نشریه پیکره
پیاپی 12 (پاییز و زمستان 1396)

The evolution of various forms of life tree in history and prehistory, particularly in oriental cultures, has been recognized as a symbol of life, thought and perfection thanks to commonly understood concepts such as seed germination, extension of the tree branches in the sky and penetration of the roots in the ground. The present research aims to identify and explain the symbols represented in the motifs shown on the seals of ancient Elam. To this end, first the role and place of trees in different cultures was briefly explained. Basically, the issue of life tree was selected mainly due to its frequency of usage in the seals of Elam. Data were mainly gathered based on library sources and reliable websites and were then analyzed descriptively. The results indicated that the life tree on the Elam seals is a motif implying a divine concept turning, in the course of time, to a religious belief. The tree-like form alludes to the idea of productivity and fertility in Elam civilization.

The Supreme Sense is the same superior arcane feeling through which the actual quality of being a human is formed and accordingly a human being will be able to appreciate the true essence of his/her existence. Realized through raising moralities, such a sense makes an association with the true identity (self) of a person impelling him/her to reflect, even for moments, on the genuine meaning of being a human. The idea of the Sublime was originally suggested in the late of the 17th century. Edmund Burke, Immanuel Kant and in the contemporary era, Jean-François Lyotard, are among the most influential philosophers and theoreticians addressing the idea of the Sublime particularly in aesthetics. This idea dominates all other awe-inspiring experiences like seeing an endless ocean or standing on the edge of a precipice. Even a significant word, in an epic for example, or a transcendental thought realized by a human being deserving admiration is also included in the scope of the Sublime. Not only in the realm of aesthetics, but also in the artists’ works, the Sublime has been represented. Similarly, photographers, too, have tried to convey the Supreme Sense to their viewers by means of a two-dimensional medium: orography. The present article examines the idea of the Sublime historically and aesthetically and studies the ideas of the philosophers comparatively addressing the issue of photography. In fact, the thoughts and feelings of the photographers to create photos engaging the viewers well beyond the phots themselves, have been addressed. Data were collected based on library sources and analyzed descriptively.

A review of the Iranian graphic works indicates that the impressions of the signs, symbols, elements and images of the different historical eras in Iran have been represented, directly or indirectly, in these works. In fact, Iranian graphic designers have always taken advantage of the mentioned visual elements in their works depending on the theme under consideration. Since the Islamic motifs are rich in terms of decorative aspects and visual potentials, nearly all works of the Iranian graphic designers have been influenced by them. In fact, numerous cases of such impressions can be shown. In this respect, Mostafa Oji is among the contemporary Iranian graphic designers whose works have been strongly influenced or inspired by Islamic motifs. In this research, aiming to study the extent to which the works of Oji have been under the influence of the Islamic motifs, his signs have been analyzed descriptively. Data were gathered based on library sources and on certain signs of Oji. The way, and to what extent, the Islamic motifs have influenced Oji’s works, have been addressed in this research.

Although art teaching at schools in Iran, focusing mainly on visual arts like drawing, painting and sculpture, has a long history, it seems that it has not been taken seriously for different reasons. Often is it the case that students follow their interests in art outside the formal academic schools. In this regard, the present study aimed to answer three key questions: Why do not students rely on art teaching at formal academic schools? Why do they prefer to learn art at privately-organized art teaching centers? What is the main motivation for the students to follow art at privately-organized art teaching centers? The respondents included students at several privately-organized art teaching centers in Ahvaz, Iran. It was hypothesized that students are motivated to learn art at such art teaching centers to follow an art expertise in future professionally. This research intended to identify the motivation of the students to learn art at above-mentioned centers. The researchers surveyed the students’ responses to the mentioned questions posed using Likert Scale. The results indicated that students prefer to follow art at such centers, beside their formal teachings or as an independent alternative, mainly because they want to become a professional artist in a specific branch.