نشریه هنرهای زیبا - هنرهای تجسمی
سال بیست و یکم شماره 2 (پیاپی 66، تابستان 1395)

Artworks are different in terms of creation, application, function, interpretation and finally meaning. Sometimes, we don’t know the meaning of a picture or a literal text. Human perceptual media and cognitive faculties are confused. The understanding of artworks is difficult. The ready-mades have disrupted the rules of the aesthetic judgment. The recognition of art from non-art is not the work of common people and needs to a strong taste. Common sense that philosophers have emphasized on it could not recognize beauty and art. Absurdity influenced the space of the artistic genres for example literal texts. Nowadays, it is difficult access to their meaning or concept just like human mental states. The inaccessible intentions manifold the importance of the study of meaning in art. The difference is overflowing in everything including in art and the interpretation of art. Audiences don’t hear a single voice from commentators. These cases have complicated our work in the perception of art. When persons see something odd ask “is it an art?” In these circumstances they are dealing with several meaning or absence of meaning. But, is this absence could be meaninglessness? Of course, the modern art is ambiguous its relation with reality in some of cases but this is not evidence on the lack of communication with reality. Human accepts that the art world is a fictional world, but this world is built based on a reality in the life, imagination or mind. Audience attributes to the artwork a meaning or concept in interpretation. Onetime, the meaning of artworks was been searched in the represented things, for example in the landscape of mountain and sea or in human face, but in the non-representational contemporary art, meaning is a secret that the existence of art is based on it. Some people consider meaninglessness as a great privilege and praise it. In this article, this article wants to look for that whether art without meaning would be interpreted? It wants to reflect on the meaning of meaninglessness. While it seems, it is impossible meaninglessness in some of new theories. For example, in system theory with relying on the social nature of art, meaninglessness is not same negation of meaningfulness. This world is the realm of meaning and all its beings have meaning. Then how can we experience meaninglessness? Meaninglessness belong to nonbeing. Now, art is a form of social existence, how is it possible that art be meaningless? This research is looking for a reply for these questions. It wants to search roots of meaninglessness in the contemporary philosophy, of course by studying continental philosophy and in its best-known theories. This study encounters with systemic conception of meaning and three dimensions of meaning. These dimensions are difference between this and that work, or old and new production, or art and non-art. It seems persons have to be more careful in attributing meaninglessness to the artworks.

The inscribed monument belonged to ancient times can be regarded us a documents to study the thoughts ,ideas ,cultural and communication arts of ancient civilizations Ziwiye, Hasanlu, Qaychi and rabat2 areas belong to Iron age and Mannea era, in wich many inscribed monuments have been obtained. The discovery of many inscribed monuments show the importance of these art works, stencils and were used as both decorative element and inhabitation of the concepts and the ancient man behavior and concepts. These area located in contemporary neighbor geographic area, have inscribes with similar concepts, in wich show the cultural. Communications and impacts of them with each other. the research that has been done before, the role of the regions studied have been studied individually and mutually, Therefore, due to the proximity of the region to coincide in time and belong to the same cultural area and even the same cultural and artistic relationship with Assyria, Is necessary that the common motifs of plants in all four regions studied considering the Assyrian samples are compared. The aim of this paper is to identify common themes and similar designs in the works Mannaeans areas and Assyria and identify the commonalities and similarities and impact of designs of these areas are normal to each other and their relationship with Assyrian art. the main issue in this article is that common patterns of plant works Mannaeans areas which roles are and whether these designs with their Assyrian art? so this research investigates the designs and inscribes with plants common themes in the resulting works from Mannaeans areas, as comparative one. In addition, the neighbor of these areas is effective on the created motifs in the mentioned areas. the plant common inscribed monuments in these areas include lotus,rosette, palm tree and tree of life. Regarded as holy and holiness aspect in the beliefs of ancient time area. these two motifs had application and impact in all the studied area. Some inscribed monuments have similarity with Assyrian ones and some inscribed monuments have been applied with some change in design. this result was obtained in samples, that adjacent and synchronization with the Assyr during the wars between Mannaeans and Assyrian and their political and cultural communication together , caused to create the common themes and similar designs motifs in the regions studied. Assyrian art has a different impact on different sample designs. for example Lotus flower and bud of the example of the side view of Ziviyeh ornamentsare influenced by the role on a piece of ivory from the Assyrian period. In some cases, such as sacred trees Ziviyeh on ivory plaques, the overall design motifs, influenced by the Assyrian. this research aim is to recognize the subscribes with common and similar themes in Mannaeans areas and Assyr to clarify the common themes, similarities, the impacts of subscribes on each other. In this research, by means of library resource and also the existed samples in the museum by analytical- descriptive method, these subscribes monuments is compared.

It is not hard to see that the media are becoming increasingly global, and the advent of Internet connectivity and the World Wide Web dramatically redefined the way all humans live and communicate. Where cross-cultural interaction, relationships, and business practices once existed primarily for the wealthy and powerful, we now find these opportunities readily available to all. Critics of globalization have argued that globalization leads to unprecedented standardization and cultural homogeneity. The idea of homogeneity, finally, is, in the context of globalization theory, closely associated with the idea that cultural differences are disappearing as a result of globalization they argue, local cultures and languages are in danger of becoming extinct and, as a result, the world’s cultural resources will dwindle. Innovation will become more difficult. The global media industries have responded by deliberately creating diversity, producing global media in ‘local’ languages and integrating ‘local’ content in various ways. Theorists, too, have responded by arguing that global media products are not necessarily everywhere ‘read’ in the same way. People from different cultures will interpret and experience them differently, they say, thereby ‘indigenizing’ the global media, so that diversity is maintained after all, albeit in a less tangible form. Nation states have tried, and are still trying, to stem this tide, to preserve the unity of their national media and to keep out what they often see as threats against their beliefs and ways of life. For the moment it is clear that we live in a period of transition. Two worlds coexist uneasily: the world of nation states, with their national languages and cultures, and the global world with its emerging global language and culture carried, not by nation states, but by global corporations and international organizations. One major area that has been greatly affected by this transformation is the field of graphic design. Practitioners in graphic design, for the first time, find themselves in a position to work with an international clientele and to design for global audiences. As we begin to understand how existing cultures and dimensions help define our world, it becomes important to recognize how these differences affect the meaning and practice of graphic design. In order for designers to properly communicate visual messaging, they must first understand that their own individual ways of thinking do not represent those of the rest of the world. Taking into consideration the beliefs, traditions, and values of varying cultural audiences has yet to become a common practice, and some of the people currently responsible for the production of visual communication are unaware of this obligation. The central question of this research is: What are the consequences of media globalization in graphic design? This paper described and analyzed using selected examples from the works of graphic design as much as possible to answer the research question. At first examines the impact of globalization of media in graphic design and at the end of their proposed solutions will be presented. Data collection and sampling of documents is optional.

Presented to the world in French Academy of Science on 1839, photography foundations were laid centuries ago. As documents suggest, the invention of photography was not the outcome of creativity and efforts of an individual or a group of people, but the result of a need by the people living in a specific geographical territory, sharing the same concerns. In fact, the foundations of photography were laid in the 15th century and during the Renaissance. Man in that era tried to put himself in the place of a god-like observer (to see through an omniscient point of view) meanwhile using mathematical and geometrical rules to achieve the objective look. The quests culminated in the dark room (camera obscura) as a response to that demand, leading to fundamental changes in western visual culture. With the photographic image being formed in the dark room, the idea of camera did not seem too far; just one more step needed to be taken for the birth of photography. Painting and drawing- in absence of photography- took the opportunity to secure their place as forms of representation, leading to a competition in early years after the invention of photography. Photography, an amalgam of artistic and scientific expressions, was rooted in the visual tradition of the dark room. Photography became a means of documentation to diverse scientific and research intentions, and challenged painting as a new form of art. A demand by the new-born and developing middle-class for identification and capturing its own image on one hand, and the commercialization of photography in the age of industrial revolution and capitalist economy on the other hand, contributed to the growth and expansion of photography. In fact, a period between 15th to 20th centuries, named modernity, was an era in which fundamental changes in human intellectual basis took place, leading to deep evolutions in social structures. Photography was seeded during this era with increasing numbers of people demanding and yearning for such a medium. Mankind sought to mechanize the image formation and photography as mechanical process of image formation was the proper answer. Photography was born and flourished quickly in a society that longed for it. Photography was everywhere and was received warmly wherever it reached. The 19th-century man thought of photography as a way of conquering the world. Photography was invented to democratize and publicize the image; photography was meant to make the nature reproduce itself and thus fulfill the scientific ideal of positivism; photography aimed to challenge all forms of art. Being everywhere, photography turned to be one of the most profitable businesses of the century. In fact, photography blossomed in the ground of modernism and fruited in a century that brought fundamental changes to social, economic and cultural structures of western societies. Tracing these changes and evolutions and their causes help us in investigating the context in which photography began to develop and flourish.

The paper tries to investigate the question whether photography could be considered as a source of knowledge since the medium has expanded our knowledge about the world, enriching our visual unconscious as Benjamin puts it. Highlighting the objective, mechanical formation of photographic image -not being shared by other forms of visual representation including painting and drawing-anumber of photography thinkers and theorists have acknowledged the relation between photography and knowledge. This mechanical process of image-formation in photography is what makes it different form other techniques of producing pictures. Stressing the idea of transparency, for example Walton argues that photographs like mirrors and telescopes expands our vision. Photographs enable us to see the world through them with seeing regarded as a way of finding out about the world we live in. Photographs not only let us see very tiny or distant things but alsoempower us to seethrough history. Being regarded as document, photography could be regarded as source of knowledge since a photograph could not exist without a referent in the real world. However, photography is not regarded such an objective process by a number of theoristssuch as Sontag and Sekulasince photographer’s mentation effects the formation procedure of thephotographic image through different ways (including point of view, framing, choosing lens…). Moreover, the outbreak of manipulated images and staged photographs due to the advent of digital technology has relatively questioned the realistic, documentary as well as the objective aspect of photography since the digital photography –to some extent- has undermined the objective, mechanical process of the way photographs are formed. However, photographs still prove to be convincingwhile it’s being seen as information carriers by scholars such as Cohen and Meskin. According to Meskin and Cohen, what makes photographs so distinct in regard to epistemic value, is their ability to provide visual information without offering spatial information.Looking at photographs -even digitally produced one-one should note that we still form beliefs about the world we live in, albeit these beliefs need to be confirmed by our common sense,logic and prior beliefs so that they could be turned into knowledge. Additionally,the survey tries to investigate the difference between photography and other forms of visual representationand image-formation such as painting and drawing especially the most realistic ones known as hyper realistic paintings, keeping pace with photography concerning the ability to capture the finest details.Although the most realistic image-formation techniques such as hyper realistic paintings might represent something in the realworld, they are directly affected by the painter’s mentation and subjectivity.On contrary, photographic images are made in a more objective way with the photographer’s mentation affecting the image indirectly. In addition, hyper realistic images are normally categorized as paintings, not being considered an objective process of image formation by the public audience.Finally, the paper concludes that photography owes its epistemic value to its objective, mechanical process of image formation rather that to its intrinsic realism, though it has always been called a supremely realistic medium. The paper uses analytical-descriptive method with the information gathered using library sources.

Knowledge about Fatimid’s textiles from the early days of Islam comes mainly from Egypt, where fragile materials, including linen, cotton, wool, and silk have been found as burial shrouds. These luxury fabrics were used as clothing and furnishing materials. Fatimids were famous for their luxury textiles and in particular the so-called tiraz textile workshops. The Persian word tiraz denotes an embroidered decorative band, attached near the edge of a fabric or a garment, and included blessings phrases. In the Fatimid period, Tiraz was contained the name of the ruling caliphe or high-ranking patrons. Each tiraz workshop had a designated manager to oversee the production, packing and transportation of the textiles. The status of this man was very high and he had gained high salary as well. Tiraz was a very magnificent fabric that produced during ruling of Islamic governments in Egypt, especially Fatimid’s court. Golabutton yarns were used for weaving or embroidering on silk or linen fabrics. Therefore it was necessary to change gold bullion into brocade yarns. This activity resulted to establishment an accurate controlling on the amount of gold went into weaving workshops and the weight of brocaded fabrics. Tiraz was produced from silk, cotton and linen. The background of fabric had a simple weave. The designs were produced with three different methods namely: by block printing using natural dyes- embroidery and tapestry. Tiraz fabrics were contain inscription as well as animal and botanical motifs. In embroidery, writings were produced by silk colored yarns with opposite colors of background to emphasis on the inscriptions. The sentences were short or long or sometimes repeated texts in a narrow band of a fabric. Kufic inscription was common at first but gradually it turned to a decorative element combined with other designs such as flowers and birds. In Islamic world alphabet became holly and used for fabric decoration. The number of writing styles in Fatimid period is noticeable. The bands of tirazes were put on the edges, breast or arm of the royal official clothes. The king used many tirazes and gave them to anybody that was selected as a governor. Actually tiraz can be counted as an honored medal. The high ranking individuals and their wives, supporters and foreign ambassadors were deserved to receive tiraz. Also European kings received tiraz because the Fatimid kings wanted a good political relationship with them. The decoration on these textiles mainly consists of Arabic inscriptions, often involving Allah and the name of the ruler. Many of these items were intended for the royal household. Tirazes had inscriptions and sometimes family signs that probably copied from Sassanid traditions. Other phrases also were shown on the tirazes such as religious phrases from Shia’s or a list of name of accepted sultans to confirm the position of the present king. The inscription were selected according to the usage of the fabrics. A group of tirazes were used as shrouding and burial cloth and second group were used for nobles, and in different occasions were granted as gifts to high rank individuals.

Today many cities around the world are subject to the risks and damages caused by the natural disasters. Every now and then, the world witnesses natural disasters at various degrees of severity, leading not only to human casualties and destruction of homes, but also to displacement of many people. On average, three million people are driven out of their homes every year due to natural disasters, of whom 80% are earthquake victims. Due to lower structural strength of houses in the developing countries, destruction resulting from such natural disasters as earthquake and flooding occurs on a larger scale, leading to a greater number of displacements. Many people lose their homes to natural disasters every year. Today, a large number of cities around the world are prone to damages caused by natural disasters. Iran is no exception in this regard, and, in recent years, different natural disasters including floods and earthquakes have led to a record high number of displaced people. Survivors need to be provided with shelters as soon as possible so that they can regain their mental stability. After a natural disaster strikes a large area, the residential areas largely become uninhabitable and the survivors need to be placed in temporary shelters. So far, emergency shelters have been designed and built in the form of tents made available to the survivors in great numbers. However, such tents are largely incompatible with the cultural and other needs of their users. In addition, tents are not strong enough to withstand variable atmospheric conditions. In fact, living in such tents only adds to the many problems these victims already have to endure. Providing Shelters in the form of conex homes also entails difficulties in speedy settlement of the survivors because of transportation problems, leading to the victims’ being exposed to aggressive environmental conditions for long periods. In this research, 95 volunteers in Khorasan Razavi Province, Iran, were studied. The user-oriented design method was implemented. This method has been used efficiently to design highly efficient products adaptable to their users’ needs. The user-centered method focuses on the real needs of users as well as the context of product use. In the next step, the required data were as well as the keywords obtained from the survivors during the survey and interview phases were used for setting forth the design criteria. For this reason the criteria for designing the standard settlement in accordance with the needs of users were extracted. Upon carrying out the brainstorming phase – i.e., proposing the relevant design ideas – the conceptual designs as well as small-scale models (prototypes) were prepared and further modified based on the users’ suggestions. The preliminary and secondary designs were reviewed and tested several times. The overall results showed that relief tents did not adequately meet the survivors’ needs and that the survivors preferred quickly constructed shelters with private spaces, which were simultaneously capable of withstanding harsh weather conditions.

The representation of Buddha’s image in the art of India, has always been associated with the necessities of life, beliefs and customs of Indian people. Buddha’s representation, could be divided into two phases: the symbolic phase which sometimes called the first period (2B.C to 1A.D) and the figurative phase which is also called the second period (from 1A.D. on). During his lifetime (563 B.C -483 B.C), Buddha was opposed to his objectivity in form of a human, and therefore his mythical visage was shown with the help of symbols and signs, throughout the first phase. These symbols and signs were related to Buddha’s life, the objects he used, the places he has been to, and the events happened to him or by him. It was about 1A.D that his human figure emerged in Indian art. This emergence was basically in art of northern regions such as Gandhara and Mathura. The Buddha of Gandhara had Indo-Greek features, and that was due to the former influence of the Greek culture after the Alexander’s reign in this area, which is in today Afghanistan and Pakistan. While Mathuran Buddha had indigenous characteristics of Indian art. Despite of the style, Buddha’s image began to be created clearly after first century A.D. It should be noted that, the worship of image has had a long history in India and is dated back to pre-Vedic period. Indian people were used to concentrate on their gods’ and goddesses’ images while worshipping. It was so in all the religions and sects in this country. The dominant assumption in this analytical paper is that, despite the prohibition of displaying the human figure in the first phase of Buddhist art, Buddha’s followers, has always tried to develop a mental image of his face, influenced by various factors such as adjacency with other religions such as Hinduism and Jainism. And it was only after the disappearance of the extremisms in Buddhism, that they found the opportunity to create his image with a perfect aesthetic elegance and maturity. Because a picture, this perfect and sublime couldn’t be created all of sudden, and after 600 years of banishment, and without any planning. The purpose of this paper is to study this transitional period of the symbols changing to human figure, and also the facts affecting it. This paper is also trying to answer this question that, whether the image of Buddha, mental or real, existed during the first period or not? If yes, what are the reasons to this answer? And if there was any image created, what has happened to them, and why there is no archeological evidence left? To achieve this goal, gathering data is done through documentary method via library resources. Religious texts, artefacts discovered, Buddhist myths and the cultural terms of the Buddhist societies are also referred to, to prove the hypothesis of this study. According to the conclusions of this study, the image described, have been existed since Buddha was alive.