها ادامه تفکر شرقانگارانه غربیها از شرق هزار و یک شبی است و بازنمای ذهنیت غربیان از مفهوم عشق و دلدادگی با توجه به چارچوبهای اخلاقی و عرفی آنان است که با مفهوم دلدادگی در جامعه ایرانی متفاوت است.دانشگاه تهران
دانشکدگان هنرهای زیبانشریه هنرهای زیبا: هنرهای تجسمی2228-603926220210823Applied ethics and graphic designاخلاق کاربردی و طراحی گرافیک17268309410.22059/jfava.2021.303795.666484FAعبدالعلیباقریهیات علمی/ دانشگاه هنر اصفهانJournal Article20200604The relation between art and ethics is not merely a transitory consequences of today's media advertisements. Plato's criticism of all forms of imitative art can be cited in this regard, since they incorrectly stimulate emotions and feelings that cause untruthful understanding in humans. Ethics and ethical systems are so important and sensitive those are considered not only in art but also in other disciplines that are somehow tied to human life. Examples include medical ethics, media ethics, visual ethics, photography ethics, advertising ethics and graphic design ethics. <br /> Ethics is one of the fundamental elements of culture. The moral system is derived from the basic ideas of the units of living life and has broad implications for life. Humans seem to believe that most moral systems are based on reason and logic. Usually, the people who live within a moral system think that it is a global system. But those who do not look at the system from the outside can usually relate its principles to cultural norms. It is vital that designers understand how their effects are embraced or influenced by a culture, because design is linked to culture and social practices cannot be understood outside of cultural contexts. The subject of ethics and graphic design can be examined and defined within the framework of the moral system that governs any society. Graphic designers should not act in an immoral manner against the norms of society under the pretext of better communication with the audience, or should not become passive economic slaves. Some of people believe that moral principles are largely personal, and are best determined by self-processing. However, moral principles are, to a considerable extent, also public because they affect or are influenced by other people and their activities. <br /> Recently, the awareness of graphic designers about their social responsibility has increased, and they are becoming more aware about their influence on the people and the surrounding world day by day. While these specialists are trying to accept their social responsibility in their works, the relationship between the performance of a graphic designer and the ethical principles is yet questioned. Having discussed the relationship between ethics and graphic design, this paper tries to answer the research questions using descriptive methods and analyzing selected case studies in graphic design. The received data are in form of word and image which are collected from documentations and observations. The statistical population is graphic design works and the visual samples are chosen purposefully. The research achievements indicate that ethics and graphic design in the framework of a predominant ethical system in a society can be defined and discussed. Today, graphic design is highly impressive and influential in design techniques and visual characteristics; however, ethics is less observed in the implementation and function of graphic design, and we might have to face a worse situation with the absence of governmental impediments. Therefore, defining ethical regulations for graphic designers is necessary. It is also essential to provide students with ethical principles apart from professional trainings in their curriculum. <br /><strong> </strong>انتقاد افلاطون از اشکال گوناگون هنرتقلیدی حاکیاز آن است که ارتباط میان هنر و اخلاق از گذشته مد نظر اندیشمندان بوده است. اما بحث اخلاق در طراحیگرافیک موضوعی جدید قلمداد میشود. بسیاری از طراحانگرافیک، در سالهای اخیر نسبت به تاثیری که بر مخاطب و جهان اطراف خود دارند، آگاهتر شده، تلاش میکنند تا حد امکان مسئولیت اخلاقی خود را در قبال جامعه و آثاری که خلق میکنند، بپذیرند. اما ارتباط بین عملکرد طراحیگرافیک و اصول اخلاقی چگونه تبیین میشود؟<strong> </strong>این نوشتار ضمن بررسی ارتباط بحث اخلاق با طراحیگرافیک، سعی دارد با روش توصیفی و تحلیل نمونههایی از آثار طراحیگرافیک، پاسخگوی سوال تحقیق باشد. اطلاعات این جستار از نوع کلامی و تصویری است که به روش اسنادی و مشاهده جمعآوری شده است. جامعهی آماری، آثار طراحیگرافیک (تبلیغاتی)، نمونهگیری انتخابی و هدفمند میباشد. نتیجه اینکه، امروز آثار طراحیگرافیک در تکنیکهای طراحی و ویژگیهای بصری بسیار چشمگیر و اثرگذار هستند، اما اصول اخلاقی در اجرا و عملکرد طراحیگرافیک کمتر دیده میشود. چه بسا اگر محدودیتهای حاکمیتی برداشته شوند، شاهد شرایط بدتری باشیم. بنابراین تدوین یک آییننامهی اخلاقی منسجم و مشخص برای طرحانگرافیک ضروری مینماید. همچنین، لازم است در محتوای آموزشی برنامههای درسی، علاوه بر آموزشهای تخصصی طراحیگرافیک، اصول اخلاقی نیز به هنرجویان آموزش داده شود.دانشگاه تهران
دانشکدگان هنرهای زیبانشریه هنرهای زیبا: هنرهای تجسمی2228-603926220210823A Comparative study of the Bird-Woman motif in Iranian Art in the Seljuk era with the Art of Mesopotamia, Greece, India, and Southeast Asia civilizationsمطالعه تطبیقی نقشمایه موجود ترکیبی زن- پرنده در هنر ایران عصر سلجوقی با هنر تمدنهای بینالنهرین، یونان، هند و آسیای جنوبشرقی27368309610.22059/jfava.2021.318527.666652FAپروینحسنیدانشکده هنرهای تجسمی، دانشگاه تهرانمهیاراسدیگروه مجسمه سازی و نقاشی. دانشکده هنرهای تجسمی. پردیس هنرهای زیبا. دانشگاه تهران0000-0002-2298-6355Journal Article20210205The Bird-Woman hybrid creature can be seen as a mythical creature in a wide range of artworks from the Islamic era. In the Seljuk period, in addition to engraving on various surfaces in two dimensions, this motif has also been displayed in bronze and figural pottery works as three-dimensional sculptures. The Bird-Woman is often depicted as a single and sometimes in pairs, and in some texts they are referred to as superhuman supporters or containing propitious forces. Considering that in many contemporary type of researches inside and outside Iran, regarding to this motif in the Seljuk period, it has been referred to as harpy, the main question of this research is what is the relation between the concept of The Bird-Woman motif in the Seljuk period and similar examples in the civilizations of Mesopotamia, Greece, India, and Southeast Asia. In this regard, the research relies on written sources and descriptive-analytical method to qualitatively analyze the data.The theoretical framework of the article is based on the theory of intertextuality and its main purpose is to explain the relation between the concept of the Seljuk Bird-Woman motif with existing pretexts in the civilizations of Greece, Mesopotamia, India, and Southeast Asia. <br />Similar examples are found in written sources during this period in the books of the <em>Ajayeb al-makhluqat</em> and the <em>Munis al-ahrar</em>, which are creatures called the <em>Zagh Abu Ujwa</em> and the <em>Bahri</em>. The first refers to the combination of a <em>Zagh</em>'s body with a man's head, and the second refers to a bird (probably a Falcon) body with a man's head. Therefore, since the subject of this article was a Bird-Woman hybrid, they were not addressed further but it can indicate this diversity in meaning. On the other hand, the realm of similar specimens of this creature is so vast that it makes searching and finding a single source for this theme more difficult and, of course, necessary. In Indian and Southeast Asian civilizations, for example, there are pairs of birds called <em>Kinnara</em> and <em>Kinnari</em> that have human faces and are sometimes depicted next to a sacred tree. In Mesopotamian civilization, which is the oldest historical model of the Bird-Woman combination, we find pottery tablets with the body of a woman standing on two lions, which represent the wings and claws of a bird. <br />In order to read this combined motif, which does not belong only to Iranian art, we need to refer to the art of other civilizations in order to clarify its meanings and concepts through their relationship with each other. It is also possible to achieve the main goal of this study, which is to explain the relationship between the concept of Seljuk Bird-Woman motifs and the contexts of the civilizations of Greece, Mesopotamia, India and Southeast Asia. The results show that the concepts underlying this theme are derived from Mesopotamian and Indian texts and have less to do with similar Greek examples; It seems wrong to use the title harpy for a Seljuk Bird-Woman.نقشمایه موجود ترکیبی زن-پرنده بهعنوان مخلوقی افسانه ای در طیف وسیعی از آثار هنری دوران اسلامی قابل مشاهده است. در دوران سلجوقی، این نقش مایه علاوه بر نقش بستن روی سطوح گوناگون بهصورت دوبعدی، در آثار برنزی و سفالین پیکرگون نیز به نمایش درآمده است. زن-پرنده اغلب بهصورت تک و گاه بهصورت جفت به تصویر کشیده شده و در برخی متون از آنها بهعنوان حامیانی فرا انسانی یا دربردارنده نیروهای خوشیمنی یاد شده است. با توجه به اینکه در بسیاری از پژوهش های معاصر در داخل و خارج از ایران، از این نقش با عنوان <em>هارپی</em> یاد شده، پرسش اصلی بدین شرح است که چه نسبتی میان مفهوم نقش زن-پرنده در دوران سلجوقی و نمونه های مشابه آن در تمدن های بینالنهرین، یونان، هند و آسیای جنوبشرقی وجود دارد. در این راستا پژوهش با تکیه بر منابع مکتوب و با روشی توصیفی- تحلیلی به تجزیهوتحلیل کیفی دادهها می پردازد. چهارچوب نظری مقاله با اتکا بر تئوری بینامتنیت شکل گرفته و هدف اصلی آن تبیین نسبت میان مفهوم نقشمایه زن-پرنده سلجوقی با پیشمتنهای موجود است. نتایج نشان می دهد که مفاهیم نهفته در این نقشمایه، برآمده از پیش متن های بین النهرینی و هندی بوده و کمتر با نمونه های مشابه یونانی ارتباط دارد؛ بنابراین استفاده از عنوان هارپی برای زن-پرنده سلجوقی، اشتباه به نظر میرسد.دانشگاه تهران
دانشکدگان هنرهای زیبانشریه هنرهای زیبا: هنرهای تجسمی2228-603926220210823An Interpretation of the Concept of Pleasure in Industrial Designخوانشی بر پنداره لذت در طراحیصنعتی37487649310.22059/jfava.2020.289398.666323FAمحمدرزاقیگروه طراحی صنعتی دانشکده هنرهای کاربردی دانشگاه هنر0000-0002-7687-632Xسمیهافراشتهدانشکده هنر دانشگاه الزهراJournal Article20180719Seeking pleasure has always been the inseparable aspects of human activities; whether the man craves for corporal liking such as eating, sleeping, sexual activities and pleasure, or they expand the limits of their own bodily wills and desires quite further to non-corporal domains such as, intellectual, spiritual, or even social territories: that is; leaving the self (ego) behind so as to be able to move into another non-self and infinite territory. To that effect, products have been either the tools for arriving at such pleasure (that is, the products are used to satisfy users’ functional needs and wants) or become the target themselves (functionally speaking, products are not obtained to satisfy a need or so but they are purchased to provide the owner with the pleasure and honor of only having them). This raises quite a few questions: What is pleasure or pleasurability? What is product pleasurability? What kind of relationship actually exists between products and users’ pleasure? Why does product pleasurability fade out so fast as time quickly passes and make their own users disappointed? Is it something with the product or with the users? How do people convince themselves as marked or distinguished by owning and using products; delusively dreaming to gain more fun and pleasure through procurement and/or using process? What are their motives? Can our finite earth afford superabundant consumptions of products at such accelerating rate!? And can answers be found somewhere within the concept of product pleasurability? As it is well-defined and explained, industrial, economical and financial activities of greedy capitalists and manufacturers resulted in a ruined environment which already switched the siren on for the quality of lives of our current, let alone the next generations. Even though our modern way of life relies profoundly on products but those catastrophic consequences cannot be continued. So, we, as designers are left to find the bridles for that crazy capitalist or money-based world so our people can live as they are supposed to live: truly honorable and useful. If we accept the idea that products, designed to provide users with more pleasure and attachments, will afford to be kept and used for a longer period of time, then we could be in a position that we may accept the fact that product pleasurability can save the world to its best of share. In this paper, the concept of product pleasurability is explained from various perspectives including literary, philosophical, and also from industrial design standpoint. The relationship between products and the concept of pleasure is then scrutinized on the whole and more specifically, from design thinking perspective. The paper concludes that if products are designed to give user a better sense of attachment to their honorable humane existence, compared to fast, momentarily and unsatisfactorily satisfaction, they would not need to replace and obsolete the product so fast to a delusive better one. This way, designers will take the excessive burden off the nature shoulder and let the world and as a result human community breath the life. لذت، بخش جدانشدنی از فعالیت انسانهاست؛ چه وقتی کسب لذتهای کالبدی و مینایی، معیار کنشگری انسان بوده، چه وقتی مفهوم لذت، از مرزهای کالبد فراتر رفته، پنداره مقصودجویی انسان را به حوزههای گستردهتر از تن، که به عقل، جامعه، ماورا و عالم مینویی رهنمون میشود. از سوی دیگر، جریان منفعتطلبانه سرمایهداری، طراحی را به خدمت میگیرد تا با ایجاد قلابهای ظاهریِ لذت و خوشنودی در محصولات، همواره نرخ فروش کالاها را فزاینده نگاه دارد. از عواقب نامطلوب این جریان، انباشت افسارگسیخته کالاها و تخریب محیط زیست میباشد. در این پژوهش، با تعریف و بررسی مفهوم لذت در ابعاد عمومی و اختصاصی آن، تلاش شده که رابطه کالا با لذت و نیز پنداره لذت واکاوی شود. پژوهش از نوع توصیفی-تحلیلی بوده، دادههای کیفی از طریق بررسی منابع مرتبط استخراج شدهاند. بر اساس یافتههای این پژوهش، استدلال میشود اعضای هر یک از چرخههای طراحی، تولید و مصرف، باید به عنوان یک مسوولیت اجتماعی، از پنداره لذت به عنوان یک برساخت تصنعی از ارزش، فاصله بگیرند و با تکیه بر از ارزشهای واقعی، احساس لذت پایدارتری را از بودن در هر یک از چرخههای طراحی، تولید و مصرف خلق نمایند تا تقاضا برای تجدید خرید کالا و تنوعطلبی بیکرانهی انسان کاهش یابد.دانشگاه تهران
دانشکدگان هنرهای زیبانشریه هنرهای زیبا: هنرهای تجسمی2228-603926220210823A Research in Petrography of Nehbandan District, Case Study in Nakhlestan Petrographyپژوهشی در سنگنگارههای نهبندان، نمونه موردی سنگنگاره نخلستان49608209310.22059/jfava.2019.288193.666309FAاحمدحیدریهیات علمی دانشگاه آزاد اسلامی واحد بیرجندJournal Article20190831Most scholars consider lithographs to be visual arts. Lithographs are one of the important illustrations that allow us to identify the material and spiritual cultures of different human beings. One of the most valuable orthographic collections in South Khorasan is the palm orthography in Nehbandan. The complex has an abstract and figurative role with themes in four single and scattered pieces of rock. Descriptive-analytical research and data gathering tools were done by library and field method. The objectives of the research are to study and introduce palm tree motifs, to compare them with other motifs inside and outside Iran, and to study the semiotics of carved patterns. The present study concludes that the four frames of palm orthography, although differing in role, form, and sign, have been compared by comparisons between the motifs of this orthography with pottery motifs, The work of other seals and petroglyphs - all of which can be said to belong to a continuous period in the second millennium BC. Thematic motifs of the palm grove are thematically classified as vegetative, animal, human, and sign. Symptom analysis indicates that the simplification of the role of image to sign cannot be simply stated without convincing evidence; the present study suggests that the role of the cross may be semantic such as the wheel, the sun, the human, The bird or symbol of eternal life (ankh). It was also stated that the symbol of Ahk (eternal life) in ancient Egypt was used in the form of masculine and feminine percussions on the doors of traditional Iranian houses until the Qajar period.<br />In frame1 there is a stylized plant role and the rest is animal motifs (cattle, goats, dogs, cats and foxes), some of which are portrayed as cavalry, figurative and with real fit. The frame is a narrative of a pastoral life, on the one hand domesticated animals, such as goats and cows, on a single tree, and on the right, a cat and dog image that is fraying, but On the left is a picture of a predatory animal, probably a fox or a wolf, with something in its mouth. The style of drawing of goats is comparable to the pre-historic pottery designs of the fifth millennium BC to different regions of Iran. The image of the horned cow is the only role in the frame, which is perfectly figurative and with real fit. In ancient art the Taurus (Chagasenebil) had a sacred aspect and was a symbol of the Guardian God. Even an animal here may have the concept of totem or divine power. In the first frame only one tree is completely abstracted. This mythical trope is reminiscent of the Tree of Life, the Tree of Life is usually depicted as a single image, and the animal is often depicted as a goat on one or both sides. From the fourth millennium to the Parthian period, the tree of life was represented in literature (such as the story of the Assyrian tree) and other arts.اغلب پژوهشگران سنگنگارهها را جزء هنرهای تجسمی محسوب میکنند. یکی از سنگنگارههای ارزشمند در خراسانجنوبی، سنگنگاره نخلستان در نهبندان است. این مجموعه دارای نقوشی تجریدی و فیگوراتیو با مضامین متعدد، بر چهار قطعه سنگ منفرد، پراکنده و نزدیک هم میباشند. روش پژوهش توصیفی-تحلیلی و گردآوری اطلاعات، با شیوه کتابخانهای و میدانی انجام شده است. از جمله اهداف پژوهش، بررسی و معرفی نقوش نخلستان، مقایسه تطبیقی با نقوش دیگر در داخل کشور و تحلیل صورت و معنای برخی نقشمایههای حجاری شده است. پژوهش حاضر بهاین نتیجه رسیده است که چهار قاب سنگنگارههای نخلستان، اگر چه دارای تفاوتهایی در نقش، فرم و نشانه هستند؛ ولی با مقایسهتطبیقی بهعمل آمده میان نقوش این سنگنگارهها با نقوش سفال، اثر مُهر و سنگنگارههای دیگر، میتوان گفت به احتمال تمامی نگارهها متعلق به عصر مفرغ(۳۰۰۰تا۱۵۰۰ق.م) هستند. از نظر موضوعی نقوش سنگنگارههای نخلستان به گیاهی، جانوری، انسانی و نشانه طبقهبندی میشوند. در مبحث نشانهها پیشنهاد گردید که نماد آنخ (زندگی جاوید) در مصر باستان، با تحولاتی که داشته، به شکل کوبههای ویژه زنان و مردان در درب خانههای سنتی ایرانی تا دوره قاجاریه برجای مانده است.دانشگاه تهران
دانشکدگان هنرهای زیبانشریه هنرهای زیبا: هنرهای تجسمی2228-603926220210823* Evaluation of Different Vermilion Treatment Methods Presented in Art Treatises of the 16th – 17th Centuries* ارزیابی شیوههای عملآوری متفاوت رنگدانه شنگرف در رسالات کتابآرایی قرون 10 و 11 هجری قمری61698098110.22059/jfava.2021.303982.666491FAسمیهنوغانیگروه مرمت اشیاء، دانشکده حفاظت و مرمت ، دانشگاه هنرپرنیامدرسیدانشگاه هنر، تهران، تهرانراضیهجعفریگروه دوباره تولید رنگ و کنترل رنگ، پژوهشکده فیزیک رنگ، پژوهشگاه رنگ، تهران، ایرانJournal Article20200608 Preparing basic materials for illustrating the manuscripts, i.e., paper, paint and brushes, have important role for painters. Each of these parameters have direct effects on the appearance and durability of the final product. Vermillion is a red inorganic pigment with the chemical composition HgS. Regarding its widespread usage, high quality and great durability, the vermilion pigment has been used as a prominent and noticeable color in Iranian paintings during the time and especially in the period of book decoration and illustration of manuscripts by many artists and painters. From historical point of view, production and preparation methods of vermillion were mentioned in the art treatises, mainly during the 16<sup>th</sup> – 17<sup>th</sup> centuries. Although in many researches vermillion was characterized as a useful color in illustrated manuscripts, but less attention has been paid to historical references and methods of preparing this color. In this paper, different tonality of reproduced vermillion based on the recipes presented in art treatises belong to the 16<sup>th</sup> – 17<sup>th</sup> centuries were investigated through colorimetric analysis. Descriptive- analytic and laboratory methods were applied in this research. Five manuscripts from the mentioned era including Golestan-e Honar, Ghanoun al-Sovar, Medad al-Khotout, Heliyyat al-Kottab and Adaab al-Khat were firstly investigated based on the library resources. According to the art treatises, the vermilion pigment can produce from the combination of pure mercury and sulfur and/or obtain from cinnabar as HgS natural mineral. In this research cinnabar was used. Next, the vermilion specimens were reproduced based on laboratory methods according to presented recipes in in five mentioned art treatises. It is noticeable that the main difference between proposed methods was based on the application of different organic acids for washing of the color powder. Regarding to these art treatise, two organic acids (lemon juice and sour pomegranate juice) as well as the citric acid were used for preparing vermilion samples in acid washing step. In order to prevent the side effects of different parameters on the test results, all processes and materials were the same, except the organic acid type. For comparing reproduced vermilion colors, they were applied on Watman sizing papers which were sized by starch. For analyzing and comparing of these different tints, the standard system near to human observation was needed. Regarding to this aim, samples were quantitatively compared based on their measured reflectance spectra by spectrophotometer i1 and calculating their colorimetric characteristics in various color spaces; CIEXYZ, CIELAB, and CIELCH, by using the MATLAB software. <br /> شنگرف، در نگارگری ایران از دیرباز رنگی پرکاربرد، با کیفیت و ماندگاری بالا بوده است. در مورد روش تهیه و آمادهسازی این رنگ در رسالات کتابآرایی مطالب مهمی ذکر شده اما از لحاظ عملی این روشها کمتر مورد بحث و بررسی قرار گرفته است. هدف از این پژوهش بررسی کیفیت بصری رنگ حاصل از رنگدانه شنگرف آمادهسازی شده براساس متون رسالات قرون 10 و 11هجری قمری است، با این پرسش اصلی که براساس معیارهای استاندارد، رنگهای حاصل از روشهای متفاوت آمادهسازی، چه تفاوتهایی دارند؟ در این پژوهش روشهای آمادهسازی این رنگدانه در پنج رساله کتابآرایی شاخص متعلق به قرون مذکور، براساس روشهای توصیفی – تحلیلی و آزمایشگاهی با استناد به منابع کتابخانهای و بازتولید عملی رنگدانه، بررسی شده است. نتایج بررسی رسالات کتابآرایی حاکی از تفاوت آمادهسازی شنگرف در مرحله اسیدشویی با دو اسید آلی (آب لیمو ترش و آبانار ترش) است. جهت بررسی تفاوت تهرنگ نمونههای بازتولید شده، نیاز به سیستم شبیهساز بینایی انسان در شرایط استاندارد بود. این امر با استفاده از آنالیز اسپکتروفتومتر انعکاسی در سیستم استاندارد فضارنگ CIEXYZ، CIELAB و CIELCH انجام شد. نتایج حاصل نشاندهنده بازسازی فام قرمز با تهرنگهای متفاوت شامل تنالیته قرمز شفاف، تهرنگ نارنجی و تهرنگ صورتی برای نمونههای مختلف شنگرف تولید شده با مواد اسیدشویی متفاوت است.دانشگاه تهران
دانشکدگان هنرهای زیبانشریه هنرهای زیبا: هنرهای تجسمی2228-603926220210823The sense of place in real and virtual spaces and its role in the meaning making and experience of artworksحسمکان در فضای حقیقی و مجازی و نقش آن در معناسازی وتجربه اثر هنری71798309710.22059/jfava.2020.296455.666401FAنادیاعلیانیحفاظت و مرمت آثار فرهنگی و تاریخی دانشگاه هنر تهرانصمدسامانیاندانشیار دانشکده هنرهای کاربردی، دانشگاه هنرJournal Article20200122The experience of an artifact can only be contained in space, and the interpretive trade between the audience and the work of art, forming aesthetic and semantic relations only occurs in a space. The emergence of concepts such as the virtual reality, has challenged the certainty of the senses, and the well-known human experience of the space dimensions And it has made it necessary to rethink and review the traditional ways of sense analysis -so far more defined in architectural and urban discourse, with a physical approach-This paper examines the role of space domains in the interpretation of art from a phenomenological and descriptive-analytical perspective and explores the role of truth and authority in producing the aesthetic meaning and experience of the work. In this paper, the main issue is the analogy of the physical and mental understanding of a place and its effects on the understanding of artwork and How human perceptions of the reality of place and perception of art have evolved through the design of virtual spaces? The results of dimensional exploration of space that deal with the relationship of the work and the audience have led to the pathology of deleting the actual dimension of the place in the representation of the work. this creates a crisis called human deconstruction, and the attempt to experience the effect only in the immaterial dimension reduces the observer's experiences to a lower level of perception. In the experience of a work of art, during the process of making sense of a historical object or any work of museum value, three pillars are known to be effective in communicating between the work and the audience. The first two part of this relationship is the work and the audience and The third part can be considered the place. We are discussing it in this article. The performance space is the context in which the experience of the work, its meaning, and the whole interpretation of the work are formed by audience. But today experience of place is not necessarily physical experience and is not defined exclusively through its dependence on physical components. In this case, space, as a factor in meaning making and interpretation, can be physical and tangible, or subjective and virtual. It can be argued that the foregoing issue is the product of the present age and has not been such a subject until the last century. Because the experience of the museum space, which until then was only influenced by the physical presence of the artist at the show, is now being challenged by the evolution of the art form. As the audience's intellectual infrastructure changes from the experience of the work, many spiritual concepts and physical realities of the museum and artwork are viewed in a different way. As museums of the present age seek to familiarize their audiences with the subject matter, nature, and meanings of the works in various ways, the importance of one's physical presence in the material "place" in relation to the representation of the work is questionable.تجربه اثر هنری، تنها میتواند در"فضا" متصوّر باشد و دادوستد مفسّرانه مخاطب و اثر، فهم زیباییشناسانه و معنابخشی، در فضاست که حادث میشود. شکلگیری مفاهیم نوظهوری چون حقیقتمجازی، قطعیّت حواس و تجربهی شناختهشدهی آدمی از بُعد مکان را به چالش کشیدهاست و نیاز به بازنگری شیوه سنّتیِ تحلیل حسمکان را-که تاکنون بیشتر در مباحث معماری و شهرسازی و با رویکردی کالبدی تعریف میشده- بیشازپیش ایجاد نمودهاست. در این مقاله، که از منظر پدیدارشناسی، و بهروش توصیفی-تحلیلی به بررسی نقش دامنههای فضا در تفسیر مخاطب از اثر میپردازد و نقش حقیقت و مجاز در تولید معنا و تجربه زیباییشناسانه اثر را مورد کنکاش قرارمیدهد، مسألهی اصلی، قیاسِ درکِ بدنمند و ذهنی یک مکان و تأثیرات آن در به فهم آمدن اثر هنری است. اینکه تلقّی آدمی از واقعیّت مکان و درک آثار، چگونه با طرح فضاهای غیرحقیقی دستخوش تحول گشته؟ نتایج حاصل از بررسیِ ابعادی از فضا که به رابطه اثر و مخاطب میپردازد، منجر به آسیبشناسیِ حذف بُعد حقیقی مکان در نمایش اثر شدهاست که از وجه زیباییشناختی و نیز اجتماعی موجب شکلگیری بحرانی به نام انسانیزدایی میگردد و درنتیجه تلاش برای تجربه اثر تنها در بُعد غیرمادّی، تجربیات مشاهدهگر را به سطح پایینتری از ادراک تنزل میدهد.دانشگاه تهران
دانشکدگان هنرهای زیبانشریه هنرهای زیبا: هنرهای تجسمی2228-603926220210823The Comparative Study of Shape & Designs of Hasanloo & Marlik Cupsمطالعه تطبیقی فرم و نقش جام های فلزی مکشوفه از مارلیک و حسنلو81928309810.22059/jfava.2020.291463.666362FAفروغجلیلی نیاکارشناس ارشد صنایع دستی، دانشکده هنر، دانشگاه سورهفرنوششمیلیاستادیار دانشکده هنرهای تجسمی، دانشگاه هنر اسلامی تبریزJournal Article20191117The study of archeological documents during archaeological excavations has always been a means to discover the relationships, solidarities, and interactions of prehistoric peoples and tribes. As we know, the first empires in human history were established at the beginning of the first millennium BC, when the civilization of the Iron Age of Guilan took place. The three Near East countries i.e, the Urartu, Ilam and Assyrian Empires in the first millennium BC, were the first ones claiming the "World Empire". Urartu was partially succeeded in unifying all of the Armenian plateau (eastern Anatolia) and part of the Transcaucasian. We have very little knowledge of Ilam. However, we have much to learn about Assyria, which was at its peak as the first "world empire" to encompass much of the civilized world of the age. <br />The attempt in this article is to respond to two basic questions by studying and analyzing the shape and visual characteristics of the metal cups discovered from two given basins, namely Marlik and Hassanloo. First, what are the common aspects of Hassanloo's and Marlik's metalwork, and second, what kinds of effect do the specific characteristics of these dishes reflect from the adjacent tribes and contemporary neighbors of Iran. The method of gathering resources has been library (inductive), In so doing, the researcher in this descriptive-analytical research classified and examined twelve samples (two from Hassanloo and ten from Marlik) And he explains the ways they share and differentiate and presented the results into the tables. In this regard, these cups are first identified and presented in terms of form and content and then body decorations are comparatively shown and identified. Iconic decorations can be examined in two categories: iconic-abstract and iconic-natural. The decorations of the containers studied in this paper are divided into two iconic-abstract including plant, animal, human, and pure abstract motifs consisting of geometric and non-geometric designs. One of the most important findings of this research is the study and comparison of the discovered metal cups from the excavations of south of Caspian Sea and Lake Urmia in terms of visual structure, executive technique, method of construction and content of their designs reveal unity and correlation in ethnic, cultural and inter-ethnic roots among inhabitants of the ancient hills of Marlik and Hassanloo in the late second millennium and early first millennium BC. Further reflection on the design of these cups traces the connections and influences of these ancient regions with the northern Caspian basin and ancient hills located in contemporary southern Russia and the present Caucasus and areas around Lake Van and the northwestern region of present Iran; i.e., the Urartu. It also explains the culture of Lorestan and Silk Kashan from the south and west. Drawn upon the artistic findings and characteristics taken from the discoveries of the Marlik Cemetery, it can also be claimed that these works were influenced by the features of Assyrian art as well as Urartu’s, especially in Hassanloo and Mannea, one of its allies. <br /> مطالعه و بررسی اسناد مکشوفه در طی حفاری های باستان شناسانه، همواره پلی به سوی کشف مناسبات، همبستگی ها و مراودات اقوام و مردمان پیش از تاریخ بوده است. مطالعه و مقایسه جام های فلزی مکشوفه از حفریات دو حوزه جنوب دریای خزر و دریاچه ی ارومیه، از نظر ساختار بصری، تکنیک اجرایی و روش ساخت و محتوای نقوش آنها، وحدت و همبستگی در ریشه های قومی، فرهنگی و مراودات میان اقوام ساکن در تپه های باستانی مارلیک و حسنلو در اواخر هزاره دوم و اوائل هزاره اول ق.م را آشکار می نماید. در این مقاله برآنیم تا با مطالعه و بررسی فرم و ویژگی های بصری جام های فلزی مکشوفه از این دو حوزه یاد شده، یعنی مارلیک و حسنلو به دو سؤال اساسی پاسخ گوییم. اول اینکه آثار فلزی حسنلو و مارلیک از چه وجوه مشترکی برخوردار بوده و دوم آنکه ویژگی های خاص این ظروف نشان دهنده چه تأثیر و تأثراتی از اقوام مجاور و همسایگان ایران کنونی میباشد؟ از این رو این پژوهش، که با روش تحقیق توصیفی-تحلیلی انجام گرفته است، پژوهشگر توانسته با جمع آوری 12 نمونه از آثار (2 مورد متعلق به تپه حسنلو و 10 مورد متعلق به مارلیک) به طبقه بندی و بررسی آنها اقدام و نتایج را در قالب جداول ارائه کند.دانشگاه تهران
دانشکدگان هنرهای زیبانشریه هنرهای زیبا: هنرهای تجسمی2228-603926220210823A Study of Women’s Outfits in Two Qajar Manuscripts: Sani ol-Molk’s Farhad and Shirin, and Emad ol-Ketab’s Shahnameh from the Perspective of “Innocent Eye Myth” By Ernst Gombrich...پوشش زنان در دو نسخه قاجاری فرهاد و شیرین صنیعالملک و شاهنامه عمادالکتاب از منظر افسانه چشم معصوم ارنست گامبریج931048309910.22059/jfava.2020.298971.666436FAآمنهمافی تباردانشگاه هنر تهران0000-0001-9084-9873Journal Article20200304Qajar art can be studied in two periods. The first period, known in the context of painting as “royal painting,” is believed to have reached its peak during the reign of Fath-Ali Shah and lasted to the end of Mohammad Shah’s reign. The second period matured with the beginning of Naser al-Din Shah’s rule and continued through his successors to the end of the Qajar dynasty. It appears that some of the pictures in the few surviving manuscripts of the second half of the Qajar era owe to royal painting, despite the historical delay. This becomes especially clear when exploring the ways they depict women’s outfits. Meanwhile, Ernst Gombrich, the renowned art historian, attests to the fact that every artist owes to their predecessors and is influenced more by their peers than reality; a fact he interprets as the myth of the “innocent eye” and considers as the result of the influence of past experiences on the present. Gombrich holds that the teachings of the past influence artists more strongly than their perception of the real world, insofar as they are considered indebted to their precursors. This way, by studying the outfits of women depicted in Sani ol-Molk’s “Farhad and Shirin” and Emad ol-Ketab’s “Shahnameh<em>,</em>”<em> </em>conceived in the second half of the Qajar era, during Naser al-Din Shah’s and Mozaffar al-Din Shah’s reigns respectively, and by considering the differences in their rendering—differences that are, in a way, in a reversed historical sequence—one may pose the question, What do the differences between the women’s outfits depicted in Emad ol-Ketab’s Shahnameh and those seen in Sani ol-Molk’s Farhad and Shirin suggest in terms of Ernst Gombrich’s innocent eye myth? The results of this paper, which audits four illustrations from Emad ol-Ketab’s Shahnameh and Sani ol-Molk’s Farhad and Shirin using the analytical comparative method, indicate that female figures in Emad ol-Ketab’s Shahnameh present their true values when compared to the royal court iconographies from the first half of the Qajar period. On the other hand, Sani ol-Molk’s Farhad and Shirin, despite preceding the former, features the characteristics of the second style in depicting women’s outfits and references the necessity of particular pieces of clothing in the society at the time. This attests to the fact that, unlike Sani ol-Molk, whose training was influenced by Western naturalism, an unknown painter of Emad ol-Ketab, was probably taught by traditional miniature painters and emerged from that scene. Thus, unlike Sani ol-Molk, who tried to represent the society, the illustration in Emad ol-Ketab’s Shahnameh picture women in the appropriate outfit that even, includes the stylistic features of women’s outfits in the first period. Indeed, his informal education may have contributed to him not considering his final work, despite containing about 40 illustrations, worthy of bearing an artist signature and date in the heyday of Sani ol-Molkian naturalism, and, thus, preparing for the book to become forgotten to the point of failing to be included in the large manuscript collection of the Golestan Palace Royal Library.دورة اول نقاشی عصر قاجار با حکومت فتحعلیشاه و پیکرنگاریدرباری شناخته میشود. دورة دوم با سلطنت ناصرالدینشاه نضج گرفته و با رواج طبیعتگرایی تا انتهای این سلسله، ادامة حیات میدهد. عموم هنرهای هر زمان به خصایص رایج در عصر خود وفاداری نشان میدهند، اما برخی از تصاویرِ نسخ خطی نیمة دوم قاجار، وامدار پیکرنگاریدرباری در دورة اول هستند و این مسئله در تجسّم پوشش زنانه نمود بارزی دارد. ازسویی ارنست گامبریچ، باور دارد هر هنرمند از همسلکانش بیشتر از واقعیّت تأثیر میپذیرد، امری که وی به افسانه بودن معصومیت چشم تعبیر میکند و آن را مقابل اصالت بالفطرة ذهن قرار <br />میدهد. نظر به چنین دیالکتیکی، پرسش این است: از منظر افسانه چشم معصوم ارنست گامبریچ، تفاوت سبکی پوشش زنانه در تصاویر دو نسخة متأخّر قاجاری یعنی فرهاد و شیرین صنیعالملک (عهد ناصری) و شاهنامه عمادالکتاب (عهد مظفری) چه چیزی را نشان میدهد؟ نتیجه به شیوة تطبیقی تحلیلی و با تدقیق در چهار نگاره، گواه آن است پوشش زنان در نسخة فرهاد و شیرین صنیعالملک بهخصایص دورة دوم و بروز آن در اجتماع ارجاع میدهد درمقابل، بهعکس بردار تاریخی، صور زنانه در شاهنامه عمادالکتاب درمقایسه با پیکرنگاریدرباری ارزشهای واقعیاش را بازگو میکند. این امر نشانگر آن است برخلاف آموزشهای صنیعالملک که متأثّر از طبیعتگرایی غربی بود، نقاش ناشناس عمادالکتاب، از سلف نگارگران سنتی بوده است.دانشگاه تهران
دانشکدگان هنرهای زیبانشریه هنرهای زیبا: هنرهای تجسمی2228-603926220210823Post modernism and its impact on art therapyپستمدرنیسم و تاثیر آن در هنر درمانی1051147775610.22059/jfava.2020.291799.666352FAزهرابانکی زادهدانشجوی دکتری دانشگاه الزهرامنصورحسامیعضو هیات علمی دانشکده هنر دانشگاه الزهراس تهران0000-0002-9845-1859علیزاده محمدیعضو هیات علمی دانشگاه شهید بهشتی. کلینیک خانواده. .تهرانJournal Article20191102Postmodern movement emerged in the 1960s as a reaction against modernism, the most important differences which distinguished it from previous periods were its attitude to the reality and critical attitude towards the certainty of science and truth. In this view, reality differs for individuals and is determined by the perception, culture and language. In this view, each person's perception of reality is the product of his attitude to the life, so the existence of an absolute reality is rejected. Postmodern culture does not represent a systematic and pervasive theory because every individual or culture measures reality in its own way; so they can be understood by their own criteria, not by a standard and objective one. People also use language to construct their inner realities, so each person's words and manner of speech reflect the internalized realities and their perceptions of reality. Based on what has been said, deconstruction can be considered one of the most important postmodern manifestations that has influenced not only on aesthetics discourses but also in the sciences such as psychology in the last three decades of the twentieth century. This approach seeks to eliminate and abolish universal principles and emphasizes diversity, plurality, differences, contradiction and relativity. Accordingly, postmodern psychotherapy also came under the influence of postmodern philosophy. Social constructivism is a postmodern view of therapy that believes reality is not outside to be found; it is built within each of us and socially constructed through the interaction of culture, perception, and language. So everyone is personally and actively involved in making his own reality. The purpose of this paper is to study and investigate the impact of the features proposed in postmodernism on postmodern art therapy in an analytical and theoretical way. The main question is to find in what extent postmodern art therapy is related to the concepts in postmodernism. In this study, it is assumed that the concepts discussed in postmodern philosophy are specifically applied to the postmodern art therapy. The results of this study confirm that the deconstruction of social structures and internalized narratives, the importance of multiple realities, the importance of social aspect of art, group and discourse-based activities, pluralism, the importance of audience interpretation, the use of metaphor and etchings as well as the use of different medias in creation of artworks are among the most important features that have been introduced and applied in postmodern art therapy. Postmodern art therapy began as a means of combating social conditions, with the idea that individuals are influenced not only by their childhood experiences in the family, but also by culture, ethnic, race, gender, politic and other issues in the life. In this context, art was used as a means of expressing multiple realities to establish mutual discourses and communication as well as identifying and eliminating the dominant narratives of life. In this way according to post modern art therapy all people have the ability to lead their own lives in ways that are both satisfying and socially productive.جنبش پستمدرن در دهۀ 1960 به عنوان واکنشی علیه مدرنیسم پدید آمد که مهمترین وجهۀ تمایز آن با دورانهای قبل، نوع نگاه آن به واقعیّت و نگرش انتقادی نسبت به قطعیّت علوم و حقایق بود. فرهنگ پستمدرن بیانگر یک نظریۀ نظاممند و فراگیر نیست، در این دیدگاه، واقعیّت برای افراد، متفاوت بوده و بر اساس ادراک، فرهنگ و زبان آنها مشخص میشود. بر این اساس، شالوده شکنی از مهمترین مظاهر پستمدرن به شمار میرود که نه تنها در گفتمان زیباییشناسی، بلکه در علومی چون روانشناسی تاثیر گذاشته است. هدف این پژوهش، مطالعۀ نظری و بررسی تاثیر ویژگیهای پستمدرنیسم در هنر درمانی پستمدرن به شیوۀ توصیفی- تحلیلی است. پرسش اصلی پژوهش این است که هنر درمانی پستمدرن تا چه میزان با مفاهیم مطرح در جهانبینی پستمدرن ارتباط دارد.<br />در این پژوهش، فرض بر آن است که مفاهیم مطرح در پستمدرن، به طور مشخص به هنر درمانی پستمدرن راه یافتند. نتایج حاصل از این پژوهش موید آن است که ساختارشکنی سازههای اجتماعی، اهمیّت واقعیّتهای چندگانه، اهمیّت وجهۀ اجتماعی هنر، فعالیت گروهی و مبتنی بر گفتمان، کثرتگرایی، اهمیت تاویل مخاطب، استفاده از استعاره، ایهام و کاربرد رسانههای مختلف در خلق آثار هنری از مهمترین ویژگیهایی است که در هنر درمانی پستمدرن مطرح و به کار گرفته شدند.دانشگاه تهران
دانشکدگان هنرهای زیبانشریه هنرهای زیبا: هنرهای تجسمی2228-603926220210823Sufism and Mysticism as the Discoursive Characteristics of Calligraphy Treatises During the Eighth to Eleventh A.H Centuries (14th-17th A.D)تصوف و عرفان در مقام ویژگی گفتمانی رسالههای خوشنویسی سدههای هشتم تا یازدهم هجری1151247789410.22059/jfava.2020.302008.666459FAمحمودوطنخواه خانقاهکارشناسی ارشد هنرهای اسلامی، دانشگاه هنر تهران0000-0003-4345-7011امیرمازیاراستادیار دانشگاه هنر تهران، گروه آموزشی فلسفه هنر، دانشکده علوم نظری و مطالعات عالی هنرJournal Article20200505Calligraphy holds a unique place in Islamic arts and has been influenced substantially by historical and social factors from the early centuries to date. An important part of these factors has not been studied mainly due to the singular, concentrated point of view prevalent in common approaches to the study of Islamic calligraphy. A different approach is to not only take into account the historical evolution that have taken place, but also to review the dominant discourses on the calligraphy during different historical periods. Accordingly, the historical evolution of Islamic calligraphy can be recognized by the analysis of discourses that have been prevalent in different historical periods. One of the discourses that has dominated the Islamic calligraphy, especially from the eighth to the eleventh A.H centuries (14th-17th A.D), is a Mystical discourse. The impact of the Mystical discourse is not confined to Islamic calligraphy, and in fact, has resulted in a wide-ranging influence on a variety of practical and theoretical fields. The birth of the Mystical discourse can be traced back to Sufism evaluation in the sixth A.H century (12th A.D). This discourse also created common features in texts and treatises of calligraphy art. Therefore, a careful study of the calligraphy treaties and texts from various fields that have been produced during that era presents a unique and distinct opportunity to understand the features of the Mystical discourse. Hence, the purpose of this research is to recognize and analyze the mechanisms of imposition mystical concepts to the calligraphy through the Neo-historical approach and to adopt discourse analysis method with emphasis on relevant texts. By reviewing the remaining texts of scholars of this period, as well as referring to the opinions of contemporary Islamic art scholars, it is concluded it is concluded that there is a very serious and profound interplay between Sufism with various industries, crafts, sciences and arts in the that period. In this regard, Mysticism and Sufism has been a decisive factor in the conception and developments that have taken place in Islamic calligraphy. Actually, Islamic calligraphy, synchronous with the Mystical development of the Islamic society, has undergone many changes that are recognizable with refer to texts and calligraphy treatises. Therefore, in this investigation, by referring to several authentic and significant texts from the prominent scholars and calligraphy masters, as well as the specialized calligraphy treatises, we extracted and recognized the features of the Mystical discourse in Islamic calligraphy treatises from the eighth to eleventh A.H centuries (14th-17th A.D). According to the results of this research, the mystical, sacred and spiritual conception of Islamic calligraphy was a specific discursive and historical features of this period and is not an intrinsic, permanent feature of the Islamic calligraphy, but is in stark contrast to other historical Islamic art discourses such as Scientific-Geometric discourse in the Middle Ages. These mystical ideas in opposition to the Sci-Geo discourse in Middle Ages, which also has a direct impact on the Islamic calligraphy until now, in regards to its creation, interpretation and investigations.تحولات تاریخی خوشنویسی اسلامی را میتوان با شناخت گفتمانهای مختلف حاکم بر آن در ادوار مختلف بازخوانی کرد. هدف این پژوهش نیز بازشناخت یکی از گفتمانهای تاریخ خوشنویسی، یعنی گفتمان صوفیانه و تحلیل ساز و کارهای زمینهای و رویههای تحمیل انگارههای عرفانی توسط این گفتمان بر رسالههای خوشنویسی است. گفتمانی که به مرور بر اثر قدرت یافتن و دامنه نفوذ تصوف، در حدود سدههای هشتم تا یازدهم هجری غالب گشت و آثار انگارههای عرفانی تحمیلی آن را در اقسام جریانات فکری و مشاغل و هنرهای این دوره میتوان مشاهده کرد. این گفتمان همچنین سبب به وجود آمدن ویژگیهای مشترک در متون و رسالههای مربوط به هنر خوشنویسی گشت. بنابراین در این پژوهش با اتخاذ رویکرد تاریخی- تفسیری و بهرهگیری از روش تحلیل گفتمان، به تعیین مفصلبندیها و بازشناخت ویژگیهای صوفیانه در رسالههای خوشنویسی سدههای هشتم تا یازدهم هجری پرداخته شده است. نتایج این پژوهش نشان میدهد که تلقی عرفانی از هنر خوشنویسی، در مقام ویژگی گفتمانی و تاریخمند خاص این دوره بوده و نه تنها خصیصه ذاتی و همیشگی خوشنویسی اسلامی نبوده، بلکه در کشمکش و تقابل آشکار با سایر گفتمانهای تاریخساز هنر اسلامی همچون گفتمان علمی- هندسی در سدههای پیشین قرار میگیرد.دانشگاه تهران
دانشکدگان هنرهای زیبانشریه هنرهای زیبا: هنرهای تجسمی2228-603926220210823Analysis and Reading of Artworks based on Ibn Haytham's Theory of Beauty Perception
(Case Study: The Stary Night)تحلیل و خوانش آثار هنری بر اساس نظریه ادراک زیبایی ابن هیثم (مطالعه موردی: تابلوی شب پرستاره ونسان ونگوگ)1251338310010.22059/jfava.2021.302555.666468FAفاطمهپورذبیحدانشکده هنر و معماری،دانشگاه مازندران، بابلسر، ایران.همایونحاج محمد حسینیاستادیار گروه صنایع دستی و پژوهش هنر، دانشکده هنر و معماری دانشگاه مازندران، بابلسر، ایرانh.hosseini@umz.ac.irمحمداعظم زادهاستادیار گروه صنایع دستی و پژوهش هنر، دانشکده هنر و معماری دانشگاه مازندران، بابلسر، ایرانJournal Article20200519 <br />Since Ibn Haytham's theory of aesthetic perception pays attention the necessary qualities and visual structure in a work of art, and can be accepted as a model for analyzing and reading works of art, it is necessary to consider the potential aspects of his theories in the field of aesthetics And the visual structure to be researched and put into action. The present study uses a descriptive-analytical method to study the process of aesthetic perception that is formed by understanding the perticular properties in The power to Distinguish (The inner senses). Thus, the three perceptual faculties that Ibn Haytham refers to as the stages of perceiving detailed meanings were scientifically explored. The purpose of this study is to explain the structural patterns hidden in Ibn Haytham's theory of aesthetic perception and to examine the works of art by the explained patterns. Findings indicate that the "Cognition Percepotion" according to a priori information, it is possible to classify information into "species" and "individual"; Thus, from the syntagmatic of some the perticular properties that create a qualitative-visual structure, they form a similar generalities group of the perticular properties, and are known in one species; As a result, it can be used as a model for analyzing the visual structure of works of art. Finally, a work by Van Gogh is analyzed and read using the explained patterns. <br />In other word, The present paper seeks to makes a model, based on Ibn Haytham's theory of aesthetic perception, for the analysis and reading of works of art. Bu'ali Muhammad Ibn Hasan Ibn Haytham Basri, is the most prominent figure in the field of physics of light in the fourth and fifth centuries AH / tenth century AD. His greatest work is the book Al-Manazar, which has been written in seven articles on Optics and has been translated into various languages. In this book, Ibn Haytham, while explaining how the visual process works, also explains the reasons for perceiving the beauty of objects. According to Abdul Hamid Sabra, the discussion of how Ibn Haytham's perceptual beauty is perceived is the longest discussion of visual beauty in Arabic from a purely aesthetic point of view. The importance of Ibn Haytham's theory of Beauty perception is due to the presentation of an accurate and scientific discussion that combines objectivity and subjectivity. The present paper will answer the following questions: 1- How do the perticular properties in Ibn Haytham's theory of aesthetic perception become structural patterns? 2- How can works of art be examined based on Ibn Haytham's theory of aesthetic perception? following the answer, we first describe and examine the twenty-two the perticular properties and the process of their perception in the same way as in the book of Al-Manazar. Then, after identifying the characteristics, function and role of The power to Distinguish in the perception of beauty, we try to find qualitative-visual structures and similar generalities in the the perticular properties, with the help of "Cognition Percepotion" that the power to classify information as "species" (commonalities in a group) and "individual" (different details in a group). <br /> از آنجا که نظریه ادراک زیبایی ابن هیثم، کیفیات و ساختار بصری لازم در اثر هنری را مورد توجه قرار می دهد، ضروری است جنبه های بالقوه ی نظریاتش در حوزه زیبایی شناسی و ساختار بصری، مورد پژوهش قرار گرفته و به فعل در آید. پژوهش حاضر به روش توصیفی _ تحلیلی به بررسی فرایند ادراک زیبایی می پردازد که از درک معانی جزئیه در قوه ممیزه شکل می گیرد. بدین ترتیب، سه قوه ادراکی که ابن هیثم از آنها به عنوان مراحل ادراک معانی جزئیه یاد می کند، مورد کنکاش علمی قرار گرفت. هدف این پژوهش، تبیین الگوهای ساختاری نهفته در نظریه ادراک زیبایی ابن هیثم و بررسی آثار هنری توسط الگوهای تبیین شده، می باشد. یافته های پژوهش حاکی از آن است، ادراک بالمعرفه با توجه به اطلاعات پیشینی، امکان دسته بندی اطلاعات به "گونه" و "فرد" را دارد؛ بنابراین از همنشینی برخی معانی جزئیه که ساختاری کیفی_بصری ایجاد می کنند، کلیت مشابهِ یک گروه از معانی جزئیه را شکل بخشیده، و در یک گونه شناخته می شوند؛ در نتیجه می توان از آن گونه به مثابه الگویی برای تحلیل ساختار بصری آثار هنری استفاده کرد. در پایان، با استفاده از الگوهای تبیین شده، یک اثر از ونگوگ مورد تحلیل و خوانش قرار گرفته است.