نشریه هنرهای زیبا - هنرهای تجسمی
سال بیستم شماره 4 (پیاپی 64، زمستان 1394)

Ascension, as a recurring theme in narrative and visual arts of non-theistic and theistic communities (monotheistic or polytheistic) from East to West of the ancient world, reveals concern and urge of man to communicate with the supra sensible world. The connotation of ascension, however, broadly varies from the flight of shaman’s spirit, a hero transformation to god, and a trip to heaven and hell, to the self-purification and enlightenment. Ascension embraces a broad variety of notions in the mythical narrations, with widespread implementations in the form of paintings, inscriptions, and seals. The instances of ascension in different cultures are distinguished typically by their particular rituals, means and accessories, as well as the motivations and ultimate goals of the journey. In this paper a selection of mythical texts and images of ascension from ancient civilizations such as India, China, Persia, Mesopotamia, Egypt, Greece and Rome are probed to determine the constitutive essences of ascension. The inquiry about these essences includes queries on “what”, “how”, and “why”. In the underlying case, the first query is about the characteristics which distinguish ascension from other journeys, where as the second and the third question the possible ways it may be fulfilled and its motivations or goals. This is done based on a data which is culled from library documents and manuscripts, and approached by comparative and explanatory methodology. The objective is to persuade the interrogative, transcendental and inferential functions for these trips. Through interrogative functionality, the backgrounds and motives of the journey are deciphered, while the transcendental functionality would engage in the methods and limitations of contact with the upper world. Finally, the results and achievements of ascension, in both individual and social levels, are determined by inferential functionality. The functional outcomes of ascension are being classified into three factions of interrogative, transcendental, and consequential functions (the latter, being divided into two subcategories of social-ritual and individual-psychological consequences). A detailed analysis of such functional outcomes could enhance our insight of the interrelations between man and god(s) in world civilizations, and pave the way to a better understanding and assessment of the worldview of their current predecessors. The diversity of moods in man-god relationships in eastern and western civilizations echoes the difference between the two cultures in their perception of nature, the stance of man among other creatures, and the manner and degree in which god(s) are concerned about man’s fate. In the West, man is deemed as gods’ opponent and so is obliged to protect himself through dominance on nature and acquiring the strength to change his doomed fate. This could be one of the reasons how the humanism and pragmatism found a fruitful ground to grow in the West. In the East, on the other hand, we deal with a mutual man-god liaison, in the light of which, man precepts nature as a habitat and gods as patrons and protectors of nature, and yearns for perfection through proximity to gods and their will. As a result, the theistic worldviews have gained more gravity.

Sociology of art is one of the branches of sociology that knows art as the reflection of the social, political, economic and cultural processes. This branch of sociology studies artists, artworks, art audiences and the politics of art and culture.The interdisciplinary science of sociology of art refers to the artworks in order to identify societies. Therefore, this article is a sociological study of Ilkhani and Timuri΄s Persian painting. This fundamental research based on descriptive method and case study aims to investigate the factors affecting art and artists of the aforementioned historical periods. The main assumption of this research is based on social, political, economic, and cultural factors influencing the arts and the artists and also the impact of art on society. This article will try to study the art of Persian painting which deeply linked with policies until thirteen centry.For this purpose,the art of Ilkhani and Timurid will be studied, and to understand the social influence of art in these periods, two paintings of Jami- al-Tawarikh and Timur Zafarnamah are chosen to be comparatively analyzed. The subscription of the paintings is focused on the greatness of the king. The only distinction between the two works is in artist΄s view of the kings which in Jami-al-tawarikh, a terrible space of Holagokhan΄s arrival has shown, but in the picture of Timur Zafarnamah, a quite space of Timur΄s presence is shown along with his courtiers. This distinction relates to the political and social conditions and we see a greater cultural and political stability in the Timurid period. Art works of these periods express Ilkhani and Timuri's political, social, and cultural conditions as well. The main cultural wealth of Ilkhani΄s artists was Robe- Rashidi΄s building , by construction of this building, the artists of this period came together to scribe and visualise the Scientific and historical books and in this regard, they also benefited from the support of the Mughal rulers. From this date onwards, the tradition of team work was established in Mughals and continued in later periods. Undoubted in such a cultural atmosphere, exchanging ideas between artists were led to the development and growth of arts. On the other side, Ilkhani and Timurid rulers reach to political stability by supporting Art and Artists. In fact art had aristocratic aspect for them to represent themselves great. In general, the artists were trying to draw the kings consent and on the other hand the kings tried to provide a good environment for artist, so it can be said that there is a two-way relationship between magnifying the rulers and the arts, especially in the period of Timurid because the Timurid rulers supported more artists than Ilkhani rulers. It can be stated that throughout the history, arts including Persian painting in two periods of Ilkhani and Timurid had a critical role in the survival and induction of the governments, thus supporting the arts had brought magnificent power to the kings

Muhammad Baqir is probably the most important of a group of post Safawid painters, who practiced a highly eclectic style. Decorative floral compositions which were widly used for lacquer- work from the later Safawid period onwards, also become a popular genre in 12th century H. Persian painting. Muhammad Baqir also has produced floral design and composition. Owing to the building programs connected with the karim khan zand, the tradition of Persian painting was reinvigorated. By the second half of 12th century H., a distinctively Shirazi Painting style developed. The principal exponanots of this painting style are Court painters as Muhammad Sadiq. Muhammad Baqir, Muahammad Hadi, Muhammad Zaman (III) and Mirza Hasan.These artists were as versatile as their predecessors. Karim khan zand devoted his principal efforts to the beautification of shiraz. Architectural achierements such as the citadel, Divankhanah and Haft Tanan are of karim khan's court production and patronage. One of court painters that participated in this projects was Muhammad Baqir. He was one of ali ashraf studeb in lacquer painting. Ali Ashraf, himself, was student of Muhammad ali naqqas bashi, laurite painter of nadir shah. Muhammad Ali was grandson of aliquli jibadar, distinguished painter of SHah Abbas II.This article has demonstrated that Muhammad Baqir was son of Muhammad Ali naqqashbashi, the master of Ali Ashraf. Muhammad ali adopted his student Ali Ashraf, as the master of his son Muhammad baqir. Muhammad Baqir with a sense of tradition and a desire to use painting to express personal attitudes and beliefs. To that end, he sought painting among his family, notably his sons. This survey, also, demonstrated that Muhammad Hasan, the lacquer painter, and Njaf Ali, the laurite painter of Qajar dynasty, were Muhammad Baqir's sons. Muhammad Baqir production of figural representation, specially birds and flowers, lacquer painting was an extention of the pictorial language of court culture into a more public sphere. In other word, paintings of Muhammad Baqier express the values and traditions which underlay in his period (zand and Qajar). He introduced a realistic style based on European painting (fragisazi) and Persian miniature painting. His style was continued by his sons and soon. Some of Muhammad Baqir painting are in albums of Gulistan palace in Tehran. Muhammad Baqir known for a large number of painted and lacquered bookbindings (for example, book binding of khamsah shahi which worked in Fath Ali shah era), penboxes and mirrorcoses and worked in small style. His dept his master can be seen in his signature: “Baqir az lotfe Ali Ashraf bood” which can be read as either Baqir [imam] is the noblest fter Ali [imam] or Baqir is a followers Ali Ashraf [painter]. Muhammad Baqir according to his signature, was pupil of Ali Ashraf. He said to have continues to work under Qajar ruler Fath Ali shah.Muhammad Baqir,according ti his signature,had a son khnownas Muhammad Hassan was uncle of safiyah sultan,daughter of NajafAli,cour Painter of Qajar dynasty.Thus NajafALI was brother of Muhammad Hassan,or in Ther word, he was son of MuhammadBaqir.

One of the most famous illustrated manuscripts that has been emerged in the history of layout and illustration, is Baysonghori Shahnameh. This book has been scribed by the order of Prince Baysunghur Mirza (802-837 AM/1400-1434 M (and nastaligh pen of prominent calligrapher Maulana Jafar Tabrizi (died in 860-862 AM/1456-1458 M) and has 22 miniature Majlis. Many of the researchers have been evaluated the style of painting in Majlises of this book excellent and have called it a new era in the history of Persian painting. An era in which artists get to a formal and regulated style. The style which is mostly referred to as the classical Persian painting style; it can be noted that one of the most striking features of it, is a method of composition which was established until centuries later. Although, unfortunately this method has not rightly been found yet; but in recent years, several attempts has been made to retrieve it. It seems the silent of historical sources about the process of composition in Persian miniatures on the one hand and the complexity of the spatial structure in these paintings on the other hand, were the main causes of this apparent deficiency. So that the process of composition in Persian miniatures has remained a mystery yet. Although some researchers believe that the Iranian paintings have been combined based on hands-free arrangements’ stereotypes and prototypes; but some recent researches have shown the networking system is responsible for the composition in the Iranian paintings. This structure can be easily achieved from dividing the length and width of a work into equal segments. With reliance to descriptive-analytical case method and by using the quantitative style, the following article has been written and with visual analysis of four Majlis from 22 miniatures of Baysonghori Shahnameh- i.e. Majlis of Zal sees Roudabeh, the battle of Goudarz with Piran, crying of Faramarz on Roustam’s coffin and the battle of Kaykhousro with Afrasiyab and hosts- tries to show that this system is the foundation of designing and regulation of manuscript’s miniature. As can be seen, this structure in Majlis of Zal sees Roudabeh has designed on the basis of tabulating and Mastrkeshy text format, in the battle of Goudarz with Piran Majlis, this skeleton is resulted from divding the length and width of a work into equal segments and in the battle of Kaykhousro with Afrasiyab and hosts Majlis, the artist has been able to modeling this structure from divding the length and width of a page into equal segments. Finally, in crying of Faramarz on Roustam’s coffin Majlis, the painter has calculated the dimension of the work on the basis of text frame at first, then he divided it into two section; indoor and outdoor. Now by dividing the length of each part into equal segments and dividing the width of them with reliance to the golden proportions, he could easily to define the location of secondary elements in the work.

India, is a land of different nations who smile with those people who do not believe any of their opinions. Along with the arrival of Islam in India by Arab merchants in 712 AD, the followers also continued to exist side by side with others, and formed part of the multi - religious society until Gurkaniyans came to power. But, at this time, the local governments of different faiths and beliefs still had their place, but sometimes they had not peaceful coexistence and many wars and conflicts also occurred between them. Nevertheless, association of different religions in India and the establishment of laws, such as cultural integration by Mughal kings has been led to integration of different beliefs and opinions and new religions such as Sikh have been developed from the integration. This regulation came into existence as a conscious effort to harmonize Islam and Hinduism. Sikh religion is in fact a compilation of beliefs, Hinduism and Islam Which are the two major religions in India. These new religions have major effect on India’s Art. According to studies, it can be said that Art in the Indian subcontinent essentially belongs to religious systems of Brahma, Hindu, Buddhism, Jain, Islam, Sikh, naturism, and Christian. The art has in fact styles many parallel styles, schools and Methods and has been subjected to many external influences .Sometimes these influences are seen more institutionalized than the internal representations. It seems that Indian art is so hungry for acceptance of foreign elements, has no desire to integrate internal styles. In fact, the influx of different influences on artists has led to the Indian art could not develop a characteristics style with a fixed properties. However, the application of all elements and Ingredients in the art is always to express symbolic purposes of an artist. Now the main question is that, which religions have effected each of the schools of Rajasthani art and Gurkany art and to what extent they have been faithful to their traditional roots and ritual. The purpose of this study is to compare the two paintings index of Rajasthani and Gurkany schools, their effects on each other and assess the influence of beliefs characteristic of Hinduism and Islam in the works and assessing and comparing the accuracy of works, study and analysis the similarity in order to achieve their artistic characteristics of each style. To achieve these goals, used the descriptive analytical method. The results show that two works from an aesthetic point of view have been faithful to their traditional and religious principles. But the image of Sri Raga shows Islamic influences from the symbolic perspective and the image of Jahangir Shah is faithful to Indo - Iranian Aryan origins and has sings of Mithraism and Hinduism. This could indicate the influence of Sikh religion in the formation of the two works. The impact of cultural integration policies Akbar Shah at this era is apparent and obvious and a suitable context for the growth of these emerging religions has been provided.

The visual form of writing has not only meaning apart from the content of writing but also different language from the language of writing. Based on this claim, graphologists believe that it is possible to recognize writers’ thought through their handwriting. In fact, Graphologists constituted some principles for analyzing handwriting as well as semiotic system for interpreting the visual diversification of letters. It seems that the diversity of art writing in Islamic visual culture originated from such visual perception of handwriting. This visual perception specifically used in the first exegesis of Quranic letters (Muqattaat) is similar to graphology method. Accordingly, it is supposed that letter forms in decorative Kufic contain visual messages that can be comprehended with the principles of graphology along with symbolic signs in Quranic letters’ exegesis and its interpretation, namely Hurufi thoughts and alphabet similes. Therefore, on the premise of existence of latent visual language in decorative Kufic , the varieties of Mahajir from 10th to late 12th century A.C (4th to late 6th century A.H) are evaluated with descriptive, analytic and historical methods. It is worth mentioning that the visual language of decorative Kufic has not been taken into account in previous research, but the idea of visual language of writing was proposed for the first time by Derrida with the term “Cultural Graphology” in his book titled “of Grammatology”. First, it is necessary to describe and analyze the varieties of Mahajir for explaining the forms and structure of eye letter in primary Kufic in terms of calligraphic principles being in accordance with principles of graphology. Second, analytical methods of graphology are utilized for comparing different letterforms in decorative Kufic with primary ones. As a result, according to the Quranic exegesis and its related thoughts and similes, “Perfectionism” and “Unitarianism” are introduced as two major approaches of letter decoration. Afterwards, our analytical procedure is presented and our data fall beneath these two titles. For this purpose, different letterforms of Mahajir are collected and their visual signs are derived. Moreover, their symbolic signs are inferred from Hurufi thoughts and alphabet similes. In other words, the diversification appearance in Mahajir’s letterforms are investigated descriptively and analytically in order to estimate the origin of letter’s formation from historical exegesis of Quran and its related thoughts and similes. Ultimately, a diagram will be drawn to show how concepts were formed in visual language of decorative Kufic. Actually, this diagram illustrates the connection between the diversification appearance in Mahajir’s letterforms with exegesis of Quranic letters and its related thoughts and similes, depending on graphology method. Altogether, it can be stated that Mahajir of decorative Kufic embodies symbolic visual language. Thus, it is feasible to decrypt encoded messages of this language on the basis of Quranic exegesis of letter and its related thoughts and similes; because those are thesaurus of texts having historical perception of letters beside each symbolic concept of alphabet forms. In addition, the principles of graphology should be considered as a grammar of this visual language.

Mankind, as his divine nature, is able to perceive spirituality and God’s presence among his interactions. Also human's need to spiritual cultivation is an undeniable point, but the studies around industrial design, hasn’t perpended that well enough. Actually there are so limited available scales and references, if a designer intend to design a product according to spiritual identity, or inspire a celestial sense by his/her product or even evaluate a product upon this concept. Spirituality is a complex, fathomless and subjective point of human life, which researching around it, requires multilateral studies. However, it is an essential and natural need, which should be investigated in objective formats. In the present research, Product design is studied according to the mentioned feature of the users. The goal of this paper, is recognition of affective factors on creating products with spiritual identity and also, spiritual perception for users. Actually, this is an effort to search for an approach which can guide the designers in this way and consequently can lead to optimizing the quality of the designed products. This theoretical research, has been formed on Brayan Lawson design process. In the following, library and field studies were organized. Those studies were done based on triple steps of analysis, synthesis and evaluation and also their interaction together. The structure of the research is based on a group of the words. These words which suggest some functional, aesthetics and symbolic features for products, are obtained within two ways. One group were derived by literature review in art and spirituality, especially Islamic art and traditionalist's ideas. Another group are achieved by an organized referring to attributes of God in holy Quran, the written and perfect reference of spirituality. Initially the interpretation of the Mentioned keywords and attributes were studied in variant references And then were sieved by conceptual and qualitative analysis in several steps, considering the prevalent concepts for industrial design. Finally the list of attributes and keywords was evaluated by 6 experts with related research areas to the subject of the paper. The final list including 29 keywords and attributes has been presented upon which designing the products seems to effect on manifesting spiritual identity for the user, during the process of utilizing, especially Iranian users. Within this direct referring to the attributes of God, a point was clarified: similar to the all the components of the universe, each product and its design has an essence beyond its appearance, too. This essence can respect to the God and attributes of him. This research showed that the designers who follow the moral and human approaches in design (for instance sustainable design, universal design, user centered design and etc.) have basically returned to their divine nature, consciously or unconsciously; while they may have different beliefs and faiths. Actually they are investigating the perfection in their design, or maybe in their expertise, but of course the real perfection of everything is in referring to the unique God, Allah.

In designing a product designers should take in to consideration several factors such as customers’ needs and opinion as well as the designing features and the relationship between these two.since each designer has his own idea, it is worth for both designer and producers to find a way for combining the customer needs and the designing of the product increases with the rate of customer satisfaction and it can be a key principle to compete in the present ever- changing market. In this paper, a systematic and structural approach to product design is presented Accordance with the demands of the customer and products features. In proposed approach, Kano Model, VIKOR method and linear regression procedures for establishing the relationship between the aesthetic elements of the product and the customers’ requirements. Designing ball point Pen was selected as the case study, Because of the wide range of users and improve the shape of this product can be effective on customer demand. Using this approach, the designers can integrate customer opinion in an effective way with the designing obligations and provide model which are not only acceptable in terms of design and but also are appealing to the customers and Quality of product design effect on the customer’s satisfaction level, and encourage consumer to repeat their purchase. Since this product is made up of different pieces, adapting the design of each piece with the customer needs are effective.It can be said, beauty and utility demands can lead to making the product which, beside the designing beauty element, satisfaction the customer needs. To accomplish this, methods should be used which, can translate the customers need to the designing obligations. Proposed approachis used to translate the costumers’ needs to the designing feature.In order to do that, Opinions and demands of customers about design of pen are identified and classified in two categories, aesthetic and functional. 44 best-selling product samples were collected using questionnaires, field research and interviews with vendors. Then 9 products were identified by clustering. To spot the representative for each cluster, the opinion of small group of customer were asked. The methodology was that a picture of each product was printed on card and based on the customer idea’s, the Representative of each group was selected. In the next stage, 89 customers were selected randomly and asked to evaluate each pen on 15 criteria. The importance of each product was calculated by applying VIKOR method, Also Customer needs were identified and prioritized byapplying Kano Model. Finally, the characteristics of the products that were more attractive to customers were determined by quantitative approach (linear regression). The prototype of product was designed according to the principles of industrial design was compared with similar products on the market in customer perspective. Analysis of the results of this evaluation show that sample design was approbate by customers. The results can be of great help in designing product and for product’s who attempt to apply the customer’s opinion in designing their product.