نشریه پیکره
پیاپی 3 (بهار و تابستان1392)

The symbol of invisible character is visible in an appearance that initiated a crucial role in men life with the creation of human being and start of the thinking. Symbols are in various forms including animal, plant and geometry, out of which animal symbols attained significant position in different periods of man life due to similarity of human and animal. Through assessing various animal symbols in each period, a horizon can be obtained of intellectual viewpoints of that period. From among different periods of history, animal symbols existing on the potteries of 3rd and 4th century AH in Iran are the subject of the present study. In the mentioned centuries, the designs of the animal symbols on the potteries are not drawn attentively. Among the paintings on these potteries animals like horse, goat, fox, falcon, camel, lion, pheasant, partridge, dove, fish, hoopoe and cheetah are used. In this study, the reason is discussed for the symbolic use of these animals. The aim of the study is theoretical which is implemented in an analytical-descriptive methodology by the use of documents. The goal of this study is identifying the beliefs and views of the pottery artists of the period. The results show that large numbers of animal paintings are used on potteries in 3rd and 4th century AH.Among the paintings, both real and imaginary animals are observed. Each of these paintings is a symbolic indication of a particular concept in human life. Certain paintings are designed attentively and some others are weakly designed.

Antoin Sevruguin was the most prominent and prolific professional photographer in Iran at the end of 19th century. He embarked on documentation of people in Qajar era and recordingvarious portraits of Iran. In addition to documentation, his portraitures of people during Qajar era have aesthetic values as well. AugustSander, a German social documentary photographer and member of new objectivity group, pictured different classes of people of his time in Germany precisely and explicitly with sociological and purposeful view. Meanwhile, the typographic works of Sevruguin are very similarto the typographic works of AugustSander who lived somehow after Sevruguin. Sevruguin and Sander’s works are similar to each other in terms of arrangement, structure and even aesthetics. The aim of the present study is to get familiar with the typographic expression of the two well-known photographers in the field of documentary and typography and after that comparative study of their works and specify their similarities and differences. The methodology of the study is descriptive-analytic, a type of qualitative study, and the texts, pictures and primary information are collected from two reference books of both artists using library documentations. From among the similarities of the typographic works of both photographers, that are more in terms of structure, are using rectangular framework, vertical and triangular structures, angle and depth of view etc. However,the aim, mindset and attitude of both photographers are different from each other; Sander looked for identity record of people of his time and Sevruguin wanted to register different portraits of Iran. The difference in both artists’ view and aim developed differences in their mode of expression such as in setting, lighting, gestures and postures of models. Sevruguin manipulated the setting, posture and gesture of his models and gave them an aesthetic value but Sander, with- out any manipulation, recorded his models in an explicit and precise way.

A glance at the graphic design works produced in Iran in recent decades demonstrates the tendency of new generation to use typing in design, in a deconstructive form. Since Wolfgang Weingart was the creator of deconstructive design in the field of typography, as the researchers say, recognizing his viewpoints and methods can help increase the knowledge of young Iranian designers of selected principles and solutions, find the local position of typography and avoid blind imitation of western countries’ designs. Therefore, the aim of the present study is to find deconstructive thoughts and solutions of Wolfgang Weingart in the field of typography and extract the features of his works. The present study has been implemented with a synthetic approach, it means that it is qualitative due to use of indexes, observations and completely research-based analyses; it is also like quantitative researches due to use of semi-statistical and numerical results. The grounded theory methodology is used for obtaining the volume of samples in order to move the research forward. This method is used for analyzing qualitative data as well. The instrument for obtaining data was a researcher-based questionnaire.The result of the study indicates that the noticeable features of Weingart’s posters are wide margins and using frameworks in the pictures, pages created using machine photography and layered arrangement of pictures on each other that is a distinctive feature of postmodern works from modern ones. Moreover, the frequency percentage diagrams show that in his works, Weingart has used sans serif Letters, underlined letters and negative letters more. Subtitle blocks and geometrical forms especially rectangles are among other cases in Weingart’s works.

One of the dimensions of modernity manifestation in Iran is the field of visual art, which among its evident aspects there isselective use without considering the basis ofreasoning and contemplation of western thought and modernity. In order to clarify several concepts of modernity and tradition existing in the realm of thought, the necessity of more detailed and accurate assessment of tradition is very essential. Therefore, with more knowledge and information of thought structure in our culture and its differences with western culture, we will achieve a more precise recognition of it. The first section of this study is searching the nature of tradition, how dynamic it is and assessing the main origin of modernity.In this section, different theories of conflict and coexistence of them in contemporary sociology and anthropology are included as well. Also with the theory of Georges Balandier in the issue of multiplicity of modernity, the possibility of realization of a modernity different from that of western experience as a possible experience for surrounding societies, is taken into account. In the second section, through study of how tradition and modernity exist in Iran, the current position of tradition and modernity in Iran is presented by providing views of experts. In the third section, via presenting the current condition of tradition and modernity in visual arts of Iran, existing problems in the education of art are considered; at the end by taking into account the fact that in the area of contemplation and thought, it is the raising of question that is clarifying not providing the answer, certain questions are raised in order to present suitable solutions.

Iranian contemporary illustrations originate from the experiences of previous Iranian illustrators who were influenced by the European style and synthesized it with folk, ethnic ,and traditional characteristics .In spite of all the efforts made in recent decades ,the grade A children) preschool years (are somehow overlooked by the writers and illustrators and we witness the lack of attention to this age group .In spite of the abundance of illustrated books for grade A children) books without texts ,prereading ,numeracy ,alphabet instructions and conceptual teaching ,(this age group has not been paid due attention .In these books ,the picture has a special place and tries to strengthen the child‘s thinking and language .This paper aims at ofthe illustrations of Pre-schoolchildren‘s illustrated books in Iran in order to point out the most fundamental factors for the weakness of illustrations for them. Illustrated books for grade A children in Iran are very few, and the existing ones fall into two groups of commercial and artistic, and that the number of commercial illustrated books which are empty of any artistic and literary quality is more than the ones with appropriate artistic quality. The element of picture in market books is dead and since the spirit of movement and being alive is absent in them, they take the ultimate pleasure and the intellectual growth away from children and limit the essential visual and intellectual teachings. Unfortunately, the lack of attention of successful children books’ publishers to this age group has led to an increase in the publishing and distribution of commercial illustrated books. Illustration has made a significant breakthrough in the last two decades, but still weakness and deficiency of illustrated books can be noticed. Thus, 50 picture books for the year 2007 to 2012 were selected. The study is based on the hypothes is that there is arational relationship between the text and illustrations of children’s books. The question now is whether the books are age appropriate for kids. How are Form and color features in the images of these books? The research methodology used here is applied and Data collection Follows a library method along and content analysis the investigation of children books’ illustrations.The research method in this paper as a library, and in some places, the content analys is method was used. Statistical population includes 50 pre-school children’s books, children’s books of different publishers. Data, using descriptive and inferential statistics are analyzed.

A quick overview of the chapters (surah) in Quran indicates that there are many verses declined to the Prophet Muhammad (pbuh) that have a narrative-visual structure. In other words, the visual and visualized features of the verses, along with other linguistic aspects, prepare the mind of the reader for the receipt of the verse message via creating image. The image of movement of clouds, appearance of light, end of darkness, shake of the earth, escape of the people, crack of the sky, release of inside content of the earth, travel of ships in the sea, riding horses, collapse of the mountains, crack of the graves, leaving alone the infant, winding of the sun, spark of the hooves of the horses and plenty of other images that can be seen in the text of the holly Quran verses all are the indication of applying numerous capacities of narrative-visual method in order to accurately explain events that are fateful and crucial for human beings. In the present study, certain chapters (surah) of Quran are assessed in which the beginning verses benefit from a narrative-visual method and all the chapters (surah) are not taken into account. The methodology of the study was based on a comparative method. The review of the structural features of the intended verses using basics and principles of visual arts (cinema) and visualized arts (photography, graphic, painting, etc.) shows that visual functions of the mentioned verses have a significant accuracy, adequacy, attractiveness and purposefulness; but they are never applied in a technical sense of a matter and simply used to covey a series of grand concepts such as day of judgment, having virtue, fear of God. Concerning the literature of this study, it should be mentionedthat the majority of the researches implemented on assessing the visual features of holly Quran are associated with writing, painting and illumination and about the aim of the present study, just the work of Seid Ghotbodin can be taken into account. The translated and interpreted references used are from noteworthy and honorable scientists including Allameh Tabatabaie (Almizan Interpretation), Ayat Allah Makarem Shirazi (Sample Interpretation), Ayat Allah Javadi Amoli (Topical Interpretation), Bahaldin Khoramshahi and Ezat Allah Fooladvand (Translation of Quran).