مجله جلوه هنر
سال دهم شماره 3 (زمستان 1397)

Motivating the visually impaired people to socialize in order to do their own tasks is a key factor in preventing them from isolation and depression. Many efforts have been made so far to make the environmental conditions more suitable for these strata of society. However, visually impaired people, as a part of the society, are still facing lots of daily problems, such as routing in public buildings. To make an easier and faster access to different parts of public buildings (especially places in which the person has not been before), a tool or a system should be developed for proper leading of the blind. To solve this problem, it is necessary to recognize the influential factors in designing the appropriate tools for routing the visually impaired people within the public buildings. This paper employs descriptive-analytical research method with an applied purpose to study the aforesaid factors. The sample size was determined by theoretical saturation including conducting interviews with 9 people and observing the orientation of another 5 visually impaired ones using simple random sampling method. The required data was collected through interview and observation and analyzed through open and axial coding methods. The research result and the responses of the interviewed people revealed that remaining senses of the visually impaired people, the material used and the form of the building’s architecture, the educational level and learning ability of the visually impaired, type of rehabilitation tools and the local culture are the most important elements in designing products or routing systems for the visually impaired people. Besides the aforementioned factors, the results also strongly suggest taking into account the mental feedback of the visually impaired in using the product or the system. This article has been written based on the studies and researches made in Iran and obviously, applying it to other countries require conducting more accurate studies and surveys.

According to Mark Almond, “the most important revolutions of the twentieth century happened are those of the Soviet Union, China, and Iran”. The Cuban Revolution was also inspired by its communist counterpart in China and the Soviet Union. Throughout the two aforesaid revolts, propaganda posters were the key media that could convey their message to the world. The most important reason for employing such media was the attention being paid to it by the revolutions' leaders and their awareness of the impact of this type of art on the public opinion; hence, they made the most use of this media for the progression of their revolutionary objectives. The paper at hand seeks to answer these very questions that: What were the purposes of using propaganda posters in revolutionary societies? What were these posters about? How have they changed during their respective revolutions? And what similarities and differences the posters held in these four countries? The study employs documentary research method in the literature review; nevertheless, comparative method of research has been used for appraising the posters of the four countries uses. The purpose of this research is to examine the thought currents of the revolutions' leaders as well as the way these posters impressed the people's minds and contributed to the development of these revolutions. First and foremost, the research examines the common viewpoints the poster designers of the four countries held, followed by the comparative study of the form and content of the posters of the Soviet Union, China, Cuba and Iran. The results indicated that the leaders of the revolutions utilized the posters to achieve their goals. In all the four countries, the posters were designed for identifying revolutionary figures, fight against imperialism, the advancement of industry as well as the presence of women along men.But after a short period of time, this media turns into an image-object, and it is no longer able to change the path being determined by the complications of time or the contemporary and the future generation.

This paper examines the Iranian-Islamic identity and role of women reflected in the imagesof women portrayed in the 80s, 90s and 80s Solar Hijri (80s, 90s and 2000s of the Gregorian calendar.) in 'Keyhan Bachehha' Journal. Due to the fact that women can play a decisive and controlling role in the structure of their family and community, a more critical look at the status of women in public media, particularly those of the children's magazines deems necessary. One of the most popular magazines among the Iranian children is 'Keyhan Bachehha'; since children are more disposed to imitation in these ages and lack of attention in the selection of the journals images may lead to the replacement of elements of western culture with those of theIranian ones, efforts should be made to improveIranian children'soutlook regardingethnic, local and religious values. Those fundamental elements of Iranian national identity surveyed in this paper include:  geography and environmental factors, Islam, face components, clothing, motifs, colors, and so on. To this end, 1440 issues of Keyhab Bacheha journal- published over three decades, were reviewed from among which, 10 more representative images of each decade were selected for analysis. Again, two representative pictures were selected as examples for examination in this study. Conducted through descriptive-analytical method of research of information collected using desk study of library resources, the study results indicate that the women portrayed in the magazines of these three decades often appear in typical social roles. Moreover, the illustration of the women during the 80sboasts of more Iranian identity as compared to those of the90s and 2000s decades.

Although portraying elements and events of human society in an impartial, factual, and realistic way is one of the objectives of social documentary photography; however, such photographs don’t just serve to explicitly present and narrate social occurrences, but they can also attract the audience’s attention via their form and semantics. Hence, considering the communicative nature and expression capability, it can be stated that just the same way that mankind employs language in different methods and creates literary genres (prose, poetry, and song), social documentary photographer can also generate photographs similar to literary genres in terms of quality through using capabilities and expressive tools of his medium.  Therefore, this study aims to categorize social documentary photographs based on literary genres (prose, poetry, and song).  Assuming that there are similarities between literary genres and social documentary photography, the question arises that “using what elements the photographer can create photographs similar to literary genres?”  The results of the study, conducted using descriptive-analytical method of research through desk study of library resources, demonstrate that the main characteristic of each of the literary genres (prose, poetry, and song) are noticeable in social documentary photographs in the way that some of them, like prose, hold a referential function and provides information to the audience; others, such as poetry, create a sense of pleasure due to their forms while others, like song, have an obscure quality thus making the audience deliberate upon. Consequently, social documentary photographs can be categorized as prose-like photographs (information-oriented), poetry-like (form-oriented), and song-like (meaning-oriented). Photograph's frame and the moment of taking it are the main elements in the creation of each of the photographs.

This article deals with the crucial role of mythology, ideology, reign, hegemony, ethnicity, language, visual signs as well as other events and components upon ancient, narrative and visual archetypes of Iran and its boundaries. The series of cultural and political exchanges occurring due to the rise of governments and the companionship of intellectuals and artists, changed the foundation of visual signs and veiled the religious teachings within them. As a result, such structure brought about a shift of concept and also a delicate variation in the appearance of the equid of the Messenger of Islam (Buragh) in the tale of 'Miraj' (Ascension). With its animal body and beautiful human visage, the counterpart myth of the Grecian 'Centaur' has summed up in its character the power of the rulers of the Islamic regions, symbolic relations of numerology, the male unconscious and female gender and others with a sacred tale attributed to Muslims (the prophet's ascension). Therefore, the combination is the product of cross-cultural conformation and political worldview within the discrete Iranian Kingdom which, so as to promote religious ideal, overtly and covertly combines the story of 'Miraj' with the role of 'Buragh' and infuses it into the Islamic culture. The above statements are the results of a comparative study made through desk study of library resources and slice model in order to reach another aspect of the speculative and pictorial essence of art in Iran. The study endeavors to find responses to two questions:1: how BURAGH and CENTAUR are physically and spiritually related? 2: What are the genders, concepts and effective factors affecting femininity or masculinity of the prophet's horse.

Enjoying a long history and holding profound concepts, the Turkmen carpets possess many forms most of which, such as animal motifs, have been derived from nature. The paper at hand intends to study the sheep motifs in the Turkmen carpets, as well as its conceptual and historical origins. Employing a historical and descriptive-analytic method of research, the research aims to address two main questions including: how this motif is associated with the history and customs of Turkmens? And how these motifs have been reflected in these carpets? for this purpose, primarily the historical role of sheep in Turkmen's history, ancient traditions, nomadic lifestyle and customs will be reviewed followed by a survey of this animal's designs and motifs in Turkmens' carpets in terms of form. Moreover, sheep comprised one of the major totems among the ancestors of Turkmen tribes in ancient times. Sheep was also considered a useful and beneficial animal in nomadism. therefore, the tribes' carpet-weavers have used several sheep motifs in diverse, abstract forms ranging from simple and primitive forms to complex and intricate ones, with some sheep designs having various horn forms. These motifs are found both in the middle of the carpets and their margins next to other Turkmen designs.  Generally, the sheep design is reminders of the memories of their forefathers and tribal life for Turkmens and a symbol of power, bravery, perseverance and blessing.

Lithography was created as a result of the development of literacy and the need for access to cheap reading sources affordable to everyone. The illustrations of the lithographed books, as a medium for the portrayal of popular art, add social aspects to Persian art. The question to be addressed in this research is whether the lithographed copies of Tuhfat Al-Majalis, those set of angels present in similar locations within the content are illustrated in a similar way? To this purpose, two aspects of the same subject, i.e. presence in a one particular miraculous situation and also performing one particular role, will be reviewed in different lithographed copies of Tuhfat Al-Majalis, available in Tehran public libraries. The reason for choosing this book for examination is that the book discusses miracles performed by the holy men and thus, opulent with imaginary beings, including angels. In order to reply the research question, data has been collected from library resources and studied using descriptive-analytical method. The paper begins with a brief introduction on the concept of angles and the bibliography of lithographed copies of Tuhfat Al-Majalis gathered from Tehran public libraries, would be represented. Subsequently, 22 copies of Tuhfat Al-Majalis will be presented among which, 8 ones are illustrated and 14 ones are non-illustrated lithographed copies. Then, through reviewing the table of the angels illustrated in these copies, a classification of angels into four groups would be presented. Eventually, through visual analysis of the angels illustrated in 'bidding farewell to Fatima (s)' and those portrayed performing the role of the savior angel, the paper concludes that the angels illustrated in one particular miraculous situation, are of diverse types and performing one particular role doesn't necessarily lead to the similarity of form in angels performing the same functions.