فاطمه غفوری فر

Master of Painting, Tabriz University of Islamic Arts, the painting of flowers and chickens has always been in the mind and language of Iranian artists. By representing this theme in his works of art, from pottery, metal, textiles and other hand-made works, the artist has brought nature into daily life in the concept of Garden of Heaven. From the distant past, the relationship between birds and flight has been meaningful to Iranians. The bird has been a manifestation of flight, climbing and flourishing, and the flower is an allusion to the passing of life that is dear to man. "The subjects of flower and bird paintings are mostly flowers, bushes and birds, and sometimes insects such as bees and flying butterflies are also seen, which are mostly used to complete the composition. Flowers and birds can be identified by the viewer in this way and there is nothing more or less in terms of botany or anatomy of birds, but these components are not in nature in the way they are seen in the works.During the Qajar period, the art of book design and painting declined, and methods such as oil, enamel, and lacquer paintings became popular in this era. Paintings with the theme of flowers and chickens are among the arts that were growing in this era. The first mentality that emerges after hearing this topic of flowers and chickens is the presence of two visual elements of flowers and chickens in nature. Artists in different ages have used these two visual elements in different ways and created valuable works. Among the prominent artists of this area in the Qajar era, we can mention Mirza Agha Amami. Mirza Agha Emami has created lasting works in different fields of art such as: flowers and birds, gilding, poetry, fuel cover, carpet design, pencil painting, wooden door decorations. This research is trying to introduce five of his works of flowers, to compare the forms of flowers and birds and the visual structure in the visual elements of the selected works, and to investigate the visual components of the studied works. The method of this research has been done in a descriptive-analytical and qualitative manner, and data collection is based on library information. Therefore, this research seeks to answer two basic questions: What similarities and differences do flowers and birds have with visual elements in nature in five selected works? The result of the research showed that the flowers of Mirza Agha Emami are more inclined to the naturalistic style, that is, they are similar to natural elements. He has used flowers such as cherry blossoms, primroses, marigolds, dahlias, and jasmine. Pigeons, lunar birds, and partridges can also be seen in his works. Mirza Agha Emami's works of flowers and birds are very concentrated in terms of composition structure, form, color, and birds or flowers also have a triangular composition. Balance, lack of dullness, harmony, decisiveness, integrity, variety, repetition are the visual components of this painting. In order to convey their ideas and ideals to others, artists choose various methods in the construction and composition of their works of art. What makes the audience interested in studying a work of art at first sight is the general and ruling order of the work. Each composition is the result of a set of rules and styles that find meaning along with the attitude and taste of the artist, which is in the direction of the concepts and ideas of the artist.According to the research done, we can get:The roots of flower and bird art can be found in the 7th and 8th centuries, which began its evolutionary form in the Safavid period and reached its peak in the Zandiyeh and Qajar periods. Mirza Agha Emami is also an outstanding artist who has created lasting works in this artistic style. Of course, this artist is a master in various art disciplines such as: gilding, poetry, painting, lacquer works, carpet map design, fuel cover, etc., and these unique features in his artistic activities and works, he distinguishes him from many of his contemporary artists. Following the answer to the questions of the present research, it can be acknowledged: the performance of Mirza Agha Emami's flower and bird works, in the Qajar period, the themes of flowers and flowers and flowers and birds were mostly executed in the lacquer method, but he used these themes in the style of Mirza Agha Emami's works of flowers and birds are executed with limited coloring and in combination with white color and soft bright shadows and delicate processing. In all the works of this artist, cherry blossoms and hazelnuts are engraved on the top of the work, sedbergh flowers in the center, hyacinth, nasturtium and iris flowers on the left or right side of the works. Also, apple blossoms, primroses and dahlias are engraved at the bottom of the works. 2 and finally 3 birds are used in the works of this artist. The compositions of these works are diffused, bushy and vertical. In terms of composition, these works have a completely balanced space, and also the positive and negative spaces are observed equally. Warm and soulful colors are often used in the background color of these works. Balance, order, half-tone, stability, stability, simplicity, harmony, decisiveness are some of the main visual components used in these works.

As a principle in the communication system between visual elements and the visual perception of the audience, the effective law of proximity of Prägnanz creates a two-way communication that facilitates the process of perception. Prägnanz principles form the central core of the Gestalt theory of visual perception, some of which were first proposed in 1910 by Max Wertheimer, a Czech psychologist. The principle of proximity, among the principles and laws of Gestalt visual perception, is an effective factor in the quality of design, which causes correlation, continuity, balance, rhythm, proportion, and unity and cohesion of visual elements. One of the copies that can be considered in the field of Gestaltology is the title of the Qajar era gilded Gur'an from the central library of Tabriz. In this research, while introducing the law of proximity of Prägnanz and the above mentioned gilded Gur'an, the effective factors in the formation of a balanced and coherent work based on this principle are studied.

How the role and presence of the law of proximity in the desired work and its function in the process of visual perception of the elements of the title, as well as how it is related to other principles raised in this process, are the basic questions of this research. This research, the data of which was collected through library sources, was carried out in a descriptive-analytical method.

The presence of this law and its impact on the process of visual perception in the mentioned title is 96 percent, which includes four recognizable types with the following frequencies: 30 percent of the type of proximity to the edges, 24 percent of the contact type, 28 percent of overlapping type, 15 percent of combined type. These four principles are well organized in many positions of the headboard, including the section of the sharfas, table drawing, decorations, verses of the Quran, inscriptions and frames.

The result of this investigation showed: Despite the high density of decorations in the target work of this research and their organization based on one of the two modes of style and prominence in the motifs, the principle of proximity causes the process of visual perception to happen and annoyance. And don't let the audience get tired. This article confirms Wertheimer's interpretation of Prägnanz law that psychological organization is good as a result of the simplicity and clarity of perception, which is related to the Gestalt principles presented in this research and under it is the set of proximity principle and its types. A strong Prägnanz is present under the conditions prevailing in the mentioned title. The proximity of visual elements in contact with each other and the combination of various visual motifs and colors next to each other have created the most coherent overlap in the structure of the mentioned work, which creates a calm and clear visual communication during the process of perception.

During the Qajar period, the art of book design and painting declined, and methods such as oil, enamel, and lacquer paintings became popular in this era. Paintings with the theme of flowers and birds are among the arts that were growing in this era. The first mentality that emerges after hearing this topic of flowers and birds is the presence of two visual elements of flowers and birds in nature. Artists of different ages have used these two visual elements in different ways and created valuable works. Among the prominent artists of this area in the Qajar era, we can mention Mirza Agha Amami. Mirza Agha Emami has created lasting works in different fields of art such as flowers and birds, gilding, poetry, fuel cover, carpet design, pencil painting, and wooden door decorations. This research tries to introduce five of his works of flowers, to compare the forms of flowers and birds and the visual structure in the visual elements of the selected works, and to investigate the visual components of the studied works. The method of this research has been done in a descriptive-analytical and qualitative manner, and data collection is based on library information. Therefore, this research seeks to answer two basic questions: What similarities and differences do flowers and birds have with visual elements in nature in five selected works? The research results showed that the flowers of Mirza Agha Emami are more inclined to the naturalistic style, and they are similar to natural elements. He has used flowers such as cherry blossoms, primroses, marigolds, dahlias, and jasmine. Pigeons, lunar birds, and partridges can also be seen in his works. Mirza Agha Emami's works of flowers and birds are significantly concentrated regarding composition structure, form, and color, and birds or flowers also have a triangular composition. Balance, lack of dullness, harmony, decisiveness, integrity, variety, and repetition are the visual components of this painting.

Flag is a distinctive and distinguishing element among human civilizations and cultures, which can be considered as a symbol of the alliance of a civilization bearing a particular ideology during each era and being the source of the intellectual foundations of the earlier ages. The formation of the Safavid era in the tenth century AD, brought about political, cultural, and religious solidarity for Iran, so that the consolidation of Shiite-Islamic thought is visible in the works of this period, especially in manuscripts. One of the most outstanding Iranian manuscripts is Shahnameh of Shah Tahmasb which was portrayed in that era. The written elements on the flags in the combat scenes of the book clearly explain the religious contents of the period, which benefited greatly from the art of calligraphy. Identifying the flags and the concepts used in their illustrations, the present research explains the visual and expressive aspects of the flags involving written texts in Shahnameh of Shah Tahmasb. Therefore, this study has three main questions: 1. what are the most important visual components of the flags in the Shahnameh? 2. The writing elements of the flags of Shahnameh of Shah Tahmasb involve what literature, content, and content? 3. What are the intellectual foundations of the illustrated flags of Shahnameh? This research has been done through a survey-analytical method. The type of technique used is a documentary and library technique through which the statistical samples of manuscripts have been studied. Research is based on first hand resources and authentic researches. The results of the research indicate that the flags have been written by characters such as Naskh, Thallith, Nastaliq and colored by colors such as Azure, Gold, Sangrf, and decorated by Khatay and Slymi figures. The writing elements of the flags are in line with the beliefs, cognitions and intellectual foundations of the Safavid era as well as the Iranian originality and reflect the artist's dedication to the religion of Islam and the preservation of Iranian culture

The symbols of the verses were used for the chapter of the poems from the very beginning of the revelation of the Qur’an. These signs were arranged in the form of every five or ten revealed verses, known as the signs of Khums and Ashar, which were organized in separate visual forms in each period. The purpose of the present study is to describe the visual features of the verses of the Qur’an of the Timurid religion of the Holy Threshold Museum of Qom and also to classify the verses. The present article has been done in a descriptive-analytical manner, and the materials have been collected concerning documents and library materials. Therefore, this research is organized around two main questions: What are the visual components of the religious verses of the mentioned Qur’ans? How is the dominant visual form and structure in the sign of the chapter of the verses arranged? The achievements of this research show that the symptoms of Khums-Ashar mean five and ten poems, which in addition to indicating the gradual revelation of poetry, also makes it easier for readers to read. The signs of the verses are single verses, decorative, khums, and tithes. These symbols are engraved in the form of sun and bergamot, and decorations such as Islamic and Khatai motifs are used. Verses are marked in the form of “visual-decorative” signs and “letters and phrases.”

This study, while studying the process of visual perception and familiarity with Pergnans' laws, introduces and explains the main features of the Qajar Quranic religious version preserved in the archives of Tabriz Central Library under registration number 3089 with a psychological approach. This study examines four Pergnans (the law of symmetry, similarity, continuity and context) according to the nine Pregnancy laws. Investigating the visual relationship and effectiveness of Gestalt in the mind of the audience and also achieving a scientific and reasonable visual structure with an approach to Gestalt theory and the extent to which the rules of visual perception are used in this version are other objectives of the present study.

The present study is applied in terms of purpose and descriptive in terms of study approach, which has been done using scientometric indicators. Descriptive-analytical research method and methods of reviewing texts, sources and pictorial documents in the context of library studies, as well as case study method and observational research method in the field of field studies have been used. After extracting the relevant indicators, the method of gilding analysis process is described based on the output of data and information obtained from the results of the law of visual perception and Pergnans' laws. After reviewing the criteria, the recognition of the importance of Gestalt visual values ​​was assessed by collecting field information in a survey manner at the level of Quranic gilding, to examine the variables and metrics on site. This research was conducted by a qualitative method with the approach of Gestalt theory of psychology.

According to the studies, it was found that 91 percent of the law of similarity, 93 percent of the law of symmetry, 58 percent of the law of continuity, and 68 percent of the law of bedding have been observed. In fact, it can be said that there is a strong two-way communication between the eyes and the brain and everything that is felt and understood.

The result of the research showed the mind, understanding and comprehension of human beings from the environment is not a paper in which whatever it is can be embodied and imagined and drawn in it, but a kind of awareness, consciousness, foresight and tact in what (information Primary imported from the eye) observes, there. Man recognizes the tangible reality that science deals with through sensory and visual perception. What can be seen in this version of the Quranic religion in terms of visual quality of the four Pregnancy laws (similarity, symmetry, principle of continuity and context), is the presence of balance, symmetry, complexity, multifactoriality, dynamism, diversity and the element of emphasis.

A psychological theory of how visual perception by the human brain explains. In fact, the mind at first glance, instead of understanding the details of a picture, is a percentage that presents a whole. Pergnan's law is one of the principles of Gestalt and visual perception, which is one of the best study methods for research in the field of book design. Pergnan's law is one of the eight principles that can be used in the art of painting. The art of painting is one of the best illustrations in which intelligent visual and psychological capabilities can be examined.

The present study, while introducing the capabilities of Gestalt psychology in the analysis of visual elements, examines three selected paintings from the Herat school from the Shahnameh of Baysanghari and then explains how to perceive and recognize visual patterns in the components using Gestalt laws.

In this research, qualitative research method has been used. Therefore, according to the paintings of the Herat period, from the illustrated copies of this period, the Shahnameh of Baysanghari and its three paintings with structural themes (architecture, war and hunting), as the main features for applying Gestalt patterns, visual analysis Done. The most important thing in this research is the study of Gestalt laws in other image sources that are cited in the research process. Therefore, in order to do this, in addition to studying library resources, Internet resources have also been used. It can be said that the present research is descriptive-analytical. The approach of the present study is based on structuralism. Research study methods are descriptive-analytical and information has been collected using library and Internet resources. This research has been done in response to two basic questions: The rules and principles of visual perception of Gestalt psychologists, to what extent can it be used in the analysis of visual elements in selected images? What is the function of Pergnance rules in selected paintings from Herat school?

The conclusion of the present study from Gestalt theory states that this view, about visual perception, the meaning of visual pattern and how the human organism acts in seeing and visually organizing, the desired results are presented that make the characteristic clear. Cognitive aspects in the formal structure of drawings. A qualitative study of the Gestalt laws in the drawings requires the presentation of quantitative results in the form of tables and graphs that help us to recognize the presence of these rules in the drawings. Since the field of study in this research is to identify the visual features hidden in the components of the drawings, first the theoretical issues of Gestalt theory and then the modeling of visual examples from the principle of Gestalt law and context have been studied. But the main focus of the present study is analysis and inferences that are the result of visual studies based on Gestalt principles and their adaptation in three drawings of Baysanghari Shahnameh which narrates three different topics (architecture, war and hunting). , Are shown in the form of percentage tables and graphs and the result of the analysis is distributed with the criterion of selecting the number of images. Therefore, according to these results, the strongest application of the Gestalt principle has its own form and context. Visual studies based on Gestalt principles and their adaptation in three drawings of Baysanghari Shahnameh, which narrates three different topics (architecture, war and hunting), are shown in the form of percentage tables and graphs and the result of the analysis is measured. Select the number of images distributed.

Islamic architecture includes sublime meanings and sublime themes, one of the manifestations of which can be found in the shrine of Astan Quds Razavi.Signs are always accompanied by interpretation; Thus, the semiotics of the science of interpretation is the sign of the "sign" which means interpretation. Therefore, the sign is not fixed and may not be a sign for another person, so the sign is a symbol that must be discovered. Meanwhile, the famous semiotician Pierce, the contemporary philosopher, pays more attention to visual semiotics. One of the most magnificent visual signs can be seen in the shrine of Astan Quds Razavi. Azin is closed. Humans have always sought to find the truth in existence, and these beliefs, ideas and thoughts over time have been adorned in the form of images and have become symbols, signs and symbols. The codes of the visual elements in any form and color can be explained and interpreted, because the meanings and concepts of these signs are the result of sensory-visual perceptions as well as the birth of ideas, mental ideas, thoughts and imaginations of the artist. One way to study and understand the themes and mysteries of these images is to approach the system that governs the laws that govern the structure of visual language, that is, the science and tools of semiotics that are related to signs. In fact, the discovery of related mental concepts is associated with individual or group communication in society and its recognition is possible through cultural symbols in any civilization.There are many signs in the universe that have unique concepts and meanings due to their establishment in every society, community, culture and civilization. Over time, humans have created designs inspired by these concepts and adorned the space with appropriate designs in appropriate places and situations. Therefore, one of the holy places, which due to its status and sanctity has a corner of many visual signs in the universe, is the royal and holy court of Samen Al-Hajj Ali Ibn Musa Al-Reza (AS) in Khorasan. Is. This holy shrine of Razavi has been a safe haven for the hearts of believers from different walks of life throughout history and different periods. Shiites have used it (Nemati, 2016). Azadi Courtyard is one of the main areas of Astan Razavi, which in its place has decorations and visual signs with a unique Iranian-Islamic culture that are thought-provoking. The courtyard is located to the east of the shrine, which has four porches and a wooden door of the southwest pavilion has been selected. Considering that the basis of Islamic art is based on repetition and symmetry, all the visual-visual elements painted and decorated in the courtyard are decorated with the same principle. Therefore, in this article, due to the lack of elaboration, repetitive and continuous patterns, elements and visual-visual signs are avoided, and researchers are content to introduce the works. However, the designs that are different and unique from each work are selected and studied and analyzed with a semiotic approach. The Freedom Court of Astan Quds Razavi is a text of one of the most magnificent works of Islamic architecture that has a lot of hidden codes that need to be revealed through interpretation and semiotics is one of them. In this research, we will try to explain the relations between signifier and signified in the signs used in this traditional religious space, which is based on various contracts of similarity (symbolism), association and traditions (symbol) and cause and effect (index). Analytical science used semiotics in analyzing and reading patterns and discovering their implicit meanings. The present study seeks to answer these questions: What kind of visual signs based on the relationships between signs and meanings are available in the courtyard of freedom? And how can these signs be read and analyzed using the analytical tools of the semiotic approach? This article has been done by descriptive-analytical method. Data collection is in the form of library resources. The result of the research showed that the visual signs of Freedom Square are classified into seven categories. In general, the message and concepts of visual signs related to themes and meanings such as: holiness, rabbinism, soul and perfect human being have been observed. The relationships between different aspects of signs are also based on the semiotic approach in the form of index-symbolic, index-symbolic, symbolic-symbolic.

The present research is aimed at introducing copies of the Qur'anic religion of the Timurid period at museums of Astan Quds Razavi and Astana Moghaddas in Qom to study the governing elements in the layout of the Quranic verses during the Timurid period. On the other hand, while describing the level of performance and the function of proportions in the principles of the layout in these versions, the measure of the indexes and dominant measurements in the layout of the versions is evaluated, analyzed and adapted.

 Research method/Statistical Society:

 This research has been done by descriptive research and has been investigated using an analytical-comparative approach and is applicable to the target. The collection of materials through library resources and the collection of religious Qur'anic versions have been carried out concerned to the field of the museums. Due to the limited number of copies obtained from the concerned museums, selection of the samples was small, and with advice of the experts in these sections, they were studied in a targeted way with openings and decorative plates. Therefore, five Qur'anic modifications were selected from each museum. The statistical analysis of the proportions in these versions was done by using SPSS software and by analyzing the variance of the calculations and percentages of ratios.

The governing proportions in the principles of the layout and the interruption of the copies in Qur'ans studied from these museums are based on the golden and rectangular dynamic proportions. With considering the difference that the Golden proportions, the dynamic rectangle with the √2 criterion, and the discontinuity of the pages of Qom's works, are 52.5 percent higher than those of Razavi. In reviewing the layout and adapting it to other existing cadres, the proportions of the ruler based on static rectangular ratios were deduced, so that Razavi's works are 57.6 percent higher than the Qom works of this scale.

The results of this study showed that the most important and effective factor on the layout of Quranic versions in religion was the choice of cutting paper. The size of the calligraphy and writing in design and style, the type of form and the function of the illumination also play a crucial role in the internal design of the page layout. The index of gold index is used to measure the bonds.

Of the most important visual themes in ancient Iranian culture is the role of water in a variety of concepts. Water is the main foundation of the human creation and the life substance, it is fruitful in all aspects of human life and has a special prestige and dignity. Water symbolizes life, fertility, purity and is the manifestation of cleanness. Humans have been associated with this pristine element since the beginning of creation. Decoding a visual design with the concept of water provides a context for an in-depth understanding of the artwork containing this symbol. These motifs express specific meaning, so by examining the motifs taken from the experience of the ancient artist, one can easily derive many meanings from the thought and belief of the culture of that time.Of the main early centers in Iran whose people were engaged in manufacturing earthenware are the people of the Susa. The visual elements in Susa’s pottery are one of the richest pieces of Iranian culture, with many hidden clues and symbols therein.Susa’s potteries are of the most valuable works of Iran where water symbols are abundantly decorated on them as various visual elements.Susa’s pottery is part of the burial objects obtained from the “City of the Dead” at the lowest layer of Susa Hill, with an average height of 25 meters.The motifs on containers are taken from nature and contain various plant, animal, human, geometric, abstract images that are ornamented in isolation and combination. The drawing of the textures was done with just a smooth, balanced pen movement. This research investigates the visual water element with the semiotic approach. Semiotic classifies the signs by specifying them in terms of the specificity and organization rules as well as particular symbolization processes, and identifies the meaning and concepts of the work. This article is an endeavor to recover codes of some motifs and explain their meaning in relation to the water element, while classifying and identifying different species of visual cues by analyzing the shapes and recognizing the signified meaning of images via comprehending their implications. The method in this research is descriptive-analytical by studying library resources and collecting images in books and museums.Fifteen works of Susa’s Pottery presented by these sources have been studied to answer the questions; What symbols of Susa’s ancient pottery are adorned with? How is the classification of visual elements based on the semiotic approach? What are the symbolic themes of these visual cues?The results showed the visual elements are divided into plant, animal and geometric categories. The structure of pottery motifs consists of a variety of schematic, indexical, symbolic, and hybrid symbols that are related to the signifier and signified and have a direct and sometimes indirect relationship with the concept of water, blessing, and fertility. Meanwhile, most of the symbols and the visual element of water have a symbolic indexical relation.
.