مجله جلوه هنر
سال دوازدهم شماره 3 (پاییز 1399)

Upon the rise of Qajar Dynasty in the history of this country and following the progress and consolidation of the social, economic and cultural propositions, and also the expansion of foreign relations with the western countries, familiarity of the Iranians with the modern world and the concept of modernism, and the beginning of westernized living experiences, imagism and more specifically the mural painting underwent significant changes due to economic interaction and the flow of capital toward the society to some extent (which resulted in individual possessions and class conflict). Moreover, the promotion of education level and the awareness of the aristocratic women of Qajar (who were out of sights by being confined to the indoor areas) and their participation in the society followed by the western women, and on the other hand, the opening of new places such as DarolFunun[1], creating modern methods such as nature drawing and the like, in the form of perspectives, making light-dark and perspective, photo printing, and producing artificial colors and the rise of painters like Kamal-ol-Molk and Mazin-ol-Doleh, all and all led to changes of thought in the society and laid the foundation for the dominance of modern technology across the society. The mural painting, which was exclusively possessed by the royal families, entered into the social life of the first class strata and subsequently into the lives of the people around them and due to the fast propagation of this wave into the daily affairs, it appeared in the social lives of the wealthy people insofar as ordinary people, who were in contact with those strata and the people who enjoyed such artistic issues such as mural painting, assumed ownership in their own lives. The spirit of that period in the mental body of the time also allowed the ordinary people to use this privilege, in the light of which the government somehow managed to achieve its governmental pseudo-legitimacy and subsequently, it could respond to the motivations of the society as well as the people’s personal affairs (Democracy), and in return, it could legitimize people’s satisfaction by creating emotional and instinctive motivations; because the images of the European women on the walls of the wealthy people houses and also their postal cards were easily available for the public through printing and using modern methods. Of course, further in the process of these changes and the extensive possibility of being influenced by the West, the Kings of Qajar tried to imitate the performance of Iran’s former powerful governments (like the Achaemenid Empire & Safavid Dynasty) in order to attach more legitimacy to their own governments; and following these imitations, some aspects of Iranian archaism were reappeared in the imagism of this period. The outcome of the entire mentioned factors led to the lack of a comprehensive and specific art style in painting and mural of this period, and this multiculturalism was clearly evident at all the levels of the society and art; However, a general classification can be made of the paintings of Qajar period, and that would be: 1. Iranian-Traditional, 2. Iranian-Western, 3. Westernized, 4. Street Painting (Graffiti). In this paper, library and field research techniques were employed for data collection, and the author investigates mural developments and the intellectual interpretation in this area in Qajar Dynasty using interpretive historical method within inferential reasoning framework. The basis of the political-social developments together with the role of painting and the motives of statesmen in giving meaning to the exploitation of the virginal nature of painting alongside governmental pseudo-legitimation resulted in the appearance of new components which are the outcome of sharing such areas, which solely leads to the correct interpretation of the spirit of the time and the conditions prevailing it. Therefore, in order to realize this important principle, we have to answer the following question: How are the effects of the political-social developments of Qajar Dynasty on the murals of the house of the leader of the day of congregation[1]?  This answer will lead to the production of important criteria for challenging the mind of the audience, which depicts the reason for the connection of these developments with the concepts underlying the mural paintings of that period. This is where the cryptography of concepts comes into view, and one can realize the principle governing this type of art (mural painting) through interpretation. Thus, the author attempts to investigate the themes of the codes and interpret the mural paintings drawn in wide spectrum of designs in this house by taking advantage of the produced components in the mentioned areas, which leads to the emergence of a modern line of thought in mural painting and its themes and even the consolidation of the modern attitude toward this matter in a period of history, which, from the view of the interpreters, might lie outside of the principal meaning, and it might pave the way for its reinterpretation so that we may realize the value of this field of art, which is in form of mural painting, in Qajar Dynasty.

Persian painting throughout its history, has always been influenced by Persian literature, and various magnificent works by the themes of epic, lyrical, mystical, moral, etc. In other words, Persian painting owes much of its ideal examples and allegorical themes to literature. The continuous development of Persian painting, rather than the style of visual painting schools in several centuries, has always been remarkable in its relationship with the literature and use of aesthetic basis and poetic themes. This trend continues till today, and contemporary artists are trying to create works that while having relation with literary tradition, reflect the problems of the contemporary world. In the dialogue with Khayyam's poetry, Hossein Behzad, a contemporary painter, seems to be the first person that illustrated Khayyam's quatrains. Due to the problems and sufferings he endured during his miserable life and the bitter events he faced, he felt closer to Khayyam's quatrains and portrayed the works of this poet in visual language. But what is unprecedented in these historical relations and distinguishes Behzad's works from other paintings is their subject-affinity with Khayyam's philosophical ideas. Despite Khayyam's questionable ideas that show specific approach to the world and human beings, the painter had nevertheless portrayed them in such a way that his works were direct interpretations of Khayyam's poems. What can be said about the necessity and importance of this study is that while Behzad referring to the past tradition of literary interaction with painting and showing his perception of literary ability in the visual structure of his paintings, the other artists of his period, separate from traditional literature due to social and cultural conditions of their time, prevalence of re-evaluated thought and the reflection of Western culture and art, in order to create the works in confrontation between tradition and modernity. For this reason, such a case study not only contributes to the visual deepening of the paintings, but also leads to an aesthetic understanding of the conceptual signs and poetic elements involved in those works. Therefore, this research raises the following question: by using which visual signs and in what way has Behzad been able to recreate the hidden thematic of Khayyam's poems by visual language? In order to answer the question of research, first it is tried to explain and interpret the themes and meanings that express the poet's philosophical thought and point of view. Then the visual and symbolic elements used by the painter in illustrating the poems have been analyzed, and finally the thematic signs of the quatrains and the visual signs of the paintings are compared in order to clarify how a literary text can be represented in visual text. Relying on the critique approach, this study tries to put together two literary and visual texts by discovering thematic and visual signs, and then analyzes the quality of representing Khayyam's quatrains in Behzad's paintings. Accordingly, the present study is a descriptive-analytical method based on credible electronic-librarian resources to understand about the quality of representing the themes and meanings of Khayyam's poems in Behzad's works. So investigating the thematic signs and their effects on the paintings in the form of visual signs will lead to a more accurate critic and attractive reading of both poetic and visual texts. The findings show that however that Khayyam's quatrains are philosophical and reflect existential issues such as astonishing of creation, looking for the mysteries of creation, attending to the unreliability of the world, viewing the world wisely, thinking about death and the enjoyment of life, Hossein Behzad has used two types of signs in his visual works in dialogue with Khayyam’s quatrains: 1. Thematic and symbolic signs that illustrate in the paintings in the form of pottery, potter, pottery workshop, soil, water and greenery, old narrator, genius elders, kings, birds, trees, earth mounds Candles, colorful costumes, angels and tormentors, as well as colors such as blue, red, green, black and brown in their special meaning. 2. Visual signs with special visual representations such as point rhythm, color contrast or the dominance of one color on the space, different narration in the background and background in relation to each other in one work and creating different sensual states in faces and figures. The sum of these signs has led the painter to have tremendous innovations and make possible understanding of the themes and concepts of Khayyam's quatrains in his paintings.

Daniel Buren is a well-known French visual artist in the international scene. He started his artistic work in the late 60s and during more than forty years of artistic activity, he relied only on a simple visual element consists of vertical alternating white and colored stripes. In contrast to the Minimalism, Buren’s art has dealt with different aspects of the art world and has been assumed a critical approach against the huge number of the most important cultural institutions such as museums and the art financial mechanisms. The main character of his art is to intervention in space by creating an artwork which will put the spectator in a critical position against the condition of the presentation of the artwork. By imposing itself in space and by passing the rules that establish it, Buren's art shows the forces that forged our world. The main question in the present paper targeted the critical side of Buren art; in this regard, the questions are mostly about the relationship between the art work and the place, how to display and the position of the audience about it and his presence in the place in relation to the architecture. This research regards to the basis of Buren Art concepts, with an analytical approach to its important critical aspect, tries to show the various aspects of the function of the elements of his art and its effects.  To this end, the paper presents a historical picture of neo-avant-garde tendencies in the 1960s. The study of these movements shows a kind of abstinence and simplicity in the artistic expression of the artists of this period. This is a result of the conceptualization of art. This less expressing of means of artistic expression show itself in different ways; his expressions of own, his gestures, his approach to the subject, material or media. This tendency which caused the minimalism in the united states will emerge in movements such Arte Povera in Europe, as well as in some nouveau-realists. The BMPT group, of which Buren was a key member, was formed on the basis of a similar trend, whose basic principle was the economy of visual elements. Minimizing the visual element in Buren's work by referring to colored same size tapes, made it possible for him to eliminate the illusion that was one of the ancient functions of painting and allowed the spectator to see the artworks in a neutral context. Such a view, free from unnecessary visual elements, facilitated the possibility of taking a critical position. Another important element of Buren's art that this article tries to explain is the concept of authenticity. By creating non-transferable or reproducible artworks, Buren explores the fundamental issue of authenticity that is in relation to the ownership and commodity value. Buren's works are thought and realized in the particular places. The transfer of ownership of these works is one of the artist's critical discourses. To this end, by defining special contracts, he tries to have some kind of control over his work of art even after handing. Therefore, determining the authenticity of artist's work does not depend on the market, but on the conditions that the artist defines. So, renouncing the conditions defined by the artist will cause the loss of authenticity of his work. Finally, the article deals with one of the most important keywords of the artist's innovative words, which is the concept of "in situ". Buren's work puts the spectator in a special interaction with spatial elements. These elements include facade, landscape, frame, point of view and architecture. In these works, we observe the artist's ironic tone to the elements that form our vision field in a certain place. It can be seen that each of the operations performed by the artist highlights an invisible aspect of the work's spatial context. The result of this research discusses the critical discourses resulting from the artist's actions, which, by changing the function or imposing processes on the work, clearly aim to challenge the performance of institutions (cultural, public, economic, etc.) which determine the presentation of artwork.

Carpet, as a symbol of Oriental territories has always been attractive for Western countries (through history) and has arrived into these countries in various periods as gifts of kings, booty, commercial merchandise, or other means. The presence of carpet in paintings of different eras of Western art history is an interesting subject for historians of this field and researches about that started from the second half of the last century and are still expanding. This topic is very comprehensive and it can cover historical, political, economic, cultural and artistic aspects all together; and so far, it has involved many researchers in various fields around the world. By library research method and surveying the relevant documents, this article first turned to study the historical dimensions of investigations performed in this field and aside from surveying the classification of carpets present in Western paintings, which was innovated by German researchers, study their presence in the most significant works of Italian High Renaissance (1495-1600). By historical research, we can see the presence of carpets in Italian painting started from medieval Period with Giotto. So, as a very valuable topic, in the western world, there are different types of classification regarding this subject: one of the most important is the categorization related to one type of Turkish carpets (Ushak), which was suggested by Kurt Erdmann- a German art historian who specialized in Sasanian and Islamic Art- with the title of Holbine Carpets. This sorting is introduced based on the proposed theories of Luca Brancati- an Italian art historian - and Wilhelm von Bode, who was one of the pioneers of the carpet studies in western countries. The obtained results indicated that the most important and the most recognized type of carpet in the paintings of that era is Lorenzo Lotto carpet as the second subclass of Holbine carpets classification. According to performed studies, the use of this carpet in painting started in the late Renaissance and in one of the works of Sebastiano Del Piombo (Cardinal Bandinello Sauli, his Secretary and two Geographers, 1509). He was a Venetian- Italian painter; later and based on his works, the presence of Lotto carpets lasted continuously for two centuries. So if we consider that there is an unnamed painting without any information about its creator, in which the Lotto carpet is used, it can be easily concluded that it does not belong to a time prior 1509. This is an important point in western art history because there are many paintings-especially by unheard artists- which have been left uninformed. This research, after surveying the presence of this carpet in the most significant pieces of Renaissance era (examined period: 1480-1509) turned to field study by investigating the presence of carpets in some works of Federico Zeri archive. As one of the most famous archives in the world, Zeri is maintained twenty-nine thousand photos of art works some of which are unique document and the original work is not available any longer. In this archive there are some art pieces from unknown artists (especially in the international aspect). By surveying the presence of the Lotto carpets in their works, this paper has concluded that the carpet is an important and effective key term in reviewing art works, and turned to description and analysis of these works.

Vernacular has been proposed as a common intellectual point of past architect. So many concerns, thoughts and vernacular architectural strategies come from this common issue. The variety of vernacular in each region causes a different concern for the architect, which makes it possible to reach different answers and architectural strategies. Actually, the vernacular as a common feature in the formation of historical textures is problematic and also makes opportunity. Solving these two features at the same time has been the art of native architect. In most of Iran's cities, the vernacular architecture has been applied and it has been effective in the formation of urban and architectural texture in a varied way. But the remarkable thing here is the distinction of urban development in historical texture of Bushehr than the other historical cities, and it finds in the structure and formation of this city. In historic cities, the city is a living creature that thrives on the bed of time and acquires its structure. It is evident that the climate, nature and geography of the region is effective in the form and expansion of the city, but this is only a small part of the factors that influencing the architecture of historical cities. In the historic city, the most important part of the city is its citizen. The main factor in the formation of a traditional city is its citizens and the way of their livelihood, and other factors (such as climate) are served in this factor. This historical texture of Bushehr is one of the most valuable and rarest examples of architecture and urbanism in Iran; despite the researches conducted in these areas, there is no comprehensive study on the elements and factors of this historical texture and it is not investigate as it is worthy. In historical cities, various factors have influenced in the shape and appearance of the city and its development pattern (urban development). These factors have all been achieved in order to create a city that service the man and answer the need. Accordingly the descriptive-analytic research was conducted to answer this question, what factors have been effective in the formation of this different historical context? Authors have done this research with using Library resources and field studies, and also applying historical documentation and imagery. Field studies using direct observation in the historical building of Bushehr texture, presence of researchers in the studied spaces to control the collected data and using observation cards. The city of Bushehr that located in the southwest of Iran and adjacent to the Persian Gulf Sea has a historical texture. This port, which has a peninsula state, is linked from three sides to the Persian Gulf and one side of it, connect to the land. The early-core of Bushehr's old texture is located in the Northern Cape of the city and consists of four old neighborhoods (Behbahani, Shanbedi, Dehdashti and Kuti). Several factors have been influenced in the formation of houses in old texture of Bushehr; including the climatic and environmental, cultural, economic, and security factors. The old texture of Bushehr has a valuable architectural structure of the Afsharyeh period on the coast of the Persian Gulf. This historical texture has unique features due to the different urban structure and architectural in the Qajar period. In terms of architecture, a two or three floor buildings with colored glass in Bushehr, proportional to the direction of the wind, especially in hot seasons, wind and air conduction is an unprecedented example of Iranian initiative in the South Iranian architecture. In this study, the factors that have been effect on the structur of city have been divided into five main characteristics; each of these factors has influenced the formation of the city by utilizing different ways. These factors are unique in every region, and their origin is also referring to the vernacularism. Finally the study of the content that discussed in this study has shown that the historical texture of Bushehr city is one of the most valuable and unique examples of Iranian cities. A series of factors and indicators have led to the creation of different urban textures. A set of environmental, cultural, social, political, regional, economic and aesthetic factors has led to the formation of different historical texture of Bushehr, compared to other cities of Iran.

The use of strategic planning models in various industrial sectors has become commonplace. In fact, the business environment includes economic infrastructure, the health of the administrative system, social security, stability in economic policies, laws and regulations, the quality of the judiciary, etc., which have a direct impact on the performance of companies, but their change goes beyond the authority of corporate executives. Accordingly, due to the importance of the business environment, several international reports on the ranking of the business environment of countries are published every year, each of which uses a special approach to report on the business environment of countries. Therefore, due to the importance of the entrepreneurial ecosystem, in this research, an attempt is made to examine the analysis of the entrepreneurial ecosystem of Turkmen ethnic jewelry using the SWOT method. The aim of this study, considering the nomadic life of Turkmen tribes from ancient times and the lack of written sources on nomadic life, is to refer to sources of knowledge on how to produce and use Turkmen jewelry limited to the sayings and hearings of the elderly and those currently producing. On the other hand, this research can be considered as an innovation research that has been analyzed for the first time in Iran by the analysis of ergonomic entrepreneurship ecosystem of Turkmen ethnic jewelry. The research method is a case study in the form of qualitative and quantitative methods using descriptive-analytical methods. To collect the required information, library studies and field studies have been used. In the first phase, interviews were conducted with people who have jewelry workshops to gain a community-based perspective. After consulting them, the strengths, weaknesses, opportunities, and threats of Turkmen jewelry production were identified based on the SWOT model. Then, according to the experts, the weight was given and then, according to the existing realities of jewelry production, an attempt was made to provide executive strategies to get out of the current situation. The experimental master of Turkmen jewelry making was interviewed as an expert in this field and also 2 professors were interviewed as university experts. In the next step, AHP method was used to calculate the weight of each index and rank them in such a way that a questionnaire was designed to be appropriate to the obtained indicators and was provided to handicraft experts at the university level. This research is applied in terms of purpose and analytical in terms of descriptive nature. The research findings showed that there is a high potential for the development of this industry in the region, so that one of the important opportunities in this sector is the diversity of Turkmen jewelry, which can play an important role in attracting more customers due to today's competitive market. An important issue in today's business is innovation in diversity, especially in industry. One of the advantages of jewelry is that it is handmade, and in the new era, because it requires a small fee to set it up, a large number of young people in the region can enter the industry and lead to entrepreneurship. One of the advantages of this industry is the great elegance in this sector. This industry attracts a lot of customers' attention due to its high elegance, and it can be considered as a competitive advantage. It is also unique in that it can be said that due to the characteristics of the jewelry in this area, it can be said that it can be seen in few places in the world and its usability is another important point of this industry that is used in the new era. Jewelry has become commonplace. One of the serious issues that threatens the industry at the regional level is the presence of brokers, lack of effective marketing, lack of support for manufacturing workshops, low number of craftsmen in this art, buying intermediaries at low prices and selling them at multiple prices to exporting countries. Use of this product by Turkmen relatives and Mass production by neighboring countries, the tendency of domestic consumers to modern products and the economic situation and the imposition of sanctions can affect the market of this industry, but it can be said that given the opportunities and strengths in this sector can overcome these threats. The results indicate that Turkmen tribes are the most unique ornaments with the highest weight with the most priority strategy in the field of handicrafts. As a result, activists in the field of handicrafts under study should use their strengths to make the most of the opportunities ahead.

Artists' clothing is not just a cover for the artist's profession, but clothing for their personality. Artists choose this dress to introduce themselves to the target community. This was also the case with German artists, especially after World War II. This means that they have always chosen special covers to present and appear to the people. However, historical data show that, especially after the end of World War II, the coverage of theater artists in Germany changed dramatically. This issue has been investigated, studied and analyzed in various ways, both in Germany and in other countries. However, by studying these works, we have found that based on pre-existing theories, the reason or factors influencing this phenomenon, namely the change in the style or manner of dress of German theater artists, can’t be exactly what they are. Therefore, in the present study, other factors in this field have identified and we have tried to show the impact of these factors to the audience more objectively. Theorists believe that coverage is not unaffected by social phenomena; that is, social phenomena such as war, revolution, conflict, or convergence can affect the phenomenon of cover, while almost all previous research has ignored the role of these factors on cover in Germany. Therefore, the question of the present study is what is the effect of social events (from the perspective of sociologists), especially World War II, on changes in the costume style of theater artists in Germany? The data of this research have been collected using documentary-library method and analytical-historical method. The findings show that after World War II, there was a gradual change in the clothing style of German artists, which we believe that it could probably be due to some social events. Durkheim, Bourdieu, and Giddens, as social theorists, believe that changes in society can also affect clothing style. According to Durkheim and Bourdieu, people do not choose clothes freely and individually, but make limited choices in choosing clothes within a predetermined framework. Thus, from the point of view of these two social theorists, society or its developments influence the individual's choice in the field of clothing (and in fact in all fields). Although Giddens attaches more importance to individual freedom, he believes that social events are not ineffective in human activities. He believes that explaining the impact of social developments on a phenomenon is not as simple as some theorists have suggested, but in any case, it is obvious that social phenomena affect events and people. Although similar views held among domestic theorists, almost all of them point to the same point that Durkheim emphasizes. Thus, using the views of these theorists, it can be said that the events after the war caused the artists of the theater house in Germany to choose costumes in the field of acting that would bring the most attraction and joy to the audience. This choice often operated through color, design, fashion, etc., and prepared intentionally or sometimes unknowingly to improve the mental state of the citizens of German society. In fact, based on historical data on the one hand and sociological theories on the other, it can be claimed that the conditions of World War II were such that it largely eliminated happiness from the people, and this issue is well represented and recognized in the images left by some artists from this period. For this reason, after the end of World War II, German artists, consciously or even unknowingly, gradually turned to clothes that would remove the discomfort from the people and create joy and desire among them. This shows that people are not as free in choosing their clothes or clothing as they or others think, but they make choices within a range determined by social factors, and only in the realm of action. The findings show that the changes that have taken place in the style of costumes worn by German theater artists are not limited to one feature, but many features such as color, material, style, etc. have changed in them, and it is interesting that all this changes have taken place in the direction of improving people's morale. Our findings in this study could lead the actors in the field of art (in all aspects) to think that they pay more attention to social factors, identify their impact on cultural phenomena, and according to that they take steps to improve the cultural and artistic status of their community. Finally, the findings of the present study show that paying attention to the impact of social phenomena on clothing in the present study is somewhat innovative because it is a pioneer of other researches in this field.

RasamArabzadeh is one of the contemporary artists in the field of designing and producing carpet.  Rasam Arabzadeh’s artworks are deconstructive and different with traditional carpets in terms of form and visual elements; also strange and deconstructive. Rasam Arabzadeh selected different titles for them for semiotic function. Most of his artworks contain various literary, cultural, gnostic and philosophical titles. The titles chosen by Arabzadeh for his works show the importance of the work in addition to the work itself. One of the new ways to study a text in the current of thought is to analyze and critique the titles and names of literary and artistic works that can express the intellectual developments and developments that govern a text on the one hand and the general atmosphere of thought on the creator of that text on the other hand. Titles are signifier that use for detection of context and their concepts and attracting audience at the beginning of context. Titles are one of the important elements of every work. Titles are first connecter between audience and   author which appear in one of these forms:  lingual sign, symbol and also they can create signified on audience mind. The importance of title on Rasam Arabzadeh’s artworks is not just for distinction or identity but title can be first sign that ever person encounter with them and they help to understand well. Hence, a role can be given to the title in this process. The title as an artist strategy such as having functions such as narrative and metaphorical functions. Each title shows one of the aspects of the text. If the title can show the most colorful and important subject and aspect, naming is done correctly. Hence, the title is the most prominent and main message of the text that is emphasized. Some believe that the name which is selected by author is a reflection of his mind. Some of authors name their works just for discriminate them for authors and audiences which who them. The importance of title is not for distinction, it can show quality of its being made and the function as well. Title is the first sign that audience encounter with it. There is a meaningful relation between a content and the title so audience can understand the subject. In this research, we try to use the descriptive-analytical method and using semiotics to examine the titles and related texts in his works. The method of this research on the base of purpose is fundamental and qualitative and descriptive-analytical. The assemblage of data is library and field and internet. The present research, investigates the titles of the selected works (12 items) of Rasam Arabzadeh,  which seeks to answer the following questions: 1. What’s the relation between titles of Rasam Arabzadeh’s carpet and context? 2. How can the titles of Rasam’s carpets show the base purpose of author? 3. Do analysis of titles of Rasam Arabzadeh’s Artworks refer audience to understand Rasam Arabzadeh’s idea? Audience have to think more  about titles of Rasam’s Artworks and these titles have gnostic, literary and philosophic concepts by usage of Hafez and Molana and Khayyam thoughts and others. These concepts appear by sign and symbol and allegory on contexts. The titles of Rasam Arabzadeh’s carpets are: 1. Literary and cultural 2. Gnostic 3. Philosophic Rasam Arabzadeh chose titles for his artworks in different methods: 1. The name of artwork according content 2. The name of artwork according a piece of poem of content with relation to its subject 3. Title according to massage which is the purpose of author 4. The name of artworks according to the form of artwork 5. Without any relation between signifier (title) and signified (context) The results of the research show that while the title in his works is the most important and basic gateway to that work, it is closely related to the concepts of that work. On the other hand, it challenges the reader's mind, makes hypotheses for him and stimulates him to a deep reading of the text of the work. The title in the works of Rasam Arabzadeh is very effective in reading the text of the works and in most cases it can be a part of the work.