نشریه پیکره
پیاپی 4 (پاییز و زمستان 1392)

Dealing with moral and social responsibilities in growth process of every profession is of primary considerations and is always taken into account by officials of that profession.The subject of morality is a significant issue in the field of graphical design. The present study aims at exploring the filed of graphical design and identifying key moral approachesin this field by highlighting moral turning points in the history of graphical design it also intends to determine the main concerns of responsibility and morality in this profession. Moreover, the domain of the responsibility of the graphical designer against social problems (drug consumption), environmental problems (warming of the earth) and responsibility of expressing and transferring truth by the designerare discussed.The present study aims at specifying the main subjects of professional morality (or ethic) and the concerns of the thinkers of this field; following this, morality based definitions and approaches in graphical design will be investigated. In addition, the main subjects pointed out in the field of morality in graphical design including transferring the truth, commitment of the designer to customer, the issue of moral health of the customer, the rights of co-designers, sub-designers and addressees will be discussed. At the end the responsibility of the designer against the others and also commitment to a kind of responsible and human-oriented design as the obtained solutions will be presented in this study. Also, it will be argued that some of the moralitybased trends agree with informing the addressee and others agree with obtaining a kind of conscience in the designers.

Yazd province is the place of formation of various arts that are formed under the effect of the particular condition ruling the region. Carpet weaving art in this province, as a cultural phenomenon, has owed its especial identity due to the cultural environment of the society. Taking into account the fact that among factors like design, texture, size and basic material, color plays the most significant role in absorbing the viewer; hereby, an assumption will be that color synthesis of the area has a direct relationship with climatic, cultural, economic and social identity of the area. The aim of the present study is descriptive recognition of color features in Yazd province carpet Accordingly, the question of the study concerned the effective factors on color application in Yazd carpet. such, factors as color in Yazd carpet and the effactive factors on it that are classified as climatic and geographical condition, social and political situation and cultural factors will be assessed. Finally, the climatic features, i.e., a warm desert area with low precipitation and a dry region with variety of color-producing plants and also quality of water in this province, will be investigated. Cultural features including effect of previous cultures and communities in vicinity, the traditional structure, type of architecture, emotional effects and imposed factors: will be of the concern of this study moreover, existence of various industries, textile of the province, the passing of Silk Road in the area, living methods and social traits such as introversion, production in line with local culture and suitability with social rank are among color features of Yazd carpet that affect carpet color art and industry and are effective factors of color application in carpet in this province. The present study is qualitative using library resources and interview.

Dragon, a significant mythological motif in Persian poetry and literature, has yielded to exquisite and unrivaled scenes in Persian miniature and art. This article inspects the mythical and literal origins of fighting a dragon and the wicked connotation of dragon in the Iranian dualistic cosmology. It tries to shed light on the liaison between the epic and mystic nuance of dragon as a devilish vigor, and illustrates its visual and aesthetic characteristics and status in miniatures. Through an analytical comparative approach, it is shown that the illuminators have acheived these vivid feisty scenes by designing a conscientious structure, diligent selection of color and texture, and applying a diverse range of figurative proportions.

From past up to now, construction and decoration of tombs in different regions of Iran were implemented based on beliefs, views, climate condition and type of materials. In Khuzestan province, in a region called Roodband (i.e., river weir) of Dezful, near the bank of Dez River, we encounter structures and remnants of tombs that not only indicate the antiquity and particular prominence and projection but also, until now, is considered unique in Iran. Perhaps construction and decoration of these tombs are affected by rich skills of local brick and tile working that differentiate them from other tombs in Iran. Among other features of such tombs is their matching with the brick workings of the ancient monumentsin this city that draws attention. Also taking into account the fact that, so far, no scientific research has been conducted in this regard, this paper presents the features of such works of art for the first time for those interested in these subjects. The aim of this study is preliminary assessment and introduction of such works in a descriptive way and field observations in order to pave the way for, further research in future.

Study of the factors that are affected by the expansion of creative powers organizes creation of new, eternal and permanent artistic works by relying upon modern ideas and methods. The element of creativity can be formed and processed in nature of the individuals who enjoy logical and wise conditions. To learn more about this, emergence of creativity is an acquired process and a potential affair in human beings. Psychological studies are a solid evidence of the said issue that obtaining awareness and skill through training and also attaining experience for materialization of this issue is a necessary and fundamental principle for improving creative power. Although elements such as taste, motivation, talent, experience, genius, and visual memory are necessary for all individuals who are active in artistic fields, thay are by no means enough. Accordingly, the existence of illustration is of paramount importance in works of illustrative artists, for, the output of an illustrative work as a visual narrative will have a direct relationship with wide spectrum of addressees in various ages and different specifications. If this relationship is associated with a predefined approach, undoubtedly, an unforgettable and memorable event will be created for addressees of the work. nurturing the mind and imagination power for the enthusiasts of illustration has been cited as the main objective of the research. this research can help them (enthusiasts of illustration) visualize their mental ideas and imaginations and also experience new visual discoveries. Library and field methods have been used in this study for data collection from online resources, if necessary. The results of this research show that artists, for emergence of their internal perceptions, should pave a suitable background for raising creative power and ideological knowledge.

Throughout the history of art, human has been a creature that always has created and has been created. How human body is viewed in different periods carries an especial concept. By assessing the history of art and artworks, it can be understood that human body is presented and taken into account by artists in different ways. Comparing the artworks of one period clarifies the hidden features in the works and diversity of views of artists to one single subject. Meanwhile, though there is diversity in different artistic expressions, commonalities and similarities can be seen among artworks.The present research is a comparative study of figurative statues of two contemporary sculptors i.e., Evan Penny and Ron Mueck. by using the subject of human body with a new vision, these two artists expand meaning that is the concern of the modern art in their works. The present study aims at finding out the methods and indicators that the two artists used to create their figurative works and the similarities and differences in the method of them. In this study along with introducing these two artists, their sculpture indicators and thesimilarities and differences in their method of working are studied and compared. At the end, it seems that in order to achieve the intended meaning, both artists created their works by omitting, adding and changing the identified features for the viewer.