نشریه هنرهای زیبا - هنرهای تجسمی
سال بیستم شماره 1 (پیاپی 61، بهار 1394)

Modern Aesthetic is separated its account from classic aesthetic in the categories as meaning and beauty، and is shaped new aesthetic experiences. In the modern time isn’t a trace from static and stable attitude to world in the science and even art. When a work describes with terms like modern and post modern، we must be expect that encounter difficulty in its understanding. The works have very complexities and thus their criticism will be more dynamic and difficult. The overlap of criticism and the aesthetic makes difficult distinguish and definition art and the meaning of meaning. When meaning and new and familiar form for example in the absurd literature or in the some works of Duchamp and Warhol’s، it is necessary that we extend aesthetic gratification and experience. Therefore، accuracy is necessary in the use of terms such as aesthetic meaning، experience، reaction. This is in order to give regulation and discipline to the criticism process. In a course of art gets as a cultural critique، relation between subject and object is a necessary condition and critics have more important role in the guidance of public perception. Since eighteen century، the conception of art perception and aesthetic experience are had together overlap and critics have been concentration on artwork or literary text as a form of subjectivism has oversees on all critiques with different approaches. In this passage we seek relation between new experiences with criticism and also the overlap of the aesthetic and criticism. Because، it seems that aesthetic experience is associated with the nature of art and its criticism. In the past، art and literary works were judged as theorems and theories and human action، today criticism is as a form of performance. Criticism is servant for art in order to create unity among people. In the level، both criticism and the aesthetic appear dynamic. It seems، criticism is more active than imagination. This can be regarded as a form of uncontrolled subjectivism. Therefore، now what gives life an artwork is more than an artist. Because of، the production of art doesn’t finish in the production process and continues until the perception of art. Even more than perception continues until art criticism. The difficulty understanding of the contemporary art needs to the help of commentators and critics. They can be easy the perception process for audience، that is، communication becomes easier، Communication among artist، artwork and audience. In addition، criticism can keep alive artwork and dialogue concerning it. Then، art criticism is supplement of the production process and perception. This is the productive role of art criticism. Although، criticism not praise the work of art. The constructive criticism makes more obvious its own the modern and contemporary periods، that is، in art nouveau. Today، aesthetic experiences are unconventional، meaning is absent، literary language is complex، but this isn’t unpleasant. This is pleasant in its new form. Any attempt to the definition of aesthetic experience and gratification and generally art is temporary. This is a dynamic attitude to art.

The first half of Safavi period is one of the golden age of Iran`s book designing and specific styles and schools has been created in various cities at this time. One of the most important schools throughout the history of book design has played key role in art is Shiraz school. The peak manuscripts of handwriting and Qurans illuminated in Shiraz was in the ninth and tenth centuries AH. The rise of Islamic arts and their evolution and beauty is indebted to dignity of the Quran for Muslims and pages of it، so placed the best visual Islamic arts. In this regard Iranian artists decorated the Quran seriously and used the achievements of the aboriginal culture of each area and periods. This study seeks to answer these question that what are the achievements of decorative and pictorial of the Shiraz school Qurans in Safavi era? The analysis of decorations and graphic dimensions of precious Qurans of Shiraz`s school in Safavi period aimed to study features of visual arrays and identify the role of Shiraz school in Qurans designing. Research methods are descriptive- analytical and accomplished through library and observation. The results of study showed the most important art property of Shiraz Qurans are similar to safavi style in illumination. The Shiraz school Qurans in Safavi era، are related together. These works are followed unit model in drawing fundamental format and were shown their main innovations in details. Decoration and concinnity Qurans preferred to readability، insofar as spaces، especially at the beginning and end pages are hard to be found. Illuminating and decorating of Shiraz Qurans not only belong to inauguration pages، but also can be seen in final chapter of Qurans. The Qurans are in various sizes. Lay out of some papers have little and vertical friezes، as well as used triplet epigraph for double decorated. In these works length of middle lines are short. Writing of the Naskh style in text and Sols in epigraph are thriving in Shiraz school Qurans and great use of beautiful capacity، vertical and long forms of Mohaqeq and Reyhan style. Also clear and furtive method of various lines are common with different calligraphies and colors on lines of a page. Another feature of these Qurans are harmonious proportions of calligraphy and decoration around the letters and words that are consistent with structures of work and its decorative area. The main intimacy of this school is using the golden color، the scroll arabesque pattern، Dandanmoshi figure and Shahabbasi flower for canvas decorating. Also dominance of plants elements can be seen in composition. Variety forms of signs in verses divider and counter، drawing a line surrounding the motifs and writings، presence of Sharafa and colored and golden involute lineation made replete illumination. They are highly characterized by multi golden color، variety of blues، using a color combinations such as pink، orange and green in color composition. Complexity and compaction of decorations and courage of choosing animated colors combinations are gain from Shiraz school Qurans of Safavi.

Iran central plateau is considered to be historically important due to the remained religious، historical، and cultural locations survived from ages ago. Abarkuh، as one of the towns in Yazd province، and the one which is 140 kilometers far from the center of the province، is considered to be historically important. Moreover، this city is geographically related to Esfahan and Shiraz. Since this city was located on the Silk Road in eighth century، it had a commercial significance in that area. There are some glorious constructions such as the Jāmeh mosque، the Aali vault، Nezamiyeh minaret، the old houses، and even some natural attractions such as the old cedar (4000 years old) that made this area attractive for visitors. In addition to the foregoing، the extension worked on the mosques and houses have been considered important. Moreover، its Stucco techniques are unique. The two Stucco altars of this city are considered to be artistically significant. One of these altars is the one in the Jāmeh mosque of abarkuh constructed in the eight century and the other one is in the monument of Pir-Hamzeh Sabzah poosh (Aziz-o-din nasafi) which is constructed in the fifth century. It is worth mentioning that the Jāmeh mosque of abarkuh has Mughal architecture. This mosque has some other stone and tile altars one of which is now protected in ancient Iran museum. On the other hand the tile altar which is now located in the mosque can be seen as a great design of the mosque. The other altar which is also unique is located in a building called the monument of Pir-Hamzeh Sabzah poosh، and it has a very simple design and construction. According to the researchers this place is the grave of a great and respected man guessed to be Aziz-o-din nasafi who was one of the Mystics and writers of the seventh century. This study، which is conducted in the intended locations and libraries، has explored the different parts of both altars. Moreover، it has provided an introduction for each of them and compared the different parts of these two constructions such as the big and small margins foreheads، Arch، under arches، Pendentive، columns، and the decorative figures in epigraphs. It is worth mentioning that both of the altars have been decorated with kufi letters and various writing styles that have mixed Kufi letters with plants and flowers. Both altars have some innovation in this regard. Kufi letters have little variety in the altar located in the monument; however، the Steady rhythm and the interaction between the flower forms in the original epigraph are appreciable. As a whole، the Saljooghi altar of Pir-Hamzeh Sabzeh-poosh can be defined with some characteristics such as roughness and at the same time dynamic، while the altar of the Jāmeh mosque have emotion passion and happiness. It is worth mentioning that this article has been extracted from the M. A thesis of the researcher. This study was conducted and defended in July، 2012 in visual art faculty of Tehran University.

According to the forms of Sassanian medallions designed on the textures Sassanid، it’s very impressive in the distinctive features، the variety of design and style of drawing. Sassanid era peak of excellence in the art of silk fabrics and textiles، especially the development of their industry. But it should also be stated، that one of the important reasons for the existence of exquisite designs and creativity was in creating the designs and motifs on the textile factories in other countries affected. Many examples of this medallion be existed in Post-Sassanid Art in Central Asia، the Islamic era، China، Syria، Copts (Egypt) and Christian art of Europe (Spain، France)، it shows their popularity in these countries. Thus the questions are: How medallion Sassanid has found their way to neighboring territories and elsewhere? How is the development of the form of these medallions? The Sassanid textile was one of the products that are discussed very valuable addition to the business، as well as royal gifts and great political value. This way was one of the migration patterns of the exchanges and projects around the world Sassanid. The motifs of animal، plant and geometric royal hunting scenes were surrounded generally by a circular medallion motif. This constituted one of the main economic that the simultaneous production and commercialization brought under self-control and commercial exchanges between East and West، the Silk Road was at their disposal and caused the weaving workshops and centers have impact on the East (China) and West، Byzantine and medieval (to Spain and England). The specific study with this view has been done on the Medallion and practices relating to the change. Since this project is one of the most important and influential art designs Sassanid، the research on it to find other ways of function and the way it seems to be necessary. The research is theoretical and descriptive research methods and tools for collecting information are library. In this paper، Sassanid textiles as one of the most artistic and cultural exchange instruments are paid during that period، the ways and means of transport and migration patterns from different cultures and countries is examined، and the manner in which the decorative motifs can be classified according to motifs of medallion presented. Given the variety of forms depending on the fabric and textures decorated with the medallion، it can be a lot of medallion with the features and characteristics observed. Due to the large number of medallions، in this article، it was provided the opportunity to address many models; nevertheless، we tried to select models. Given the above، we can simplify the way as the original pattern of the medallion during the Sassanid art، Islamic، Christian and common usage، and we can specify the pieces were painted: The simple circular medallion decorated with small circular design; Simple and circular medallion composed of flattened band without decoration. And explore ways of grouping medallion on both sides of the simple forms to complex shapes that can also be useful for other medallion.

Pictorial representations of ancient Iranian oral narratives became prevalent gradually during middle ages of Islamic period in some of major ceramic workshops of Iran and Central Asia. The paper focuses on one of such narratives which has been originated from Khwaday-Namag (Shahnama) and represented on the outer side of a pottery dated to 6th century AH، recovered somewhere located in Rey or Kashan and now is kept in Freer Gallery، Washington. The pot was decorated by glazed painting technique، probably in one of Rey or Kashan workshops. The body of pottery has been wheel-made and covered by a white slipping on its external surface. At the first firing it has been covered by a transparent glaze to be fired and prepared for be painted on the surface with enamel stuff. Enamel paintings had appeared in blue، green or brown after the final firing. Enameled pottery (also called rainbow or gilt pottery) has been a new kind of pottery-making developed during Seljuk period. Ferdowsi began to compose shahnama probably during 370-371 H. (980-981 AD) and apparently his work has been finished in 401H. although the composition was not appreciated by Mahmoud Ghaznavi. Since the narratives of Shahnama were rooted in cultural milieu of Iranians through long ages of its oral history and collective memories، it is not surprise to see parts of it represented or reproduced in variety of media، such as ceramic cups of early Islamic period. The Bijan and Manijeh story has been narrated on the cup in three horizontal bands with twelve sequential scenes. The scenes have been divided by two vertical parallel lines so that every frame had its own independent meaning. Main themes of each of the bands are as follow: First band: Love acclaiming of Bijan to Manijeh; Second Band: Bijan being captivated by the servants of Manijeh and Garsivaz; Third Band: Bijan being descended into the well to be salvaged by Rustam. The narrative begins in First band of upper part of the cup to be ended in third band located in the lower part of it. Substantial part of the contents of paintings on the surface of this kind of pottery were inspired by stories of Shahnama، Khamsa-ye Nezami، among the other literary sources of the time. The principal matter of the paper is constituted by comparative description and explanation of the visual narrative based on Ferdowsi’s versified version of Khwaday-Namag oral tradition. Importantly، There would be a relative synchronization [a period of 2-3 centuries] between both of Ferdowsi’s written narration and potter’s visual one of the story; Such a temporal correspondence could has significant implications for the study of resurrection of ancient Persian cultural traditions and wisdoms in middle ages of Islamic Iran. The paper concerns to restatement of Shahnama’s Bijan and Manijeh according to which 12 characters painted on the pot would be a subject of formal analysis to make a comparison between them and the original written narrative

Luster glaze technique is، in fact، using luster glaze in painting and decorating on the glaze which is heated in reduced kiln as a third step. Luster glaze is formation of a very thin layer of silver and copper nanoparticles with a metallic luster in different color range formed on the surface of the glaze during the third stage of heating in reduction condition. Luster glazed art’s peak، in Iran and the city of Kashan، was 6 until 8 centuries AH (12 until 14th). Although this technique has been a principle one in pottery making، a few texts from different periods have been left about it. Javaher name-ye- Nezami by Mohammad- ibn Abi-al-Barakat Juhari- Nishaboori is the earliest historical documents on Luster glaze which has various formulas for making it. Javaher Name-ye- Nezami was written in the year 592 AH (1195th). That seems to be not only the oldest work، but undoubtedly the most detailed written work on the sophisticated technology of luster glaze (until the 19th century). However، the key question is، whether one can still produce luster glaze based on these formulas. In the present study، by using an experimental approach، we verify the accuracy of one the formulas presented in this book. We chose a formula، which according to the writer of the book، produces glitter and golden luster. The research method is evaluation and it has been done through observation and experiment. The results show that the formula presented in Javaher- Name-ye- Nezami are quite capable of preparing Luster glaze. Material used in the formulas by Juhari- Nishaboori، are called by names which were common in the past and are unfamiliar to us today. Thus، to build the combinations suggested in the book، it is essential to have the equivalent of raw materials and their chemical compounds. Therefore، the modern day equivalences of the material were used. The material، following the formula، were weighted، mixed with vinegar and grounded for 30 minutes. Then، they were tested on proper alkaline glaze in different reduction condition. Alkaline glaze has been made semi-opaque by tin oxide and used as a base glaze. The result of Javaher- Name-ye- Nezami formula with the above mentioned combination was formation of a layer of luster glaze with metallic luster and golden sparkle. The result was achieved through reduction at Five hundred and eighty degrees centigrade (580° C) for about Seventy (70) minutes and four stages of wood burning. The results of the present research showed that in order to produce luster glaze it is essential to consider carefully the different parameters that effect luster glaze such as the base glaze، combination of glaze and condition of reduction. Proper reduction is very important during the process; therefore، every kiln will need different reduction condition based on its internal dimension، vents and type of the fuel it uses. The results show that if the proper conditions and various factored are considered، the formulas presented in Javaher- Name-ye- Nezami are quite capable of producing Luster glaze.

The Quality Function Deployment (QFD) is a very helpful method to analyze the customer''s desires with solutions of problems along a new design to generate high quality and competitive developed products to generate high quality and competitive ergonomic products and processes. This method employs a wide range of applications for translating customers’ needs into technical requirements to fulfil customer satisfaction. In the present study a QFD analysis was performed to improve design of school furniture in Tehran. The study extended the widely used QFD into a complex set of customers’ needs about the school furniture and showed the step-by-step application of QFD that focuses on the first matrix or House of Quality (HOQ) matrix. In the first set of analysis، the quality requirements were considered، and the issues of scheduling were subsequently evaluated. The analysis was started by identifying the problem statements، specifying the objectives and designing the scopes of school furniture. One hundred sixty boys and girls students of three high schools، located in three different areas of Tehran، participated in the present study. Student’s requirements were collected and translated into the technical requirements using QFD. Data gathering was carried out through survey، questionnaire distribution and structured interview. The collected data were then analysed to find the best solutions of the problems. The results of HOQ matrix، were used to provide suggestions and solutions to decrease the problems. From students’ points of view comfortable seat was the most important issue which may cause back، neck and leg pains. The other important issues were height of the table and chair and comfortable support. Moreover، dimensions of table and chair، space for tools، ease of use and enough space in book bookshelf، appropriate slope، additional equipment and no damage to clothes were placed in the next level of priorities. Also the results showed that student’s requests are quite simple and feasible with low cost. As، students’ prior request from designers is to solve ergonomic and dimensional problems. Almost all of the classroom equipment have been found with low quality in comparison with company’s products. The latter shows that the equipment، with priority of tables and chairs، need to be improved immediately because low quality school furniture may cause several serious physical or mental problems for students. The study also showed that QFD method can help demonstrators to ascertain inter-relationship between operation requirements and measurements of performance. The current study indicated that how furniture defects can lead to student satisfying or exhausting during education process. According to the HOQ، improvement of table and chair designs may solve furniture problems and satisfy students، but confirmation of this issue needs a time course analysis study after using the product. QFD has been proven to be an effective means of process and product deployments، and it is a proper method to solve problems along with school furniture in the future. This study provides basic information about student and their requirements in classroom by which future studies could solve student''s problems with school furniture and equipment.

Sedan Passenger-cars are known today as one of the most popular industrial products. Since the advent of the first samples by Henry Ford and Karl Benz ever، classification and recognition of passenger-cars have been based on the set of technical standards or experimental criteria and have not been from the point of view of designers and stylists who focus on content of form and visual aesthetic criteria. In this study، the typology of the style of existing sedan cars in the global market has been discussed. For this purpose، the face of 40 sedan car samples belong to the years 2013-2014 from thirty two automakers have been analyzed based on the aesthetic style and form features factors. Results show that there are three main trends and two sub-trends in terms of content and form. These trends have been named based on form factors frequency of design approach in each trend. Leaders frequency graphs in any trends have illustrated Leaders scattering، countries frequency in any trends and the form and style of this type. Finally، based on the above findings، the style design of the pristine spaces in the sedan type has been identified. Output data were analyzed statistically and while demonstrating power of commercial brand of each product on the basis of product personality، the results showed an agreement between customers'' idea and statistics of global sale and manifest the present trend of Iranian customers through studying psychological mechanism and customers'' reaction to the concepts and keywords then through creating imaginary equivalence of those words and personality in their products'' style try to create powerful identity in the appearance of their product as one of the basic factors of attracting customers'' attention. The results demonstrate an agreement between global position of the studied cars and Iranian customers'' perspective and also success of Kansei engineering in order to evaluate behavioral and emotional reaction of customers toward style personality of car. Classic tendency has the most prosperity among Iranian youth and Modern and sport tendency are respectively in the next class but we cannot generalize this result to all of the present car in the above mentioned tendency and this is dedicated to the superior cars in these kinds of sedan. Reviewing tendency pattern of product personality of Ford، Volkswagen، Mazda and et al show pattern similarity of Ford، Volkswagen and with a lesser extent in Mercedes that is according to the result of factorial analysis of cars in the test. as M2index shows، Samand has the lowest similarity with other cars. In this research، only from the view point of emotional reaction of customer we consider style and specially product personality of cars. These studies are just a start point for recognizing Iranian customers'' taste and in the future studies on the purpose of recognizing complete quality of Sedan through reviewing all existed cars of this kind and also all tendencies and other age group، we can recognize special personality of each tendency that are not considered in this research.