gestalt theory

Abbas ibn Ali, known as the Water Bearer of Karbala, is one of the central figures in the Karbala event, inspiring numerous artists, especially muralists. One example is the tile painting in the shrine of Taj al-Din Gharib, created by Haj Baqir Jahanmiri. According to Gestalt theory, the human mind tends to categorize and organize visual elements during visual perception, such that the organized whole differs from the individual components. In Gestalt principles, the critical aspect of visual perception is understanding the relationships that lead to meaningful combinations. Accordingly, this tile painting represents structural changes in the visual narrative of the Karbala event during the Constitutional Era. The question of this research is How is the visual structure of the tile painting of the Water Bearer of Karbala organized based on Gestalt principles of visual perception?

To identify the visual perception features in the tile painting of the Water Bearer of Karbala in the Taj al-Din Gharib shrine.

The research employed genre analysis and documentary methods for data collection.

The findings indicate that after applying the seven Gestalt principles to the mentioned tile painting, strong Prägnanz was identified in the principles of similarity, proximity, continuity, closure or completeness, and common fate, aligned with Itten’s seven contrasts. Employing each of these principles facilitated a planned visual perception process. The presence of visual relationships, as emphasized by Gestalt theorists, enhanced the organization of the painting’s elements and simplified the audience’s understanding of the artwork.

Problem Statement : 

Gestalt theory is one of the psychological theories that influenced the visual arts in the 19th century. The basic framework of this theory is that the analysis of different parts of a psychological phenomenon, even though it is done in general, cannot cover it completely and to understand the nature It should be reached from top to bottom and from its overall structure to its constituent properties. According to this theory, in order to know anything, one must know its parts, and when one of these parts is changed, the other parts are also changed, and a visual work can be a good example for This is the issue and the best way to understand its effect is to break it down into its primary constituent elements.

The purpose of this research, which is a type of developmental research, is to analyze the visual elements of the above images based on the components of Gestalt theory.

This research is in the field of descriptive and analytical research, and the obtained information is analyzed by the method of studies and library collections with the approach of Gestalt psychology.

The results of this research show that the principles of Gestalt theory are consistent with the elements of the above paintings drawn by the creative mind of the contemporary artist. These principles increase the beauty and dynamism of the pictures and create more visual appeal for the audience. Also, the effect of each of the gestalt laws on the works is not the same and creates different pretensions, therefore emphasizing one of them as the most indicative principle in the paintings is an unrecognizable thing. Also, by examining the works, it was found that the principles of Gestalt visual perception play a very effective role in improving the reading process of the above works.

The results of this research show that the principles of Gestalt theory are consistent with the elements of the above paintings drawn by the creative mind of the contemporary artist. These principles increase the beauty and dynamism of the pictures and create more visual appeal for the audience. Also, the effect of each of the gestalt laws on the works is not the same and creates different pretensions, therefore emphasizing one of them as the most indicative principle in the paintings is an unrecognizable thing. Also, by examining the works, it was found that the principles of Gestalt visual perception play a very effective role in improving the reading process of the above works.

 The mausoleum of twelve imams of Yazd is a thousand-year-old building with a valuable inscription in decorative Kufic script under the dome, which is very important in terms of visual richness and worthy of study. Gestalt is one of the theories of the visual perception process in psychology, and the principles of this theory can be useful in the recognition of works of art. The most important principles of Gestalt are the principle of similarity, symmetry, proximity, layering, integration, continuity, relationships between form and context, superimposition and common destiny. The inscription should be placed. In this way, the amount of use of these principles in its design will be determined and the quality of the resulting performance will be revealed.This research seeks to answer the question that to what extent and how the principles of similarity, contiguity, symmetry, completion and overlap were used in the design of the inscription of the tomb of the twelve Imams of Yazd, and what is the degree of significance resulting from the use of each of these principles?This research was carried out in a descriptive-analytical way and the data were collected through library studies and field surveys.The results showed that the principles of similarity and overlap are used to a large extent, the principle of proximity and completion to a large extent, and the principle of symmetry to a moderate extent are used in this inscription. The result of the application of these principles is the realization of propaganda to a large extent, and as a result, the better organization of the components, the easier reception of the work and the active communication of the audience with the inscription.Key words: Tomb of twelve Imams of Yazd, inscription, visual perception, Gestalt theory, pregnancy.

The process of visual perception has systematic principles that can be useful in recognizing works of art. Accordingly, Gestalt laws play an essential role in assisting the human mind in analyzing the illustrative effects of children's books. In the field of graphic works and illustrations of children's books, using the principles of visual perception and Gestalt psychology, new, important and significant data can be obtained. The purpose of this study is to discover and identify properly and accurately the nuances and characteristics of children's book illustrations. A seemingly simple picture, depending on the page of the children's book, has a wide variety of structural features that can be used to properly understand the nature of the criteria in the field of visual perception. The basis of the present study is the "image" element. The presence of the image in human life from the distant past can always be traced. Contemporary man has established far more complex relationships with the image. The image narrates cultural, social, insightful, etc. variables, which are directly related to human "consciousness" and "perception". Just as human beings have undeniable reasons for communicating with each other, so seeing and confronting an image requires understanding, revealing, and comprehending it, both superficially and deeply. Visual language is the only common language of all human beings. Since the syntactic structure of this language goes back to the ability to perceive images, therefore, recognizing these abilities is essential for the artist who intends to convey his message in the form of an image to the audience. He must be able to organize his visual cues in such a way as to be received by the audience in the best possible way. Illustration, without a doubt, has always been indebted to the art of painting and the history spent on it. Although illustration should be considered as a link between painting and graphics on the one hand and children's literature on the other, but the main elements used in illustration and its visual representation are first the effects of painting and the basic elements of visual perception. Visual perception in art can be recounted with a theory in psychology called the Gestalt theory. The principles and rules proposed by researchers in this field can be used in visual analysis of visual arts. In fact, despite such capabilities, the need to use these achievements in the new analysis, analysis and shaping of the works of children illustrating children's books can be justified. The purpose of the present study is to study the compliance of the visual principles and rules of the psychology of emotion and perception, the illustrations of the veteran artists of the forties of Iran and the visual analysis of the illustrations of these artists by modeling the theory of visual perception. In this study, two artists among the illustrators of children's books of the forties in Iran, according to their level of activity and use of Gestalt principles and laws, in an improbable situation type, and also among their works, a work by sampling method. Purposefully selected and analyzed. The present study has been done in order to answer two basic questions: 1- What principles of visual perception have been used by the leading illustrators of children's books in the forties in Iran in their works? 2. How can the works of the illustrators of Iranian children's books of the forties be analyzed with the principles and laws of Gestalt? The research method was descriptive-analytical and the method of collecting information was library and documentary. Book illustration in Iran dates back to centuries ago, but the new illustration of children's books in this land is about seventy years old, which is mostly related to the emergence and development of education in a new style and the expansion of schools. During this period, illustration for children not only became especially important, but also became a necessity for the books of this group of society and went so far that from 1340 AH (1960s) onwards, illustration of books for children and adolescents as a specialized branch It was defined and categorized in Iran. In addition, the activities of the Children and Adolescents Intellectual Development Center, Franklin Publications, and several private sector publishers have had a significant impact on this. During this period, the efforts of children's book illustrators were so extensive and successful that they can be found in other similar fields of art. The establishment of the first exhibition of children's book illustrators in 1989 showed that many children's book illustrators with different minds and perspectives are taking steps to spread this art. Among the illustrators of the forties, we can name Farshid Mesghali, Parviz Kalantari, Noureddine Zarrinkelk, Gholam Ali Maktabi and Morteza Momayez. In this research, an attempt is made to study the works of two artists among the illustrators of Iran in the 1340s AH (1960s) with a theory in psychology called Gestalt Theory. In this study, a work from the book of Crows and a work from the book of Little black fish were selected and analyzed based on the sampling method mentioned. Zarrinkelk was one of the first to illustrate children's books as well as education textbooks for children and adolescents. Zarrinkelk began his first serious and professional illustration endeavors at the Franklin Institute. His Crow in 1970 was awarded the UNESCO (Tokyo) Book of the Year Award and in 1971 the Golden Apple of Bratislava (Czechoslovakia). Zarrinkelk is a different artist because of his story writing for children and his tendency to write text and illustrate for non-fiction books. Crows was the first book he illustrated. The story of the crows is a symbolic and metaphorical story, Because in mystical and metaphorical tales. the protagonists of the story, whether they are animals, plants or inanimate objects, each of them, is undoubtedly a symbol of a particular stratum or group of human society; Therefore, in order to understand the meaning of the author, one must first understand those human instances that the author wants and replace the protagonists in the mind. Farshid Mesghali illustrated more than 15 children's books in the 1340s and 1350s (1960s to 1970s) and received numerous awards, including The Little Black Fish, which won the Bratislava and Bologna Exhibition Awards. The story is hero-centered. The protagonist and protagonist is the little black fish, a hard-working, thoughtful, intelligent, and unyielding hero who stands in front of all his opponents on a belief he rightly believes. Findings indicate that the laws of form and context, similarity, proximity, context, common destiny and symmetry have had the most presence in the works of these artists and artists of these principles in creating a high Pregnancy and the highest level of influence and realization of strong perception. They are used in proportion to the subject of the work in the mind of the audience. The laws of good extension and continuity, due to the presence of less or less compared to other principles, create a low level of frequency in the process of visual perception of the case studies of this research. In general, it can be said that the main reason for the effectiveness and durability of these works has been the high level of utilization of these capabilities by their creators in their works.

Paying attention to the arrangement of the senses in the environment by creating suitable spaces to meet human needs can be a basis for thinking and meditation. Man, experiences space with the help of his sense of sight and creates a continuous and organized image in his mind. Since how to understand the environment and the adaptation of the objective characteristics of the environment and different mental perceptions are among the challenges in the field of environmental psychology, therefore, the present study aims to show the desirability of visibility and field of view, and the level of visual attractiveness in Isfahan market halls. It analyzes and evaluates the perceptual environment using Gestalt psychological theory and environmental capabilities in measuring observer's lines of sight. The main question of the research is what is the relationship between the axis of human vision and gestalt perception in the entrance and courtyards of Isfahan's historical bazaar? The answer to this question is proposed in the form of a hypothesis; It seems that the observer's view has a direct relationship with the gestalt topics in the entrance and courtyards. The results of this research are explained with the criteria produced by the current version of depthmapX, as well as theoretical considerations, and the indicators of Gestalt principles are investigated as one of the criteria of environmental ability on human visual perception in the bazaar of Isfahan. The view from the courtyard and the view from the entrance are analyzed using isovist indicators such as area, compression, compactness, closure and environment. In order to prepare a report in the field, 12 architecture students unfamiliar with the environment and 12 professionals familiar with the environment were asked to explain the influential components in order to understand the environmental quality by being present in the space, and this evaluation was done on 12 buildings (small, medium, large). accepts the results of this research show that there is a direct relationship between Isovist view, area and understanding of gestalt indicators. In this way, the larger the area of ​​the yard, the wider the view to understand the space. At the entrance, the field of view does not have a direct relationship with the gestalt principles in all cases, because the long corridors provide less field of view and provide a place for reflection, pause and a different gestalt view.

The design of the user interface of the website does not have a registered and specific standard, but it has an order and a method that arose from the experiences gained since the creation of the websites until today, and in a way it has become a standard and model. Optimum experiences by combining technology with psychological and aesthetic approaches. Considering that there has been no research in this field in the past, this article tries to discover an effective model and method for designing the user interface of art websites, especially the websites of graphic designers. It also tries to design the user interface of the website in order to study and understand Gestalt theory. Although the main purpose of this research is not to teach the construction and operation of the website and the design and implementation of the user interface, and these trainings can be obtained through various classes and textbooks, but an attempt has been made to discover a suitable site. a practical model for improving and optimizing the user interface of graphic designer websites. A pattern that can create the most positive impact in the mind of the audience by following it and also has the most harmony with the artistic style of the graphic designer of the website owner. In order to better understand the concept and purpose of this research, it has been tried to fully and comprehensively explain the things that are needed to create and launch a website and can be used in the analysis and review of the website and user interface. Obviously, in this research, the factors that are related to graphic art in the process of creating a website and have a role in creating the user interface of the website have been further analyzed and investigated. Browsing and searching in different sources in the field of the subject of study shows that in Iran, no research has been done in the field of analyzing and reviewing the design of the user interface of graphic designer websites. Communication with features and principles of user interface design for online stores, news and entertainment websites and government bodies with a general audience or comparing the characteristics of visual elements and user interface in order to attract the audience, between two or more websites. There are many theories from the past to the present that can be used to optimize the user interface design of a website or any other application. But in this research, with emphasis on Gestalt theory, the factors affecting the optimization of user interface design have been analyzed and investigated. Obviously, for a better understanding, one must first understand Gestalt theory. In the same way, the effective factors in the success of a website centered on art and graphic design have been investigated, which are optimized based on Gestalt theory. Nowadays, due to the advancement of technology and the digital world, people's connection with the Internet, especially websites, has increased. There are few people who do not turn to the Internet to watch movies, listen to new music or even read and act in traditional ways. All these facilities can be used with minimal cost and time loss. But it should be noted that the use of websites is not limited to these few cases and it can be safely said that the infinite use of websites is beyond the study scope of this research. Based on the Gestalt theory and its rules, to design a good user interface, users and their personality traits should be identified as much as possible. It is possible to take advantage of the smallest features and characteristics that a user can have to design a user interface. The components that can be examined are: place of residence, average age of the clients, occupation and profession, taste, lifestyle, recreation and leisure time, nutrition and all the characteristics that a person can have.

The purpose of this research is to investigate a method for designing and optimizing a suitable user interface with the influence of Gestalt theory. In the same way, the effective factors in the success of a website based on graphic design that is optimized based on Gestalt theory have been investigated.

Research Hypothesis:

 It is an attempt to find a way and a method to improve the user interface of websites, especially the user interface of graphic designer websites, by studying and following Gestalt theory.

In this research, information processing has been analyzed analytically and also by studying and understanding Gestalt theory. This research is descriptive and analytical and the method of collecting information is sampling from articles, books and encyclopedias.

Graphic designer websites like art galleries help to introduce and understand the artistic style of the artist to the audience. It is better that the user interface of the graphic designer's website is designed by the artist himself and created and implemented in cooperation with the web development specialist. In building a website, the first step should be to pay special attention to the ease of use of the website and its content, and then combine it with psychological and aesthetic approaches so that the result is as simple as possible with attractiveness and a positive mind. Website Effectiveness Also, websites should be updated constantly to provide better services and optimization.

Every art-work has a different perceptual aspect that is related to some issues such as aesthetic perception and knowledge of users. The important point is how users get that and the difference between architectural perception and users that is a controversial issue in modern architecture and cause disagreement between users and designers. According to the importance of vernacular architecture and the need to adapt to its pattern with modern architecture, this paper aimed to evaluate principles of visual Gestalt and aesthetics between users and designers (non-experts and experts1) in the traditional live district in Dezful city in Iran. The methodology of this research is combined with descriptive-surveying methods and field and library studies. So, a semi-structural interview by using a targeted questionnaire was distributed to the experts and non-experts to quantify the differences, and by describing and analyzing these data by SPSS statistical software, the root of the differences between these groups was identified. Due to the analysis of the data, besides searching, studying, and being in that district, two types of questionnaires between users and designers have been used. The result of this study shows that in the ancient city of Dezful, the opinions of experts and users also differ in terms of aesthetic perception so that for users, shape, and context, and experts, symmetry is the first principle. So unexpectedly, it can be argued that sensible visual Gestalt principles, such as symmetry and closure for experts, are of the highest importance, while these principles are of less importance to the user group. The findings of this study made it possible to compare the views and opinions of people and experts. It makes clear the difference between the perception criteria of those who create the landscape and the people who are confronted with and live in the environment.

The Miraj (Night journey) of the Prophet of Islam (PBUH) is one of the subjects depicted by various painters in various historical-cultural periods, and it can be said that the most popular religious themes in the field of Islamic painting are always appropriate contexts for creativity and innovation of painters. The present study was conducted using descriptive-analytical method and qualitative approach, and studied the story of the Miraj of the Prophet from Khamseh Shah Tahmasebi, the artwork of Sultan Mohammad, based on the principles of visual perception of Gestalt. Research data is also collected using library methods. What is important in Gestalt's visual principles is to understand the perception of communication that results in a meaningful combination. Accordingly, the purpose of this study was to explore the effect of Gestalt visual perceptual rules on painting in order to identify its capabilities in creating useful communication. Miraj, as one of the topics that has a special place in Islamic culture, has been repeatedly portrayed by various painters, among which the work of Sultan Mohammad has been very popular. On the other hand, Gestalt theory of visual perception is a means to understand the perception of communication that results in a meaningful combination. Therefore, the main purpose of choosing this theory is to discover the extent and quality of influence that the principles of the Gestalt theory of visual perception have on the mentioned image to identify its potentials to result in a functional and successful communication. In fact, we can say that the present research seeks to read the pictures based on the same principles and tries to reconcile the scientific and credible theory with the brilliant example of Khamseh Shah Tahmasebi, and to explore the effect of these principles on painting. After description and visual analysis of the image and the classification of the elements in the image as the mind of the viewer demands, the existence, absence, and magnitude of the pragnanz of the seven principles of Gestalt's visual perception in painting are examined. Each item is explored individually in a graphic manner and visualized. In general, this research attempts to answer the following questions: Which of the principles of Gestalt's visual perception can be verified in Miraj of Sultan Mohammad? What is the pragnanz of each of these principles? Gestalt theory was first developed in the early twentieth century in the field of psychology and in reaction to the theory of structuralism. Some researchers believed that in perception and behavior; organized whole; these components are prior to others. Gestalt’s principles show their key role when visual information grows; because the human mind is interested in categorizing. The classification of visual elements is an activity that the human mind performs subconsciously from childhood. This feature is also widely used in the training process. Art theorists expanded and expanded the principles of Gestalt, and most notably in the analysis of works of art: The principle of similarity, the principle of proximity, the principle of continuity, the principle of integration or completion, the relations of form and background, the principle of the common destiny and the principle of superficiality. All these principles are under the influence of the principle of pragnanz, which forms the core of the Gestalt conceptual theory. Pragnanz or perfectionism is our perception of a good and strong Gestalt or representation, so that under conditions of domination, it is effectively distinguished from existing and weaker Gestalt or existing representations. According to what has been studied, it can be said that the principles of the Gestalt theory of visual perception play a very significant role in improving the process of reading the work of art. Reading this image, based on one of the most scientific and most systematic principles of visual perception and methodology of art, shows that the eyes and mind of the audience to understand the complexity and components and elements of a dense and tremendous effect use the seven principles of Gestalt, the organization and classification of the best, which will lead to an easier and more accurately understood communication. The result of analyzing the principles of Gestalt on the overall image of the Miraj showed that the effectiveness of each of the laws was not the same and left different Pragnanz, hence the emphasis on a single criterion alone is not a valid criterion. Therefore, in the present painting, the principle of similarity, Gestalt of the dimensions and similarity of the shape, the principle of proximity of the edge and the proximity of contact, the principle of continuity and the principle of completeness and integrity of the strong pragnanz are and can be appraised. Also, the principle of adjacency can be overlapping with the adjacency of integration, except in weak pragnanz.

The school of Gestalt psychology is among the most important schools of psychology in the early decades of Twentieth century that due to territory development and its relation with The process of visual perception, art field has profited from its effects. The followers of this school believe conceptual forces in visual field, harmonize themselves with the simplest possible pattern and in visual perception, total, will find different essence with role of composing elements and parts of it. In this research done with the method of descriptive-analytical and its information has been collected on the basis of library research, has been chosen one painting from Tahmasp shahnama, proportional to the subject in this research, and its figures has been studied based on Gestalt theory. This paper that done with the aim of familiarity with applied aspects of Gestalt theory in art and especially its explanation in persian painting, answered to the question that organizing of the figures according to above theory in mentioned painting, what features have, visually. The result of this research shows kind of location and figures organizing in mentioned painting, is appreciable according to four cases of Gestalt laws covering law of similarity, law of proximity, law of continuity and law of closure that with the implementation of the Principles, will form the process of visual perception.

Immanuel Kant, the 18th-century philosopher whose works was initiated major changes in the field of epistemology, as many Enlightenment thinkers hold our mental faculty of reason in high esteem. In his works on aesthetics, he argued that our faculty of judgment enables us to have experience of beauty as part of an ordered world with purpose.
His main ideas partly based on Baumgarten, who invented the modern use of the term aesthetics in the middle of 18th century. However, unlike Baumgarten beauty had more to do with rational ideas such as order and harmony for him. He holds aesthetic experience in relation to determinate judgments. He discusses particular unique features of aesthetic judgments (four moments) according to his main divisions of the categories. In the fourth moment, Kant was attempting to show that aesthetic judgments must be according to the principle. Everyone must assent to his judgment because it follows from this principle. This point and his emphasis on universality of aesthetic judgement in the second moment had been used by next generation of thinkers as a way of finding the basic principles of understanding beauty through rigid universal principles. Especially the Gestalt theorists, who was discovered the perception principles have been used in many early modern art movements as the universal way of obtaining beauty to any Good eye beholder in any art experience and they believed that it could be used as a secure way of teaching artists.
Therefore, this article, instead of the previous ones that had been focused on Kant's aesthetics in the relationship with his ethical or metaphysical philosophy, was tried to investigate the connection between Kant’s epistemology and the Modern Art theoretical basis. Research tries to indicate the Gestalt psychology as the medium of his epistemology and the Modern Art schools curriculum and the principles of the modern visual Art. His arguments in the Critique of Judgment have been used as a bridge between Art and the Kant’s theory of knowledge concepts like priori principles as the main reason of human's similar perception and the role of imagination in his transcendental synthesis. Then the Gestalt psychology was investigated to reveal its link with Kant’s philosophy and the educational system of Modern Art schools like Bauhaus and analytical theories of Rudolf Arnheim and György Kepes.
Results show that the modern aesthetics based on the priori principles in Kant’s epistemology as the standpoint of human communication and the creator of mind steady principles of visual understanding are similar with the central concept of Kant's judgment of beauty. In what he called the free play between the cognitive powers of imagination and understanding. Whereas judgments of free beauty are made without having one determinate concept for the object being judged but a judgment of beauty is adherent if we do have such a determined concept in mind. These determined concepts must be based on the universal principles everyone can be understood, as some modern artists believe in it.