فهرست مطالب فروغ عموییان

Safavieh era, as the longest and the most effective era of post-Islamic history, was the flourishing age of industrial arts and handicrafts. Throughout this period, areas of society, religion, economy, and politics gained distinguishable structures; the need for distinction from other countries by officializing the Shi’a religion and defending Safavieh dynasty against other rivals/competitors, reinforced some preliminaries that their outcomes were alterations in the approaches and procedures of craftsmen, artists, and industries in Iran. Despite the gradual development of industry after the rule of king Abbas Safavi, establishing and renewing the industrial workshops in Safavieh era, provided the art with some opportunities to enjoy innovative and creative elements in line with religious, political, social evolutions and commercial relationships with eastern and western territories. In addition, coincidence of this long period of time with the rising of some prominent Persian artists and literary and Iranian Muslim scientists and philosophers, as well as paying attention to and influencing on cultural and commercial relationships with Europeans provided excellent occasions for a significant historical transmission from middle century to a new Iran. Metalworking is reckoned as an important branch of industrial arts that underwent many considerable changes due to its long background in manufacturing and producing through the different historical periods. Clearly, during the Safavieh era, these changes due to effective factors on structures of government and society became more solid and distinctive. It seems that industrial arts in the Safavieh era had a direct relationship with the condition of unions and social-religious conditions of society. Different classes of society, from market to mosque, Saqakhaneh and Zurkhaneh, from palace and seraglio to fortune tellers’ astrolabes, all contributed to forming metalworking art and its revolutions. These revolutions emerged from the heart of social, religious, economic, and political structures and in this study two of them- social and religious approaches- will be analyzed. The purpose of the present study is to identify underpinnings of evolutions in the structure of form and function of metalworking arts on the flow of two important approaches throughout the Safavieh era, that are religious and social ones, as well as verification of significant and unified content of metalworking art in this era in metallic bowls and cups. The proposed research questions are as follows: 1. How are the effects of religious and social approaches on metalworking in the Safavieh era defined? 2. What are the contents of the form and function of evolutions in metallic objects throughout the Safavieh era? Research design is descriptive-analytic with a qualitative approach. The data collection method is libertarian and field study. Case studies are metallic bowls and cups and the sampling method was studying private collections, museum samples, and field research. Analysis was performed on details of form, function, and symbols of Safavieh-era bowls and cups, and comparative analogy with other samples would define them. The results of the present study show that defining evolution affected by a religious factor during the Safavieh era appears like Shi’a concepts in epigraphs and images. At once, a social indicator that exhibits those ancient Iranian concepts evolves in both form and meaning among unions and craftsmen. However, what leads these results to a different direction regarding the metallic objects of this era is the similarity with the meaning of objects’ role that apparently has different forms and functions. Deeper layers of meaningful content in different historical sections especially in the Safavieh era can be investigated. To respond to the first research question, it is noteworthy that both social and religious approaches had some impact on each other and on metalworking art during the Safavieh era as well. Analyzing indicators of both approaches identifies a kind of evolution that refers to diversity in the metallic bowls. That means throughout an age when artists are ritualistic and myth-centered, they utilize metallic bowls for magic and hex, ancient medicinal sorcery, or evoking evil spirits from the human body. When we reach an era in which they do not believe in myths, and ritualistic and religious beliefs have been replaced, the form of the bowls and their type change. The second research question has been responded in such a way that in the Safavieh era old beliefs existed in lower layers of the implications of bowls and there was the belief that metal and incantation could eliminate evil and wickedness and conflict with them. Simultaneously, a number of ayahs of holly Quran and some prayers written in Arabic-numerical letters (Abjad) along with some particular symbols were inscribed on bowls in order to conflict with evil and spiritual forces; such as the bowls that were supposed to help people to get married, to eliminate illness from sick people, or to be used to drink water in shrines. Therefore, pictorial elements have a symbolic nature and determine the manner of connecting to an immaterial world.

Problem statement: 

In the present era, with the advancement of technology in design and construction, the toy industry has entered a new phase of mass production with a significant profit for the owners of this industry. In addition, branding and advertising Barbie dolls among the different toys have caused them to stand at the top of the supply and demand chain in the world market. The repetition of Barbie characters over several generations has made it a collective memory for users, especially girls. Therefore, most children and adults know this character and have used it in their games and plays during their growth time.

This research investigates the functional effect of this best-selling toy in the formation of modern myths and the strengthening of the bourgeoisie around the world. In this regard, emphasizing Roland Barthes’ theory of mythologies, the human-object relationship is studied in the case of Barbie dolls. The objectives of the present research are to identify the signs related to the Barbie doll myth based on Roland Barthes’ theory and to find how the Barbie doll myth has been formed.

The research method used is descriptive-analytical. The bibliographic and Internet data were used as the research sample. In the first phase of the research, Barbie’s implications were mythologized to recognize the mythological language of the dolls as a meta-language. In the next phase, according to Barthes’ mythological criticism, meta-meta-language layers were identified and introduced. 

The research results show that mythologies have been used in the design, production, and sale of Barbie dolls. There are common implicit messages in the advertising and branding of Barbie dolls. They have hidden layers that affect the consumers’ subconscious and temporarily lead them to meta-Barbie consumption. Moreover, in the demythologization process, Barbie’s domination turned out to include a wave of political and commercial services as well as the film industry and multimedia.

Today, the widespread use ofindigenous handicrafts incommunities shows that the profitability and effective interaction of goods and services with the customer depend on the establishment of a relationshipas a conceptualized content of form and the use of indigenous materials. The present study intends to use the sustainability of the Indian handlooms in the design process of modern products by examining the role of indigenous Indian handloomsin creating sustainable patterns. The main research question is about the role of the formation and production patterns of Indian traditional handlooms in the principles of sustainable design. The research method in this research is descriptive-analytic and case studies are used to make conclusions and generalizethe results to similar samples in the industry. The results of this study show that the revival of the design and production process oftraditional handloomshas been used to reproduce the products of the present day and has been effective in the sustainable design of modern products. Moreover, these products have been accepted by the customer and as a result, have been able to provideadvantagesfor the industry owners.

The analysis of metalworking art in the Safavid era is a multi-layered and multi-faceted process that can be achieved by studying and separating the different layers, society, religion, politics and economics to the infrastructure of tradition and beliefs and rituals and components of religion among Iranians. With the aim of recognizing and examining metal bowls and cups of the Safavid period, this study tries to analyze and study the difference between the form and function of these vessels. In this regard, samples of metal bowls of the Metropolitan Museum have been examined and the themes used in them in the form of role, calligraphy and composition have been analyzed. The research method is descriptive-analytical and the results of the research show that the themes that were considered by the craftsmen and artists of that period in these bowls are sacred symbols for Shiites including the names of God, the fourteen infallibles (AS) and the symbols of Islamic mysticism. Including the composition of motifs in a circular shape and the repetition of a name, prayer or bit of Persian language poets, as well as national and Iranian symbols such as metal as a sacred and revered material, and finally a combination of national, Shiite rituals and mystical aesthetics. And it is sensory.

The study of the contribution of visual arts in architecture elements and its typological analysis from different perspectives are discussed. One of these domains is the conceptual content of the form in hand-made artifical forms. In this research, with the interactive design approach, the creation of identity in the user through content analysis of the form has been studied. The research questions are, how is the experience of direct and close human-artistic interaction in the use of artifical as a native handmade? And how much has been the share of decorations and symbolic elements in audience comprehension and identity creation? The research method in this research is descriptive-analytic and part of the case study research has been covered through field studies of writers with an interactive look. In this regard, efforts have been made to identify the commons of human-artic interaction as an exponential variable in similar studies by analyzing the elements of visual arsies in several original native forms in the historical houses of Babylon. The results of the research show that the interaction between native space users with architectural elements has several variables that refer to different aspects of product design dimensions. The aesthetic, social, cultural, and technical aspects of construction are among the most controversial issues, and the interactive design approach can be a good platform for exploring the contribution of feminine indicators and decorations to creating effective identity and communication from the audience.

The Constructivist movement emerged in the early 20th century, following the discovery of the intellectual and political currents of the society, as well as the Russian revolution and the change of artists’ commitments between 1917 and 1935 and left behind works of architecture, industrial design, picture communication, interior furniture, painting, photography, fashion and advertisement. Creating works by architects and designers for producingpurposeful materials has taken steps toward products that, instead of using the designers’ internal motivation and inspiration, are based on the process of producing a product with measurable logic for efficient use. The history of science and technology in the twentieth century of Russia is linked to the political experiences. The avant-garde art that has emerged from the modern societies is no exception. One of the important elements in constituting the modern art was undoubtedly the industrial revolution, through which the avant-garde artists working in the field of art and society acted revolutionary in line with the ideology of the revolution, that is, Marx’s thoughts. Functionalism and attention to the progress of the industry on the one hand andon the other hand, the social, economic, and political changes; the anti-art movement in the form of a slogan of “Death to Art”, “Long Live Technology,” fromthe constructivist artists made specialists in construction, focusing on materials and purity of color, and emphasizing geometry and construction laws. The purpose of this research is to study the indices of constructivist style in Russian avant-gardeproduct and artworkwith an approach to the works of Alexander Rodchenko. It should be noted that this research is descriptive- analytical in terms of its methodology and fundamental in terms of its purpose. The subject of this research is to find the theoretical foundations of the constructivist style in the works of Russian avant-garde artists, especially Rodchenko. The question that the research seeks to answer is: How is Capitalism criticism illustrated in the artworks of Alexander Rudchenko’s works? The structure of the paper is that first it reviews the background and conceptual foundations of constructivist design. Then, considering the indices ofconstructivist style, a number of works by Rudchenko, as cases for a case study of the indices of constructivist styleofRussian artworks have been selected and analyzed. As the characteristics of these works are described in seven tables, the research question is answered as well. Several factors from theanalyses of Rudchenko’s work by constructivist style designing variables can be mentioned as more significant ones with higher frequency in the works of Rudchenko. On this basis, the degree of proximity of Rudchenko’s works to the determining indices of constructivism can be rated. By evaluating the rating of the works in the form of defined variables, the contribution of Alexander Rudchenko to the formation of Russian constructivist can be determined. The result of the research indicates that from the analyses of Rudchenko’s work by constructivist style designing variables, several factorscan be mentioned as more significant ones with higher frequency in the works of Rudchenko.On this basis, the degree of proximity of Rudchenko’s works to the determining indices of constructivism can be rated such as utility, geometry of form and logical order, simplicity in final execution, mass production in industry, purity of materials and negation of capitalism.

Different historical and prehistoric periods have always involved the evolution of man-made artifacts. In this regard, the creation of artifacts by men has been linked to vari-ous requirements reflecting the effects of history, beliefs as well as material and imma-terial acts toward the subject of creation. Each object, based on the form and function associated with it, goes through a process in the formation of its form and content. In the present research, the ritual and symbolic containers and ewers in the collection of found artifacts, created in the historical period and used in religious ceremonies are studied. In this study, the typology of forms, functions and religious content of the ewers belonging to the Iranian plateau are compared to similar samples, and the visual and semantic indices of rhytons are validated against the common characteristics of ritual containers. Rhytons are a kind of ritual-ceremonial containers that were first known and made in the Asian Minor regions during the Neolithic Age. The formation of the contain-ers and the lack of the knowledge about the materials required has caused the use of mud for their creation during the late 5th millennium BC. With the advent of the potter's wheel, a richer and more distinct form of clay rhytons has emerged. Its metal and stone samples show the strength and value of the formation of rhytons for specific uses in the court and at the sultans. The present research tries to study the sample ritual, which have different yet similar forms and functions, find the commonalities in the formal and functional processing, and examine the effective components causing the similarities or differences in the form and function of the ritual containers by analyzing the typology of the rhyton samples in several historical periods. However, it was by no means con-fined to that region. Similar in form to, and perhaps originating from, the drinking horn, it has been widespread over Eurasia since prehistoric times. The research method in this study is descriptive-analytical and the sample includes library documents and field research. The results of the research show that the ritual and mythical origins as well as nature are in some way effective in the form processing and using conditions of the containers and ewers and the beliefs are effective in the function processing and use of the ritual objects and rhytons. The present article tries to study the rhyton sam-ples remained from various historical periods. The evidence of these samples is from the Neolithic, Medes, Achaemenid, and Sassanid periods. It also tries to find the form differences in accordance with the functions and criteria specified in the design of the ritual containers and analyze the typology of the rhytons in terms of artistic-industrialist ideas of the time through comparative study. The research questions in line with these purposes include: 1. What are the features of the form and function of the rhytons? 2. Which components are the base for the formation of the form and function of the rhy-tons? The research method in this research is descriptive-analytic and the samples are extracted from library documents and field research.

The present study seeks to design a product with a culture industry theory, due to the shared commonalities with the culture and consumer goods. The overall aim of this study is to examine how the theory of culture industry influences the formation of thinking about community culture without questioning the role of active companies. It also aims to examine the impact of the culture industry on cell phone audiences. The present study aims to design a product from the perspective of the theory of culture industry, due to the shared aspects of culture and consumer goods. The overall objective of this study is to examine the effect of the culture industry on the formation of thoughts about community culture without questioning the role of active companies, and also to examine the effect of the culture industry on mobile audiences. This study attempts to examine the relationship between human and consumer goods in the mobile phone as a sample mass media product by analyzing the objectification process in contemporary society. Therefore, the question posed isto focus on assessing the thought achievements in today's industry, and studying the cultural challenges in identity formation, objectification, and consumption of products such as mobile phones. The purpose of this study is investigate the role of culture industry in designing a product. The research approach is based on the ideas of the Frankfurt School theory and their critique on mass culture and popularity, which is one of the most important cultural theories in sociology. The result of the research suggests that product design in contemporary society is an example of the culture industry theory due to the direct cultural effects and functions of the society. The culture industry, using the principles of integration, indexing and product design, already shapes the lifestyle and viewpoints about culture, politics, etc., for all groups in the society and can export the culture of a country to the world and protect the domestic culture. The culture industry can promote consumerism among its audiences. Undermining the power of decision-making and wisdom in the minds of the consumers using goods, creating a pleasurable imitation and idolatry of the goods result in an unreasonable consumption and search for the lost identity of human beings in the 21st century. Therefore, paying attention to brands in product design and manufacturing products in different areas of individuals’ lives as well as using tricks such as participating them in the process of manufacturing their own products help to manufacture the products in proportion to the consumers’ interests and needs. This product-specification for consumer groups does not really reflection the capital owners’ consideration of the interests in all classes, but it is precisely the culture industry's trick to classify the consumers so that no one would get out of the consumption cycle. Brands try to make consumers think that they have the freedom to act and be the final chooser, while this is a deception showing that the culture industry uses to prevent the mass of people from independent thinking to remain dominated.

The objective of the present research was to examine how urban visual arts impact on the viewers so that the effective factors involved could be identified and analyzed. In this respect, the works represented in the Anniversary of Baharestan Urban Arts, Tehran, 2016, as a case study, were examined. Accordingly, the main question was that how the works represented in this anniversary could impact on the viewers. In this connection, Salman Vahdat (2016) examined how urban visual arts could attract people to the public spaces mainly by focusing on urban graphics. In the research reported by Narsis Sohrabi (2017), entitled Public Art: Place Making or Focus on Values (Case Study: Vali-Asr Street, Tehran), the extent of the public participation has been examined. Notwithstanding, apparently concerning the impact of urban visual art on the viewers residing in Tehran no study has been conducted so far.

This study examines the formation of ancient objects; although they have different appearances and functions, seemingly common roots have a role in defining their designs and formation pattern. The overall aim of this study is to investigate the role of biomimicry in determining the form and function of these objects, which is reached by a disciplinary look at the design through the inspired update knowledge from the nature. The research question is, “to what extent can the common pattern in the formation of objects in Marlik area be compatible with the biomimetic approach and how much is this contribution?” The research method in this study is analytical-comparative according to the existing samples in the library studies. Comparing the formation method of the objects through the biomimetic indicators shows how relation with the nature patterns in each category of objects can have what interaction with their functions, applications, as well as forms. It also shows how the determinants of the final form of objects can be impressive. The results of the research indicate that there are identifiable fixed indicators that can be generalized to the formation method and function of the ancient objects concerning the Archaeological evidence and analyzing formation indicators of the object in the field of nature-inspired design like form imitation by biomimicry. These indicators are investigated in different categories of objects as the common pattern and are adapted to the existing forms in the nature of Marlic area in the form of alive animals and plants, in the selected samples of the present study.