مجله جلوه هنر
سال هشتم شماره 2 (پاییز و زمستان 1395)

Qajar Era[1] Photography entered Iran with a time difference of three years after its invention in Europe, at the time of Qajar dynasty (1842 A.D. / 1258 A.H.) and grew with the growth of this dynasty. Photography needed a proper context at the beginning of its invention and due to its similarity to the painting it used principals and details of western painting. The main hypothesis of present paper is that this effectiveness model has been repeated in Iran and we can witness effects of Persian painting in foreground and background of photographs of Qajar era. We can also claim that composition of photography set in Qajar dynasty was affected by the culture of society which was growing in it. Present paper aims to determine effective roots of painting ad culture on type of background and foreground composition in photographs taken during Qajar era before Mashrute (constitution period) (1904 A.D. / 1322 A.H.). Therefore we have studied the type of composition in foreground and background of Persian painting and a number of photographs taken during of "Naseraldin Shah Qajar" time period. Present research is descriptive - analytical. Library and field resources were used to gather data. Result indicate that composition used in photography of Qajar era before Mashrute (constitution period) was a mixture of Iranian traditional composition and European composition; which could be considered as a completely Iranian style.

Entrepreneurship is applied to a kind of effort which will be done by knowing and being aware of opportunities, working and communicative skills in human resources. Such effort will result in presenting new productions, new method in production process, new market, new resources and finally creating new organizational procedures in working industry including synthetic arts. The issue is to know and presenting solutions to correct obstacles which are usually created in process of activity and final interest due to the lack of support from state organizations. Main goal is to analyze and recognize obstacles which prevent feedbacks and useful application. Results of present study show that creating proper individual, organizational, environmental and educational context and targeted support could be considered as growth factor and useful efficiency in developing entrepreneurship of woman distributing synthetic arts and presenting material support. meanwhile creating proper environment will prepare entrepreneurs, who have the basis of working and potential ability but are not a part of working and development chain in country due to lack of enough capital, production tool and proper location to present goods and services, in such manner they will be prepared for optimized activity. Such supports include presenting credit facilities, support from Ministry of Labor and Social Affairs and other state organizations, central organizations of rural cooperation organizations, Handicrafts administration, Welfare organization, Relief Committee for Women›s Participation and etc. Which will increase power and working abilities of entrepreneurs.

Present research is a contextual analysis on the goat motifs designs derived from a period between pre-history to Sassanid Empire (9000 B.C. to 651 A.D.). The studied cross-historical time period includes sub-periods of Pre-history (from 9000-3200 B.C.), Early History (form 3200-625 B.C.) and History (from 625 B.C.-650 A.D.) that covers the Epipaleolithic Era, Neolithic Era, Copper, Bronze and Iron ages, based on the classical chorological chart. A classification of dominant styles and images and function of image were presented in fallowing with respect to the study's sub-periods. Based on the results, style of natural processing with a high degree of reality (naturalism), an obvious tendency to move from naturalism with high degree of abstraction and a deep inclination toward realism can be found in pre-historic era (9000 B.C. to 3200 B.C.), the Beginning of history era (3200 B.C. to 625 B.C.) and in the history era, respectively. Partially exaggeration (in horn) and motion were the main characteristics belong to the pre-historic era and history era, respectively. Function changing from goddess role to the ritual, decorative and propaganda functions during the studied period was observed. This distinct transformation can be attributed to the formation of the Kingdoms and religious beliefs of the society (Zoroastrianism).

Since Writing script is the most important visual element it has had a significant practical role in forming and improvement of culture and civilization. In the history of Iranian typography, the cuneiform inscriptions of the Achaemenian era are of great importance due to different aspects. Several studies have been carried on deciphering this script which are mostly based on historic aspect and the identity of the ancient Achaemenian cuneiform. Accurate reading of the information and also legibility are the most important applications of typing; and the Achaemanian cuneiform has a fairly good readability. This script has an orderly structure, suitable visual intermission space, and phonological line spacing is homologous. The negative space between the characters is meaningful and there is a common formal debate among shapes of characters. Besides examining visual and structural characteristics of the Achaemenian cuneiform, this research is studying the visual elements of Achaemenian cuneiform based on a typographic view. The research method of present paper is a historic -descriptive and data was gathered based on library resources. Results indicate that roots of typography – considered as elegance, legibility, and clarity of letters- can be seen in the structure of the cuneiform alphabets, leading to the idea that Achaemenians tried to represent writing with the principals of aesthetics. The typeface also has common structure and borders with the inscriptions of Achaemenians and some of typography principals are observed in Achaemenian cuneiform script. The authors are trying to study the visual effects of the script from the visual and practical point of view and compare them with the modern typography. Furthermore, the visual quality of the writing structure of Achaemenian cuneiform has been studied here.

Synthetic arts are objective crystallization of culture and artistic symbols; they are popular and applied arts with their own patterns and originality and have always been presented as an important and critical factor in Iran's economy. Considering position of Synthetic arts as second factor in growth of GDP and in order to extend it; extensive support and guidance policies have been applied. Naturally its extension will have variant and considerable effects. Effects of such extension have many connected aspects due to the complexity and extension of activities in Synthetic Art's domain and we should pay attention to them while extending such jobs. Exact awareness of condition and created effects and also its weaknesses and strength about each of dimensions will enable planners to present better and efficient programs to decrease its weak points and empower its strength and improve success rate of such occupations. Research method of present study is descriptive- analytical aiming to study the condition of entrepreneurship of Synthetic arts graduates and analyze its weak and strength points to improve working condition of individuals active in domain of this art-industry. Data gathering tool in present research was questionnaire. Statistical Society of the research included 230 female graduates of handicrafts degree from Kashan University and 35 were accidentally selected as sample. Results of present study show that artists' income median is higher than society's income median while their working experience is only two and half years.

Coffeehouse painting is a style of painting created by illiterate painters during Qajar dynasty and began to grow based on social and political conditions of its time. Its clearest manifestation can be observed in constitutional period. The culmination point of these works was during Qajar dynasty and most of the audiences were man of ordinary people. It is assumed that coffeehouse paintings containing religious themes, particularly the event of Karbala, have a profound impact on publics’ religious beliefs. In present paper, after presenting a short description of coffeehouse painting, the effects of narrators and artists of the mentioned time were also examined. To do so, several works of prominent artists of this school have been analyzed, those who have created scenes with religious themes. The research question is that; what was the impact of such paintings on public beliefs? This study aims to evaluate the effects of coffeehouse paintings and narrations on the publics’ beliefs and values. Results show that these paintings are subjective and rooted in Iran›s Shiite-Islamic tradition and identity which leads to more and deeper understanding and relation of public with these narratives and, moreover, following the tradition of the Ahl al-Bayt, family of prophet Mohammad(peace be upon him). They have strengthened the sense of patriotism and vindication of the values and belief them. This study was a cross-sectional study and the data is collected using a librarian method.

Ferdowsi’s Shahnameh and, in particular, “Baisonghor Shahnameh,” has a special place among the Persian illustrated books. Emergence of the Timurid Herat School in the brilliant era of Islamic art has required it to follow original values of such period. Present paper has selected the image of “Arjasb being killed in Roeen castle by Esfandiar” and the author has studied and analyzed mentioned mage based on aesthetics analysis method and comparison with principals of Islamic Art philosophy, authors have also studied structural differences between the mentioned image and other images of Baisonghor Shahnameh, based on a descriptive- analytical research method and using library and document studies to gather data. Finally the results indicate that in terms of status and nature of mentioned image, it contains an ascending movement and a perfectionist motion conforming to the principles of Islamic Art Wisdom. Furthermore, it has gained the principle of unity in diversity in the plurality of components regarding the creation of a visual unity. The movement and kinetics inherent in this image has led to asymmetry and simultaneous display of multiple space together and, in such manner, is different from the other contemporary images and been, somehow, the founder of Behzad and Tabriz Safavi Schools.

When we realize deep feelings of a painter and know various styles of painting during an era completely, learn about the history and time of origin and also the way the school has been developed and the styles of an art work, charm and appreciation toward a painting will increase. Nature is one of subjects which have impressed many Chinese painters. An original Chinese painter never copies nature because he means something beyond nature's physical appearance. Chinese painting mostly tries to illustrate the feeling a natural landscape creates in the painter by means of symbols and cues. Generally speaking, present study aims to examine the effects of thoughts and social condition of china in illustration of landscapes by Chinese painting during Sung Dynasty. Research method is descriptive and in order to gather the required data, library research was conducted. Findings show that artist thinks of integration with soul and the essence of the nature in Sung School and what he calls nature is a result of changes which society has implied on his world beforehand and artist tries to create his image of the nature by minimum working on details of his imagination.

The Oxus Treasure is one of the most important collections remaining from the art of metalworking in Achaemenian era which includes 180 objects such as jewelries, ethical statuettes, talisman slates, and etc. The most salient artifact of this collection is a golden chariot with four horses, the coachman, and the passenger. Present paper aims to study the structure of Golden Chariot based on the structure of technical principles of previous analyses related to Achaemenian era’s golden and silver facets which are kept in British Museum Collection and on which various experiments such as Electron Microscopic System and Energy-Dispersive X-ray Spectroscopy have been conducted. Functions of this object in Iran and its structure were studied based on the existing sources. Research methodology is descriptive-analytical and the main result was discovering various techniques of jewelry-making and continuous development of complex three-dimensional objects’ production which may lead to determine the functional picture of mentioned era’s chariots. A development which will present the consistent and integrated artistic system of Achaemenian era because the artifacts of this era consist of forms of construction, ornaments, and decorations as well as the fundamental successes of many civilizations embedded all of which have major influence on shaping the Achaemenian Empire

Turkmen hand-woven handicrafts are symbols of culture and thought of people who express their beliefs through different artifacts. Due to the practical role of one type of these hand-woven handicrafts, named “Asmalyk”, in wedding ceremonies and the presence of various and symbolic motifs related to this ceremony and other Turkmen believes. Present paper aims to study and identify visual and symbolic features of these hand–woven crafts and introduce this art craft and its symbols and patterns which were made by woman. Present paper is descriptive-analytical, using data from library. Result of the study was studying visual and symbolic characteristics of these handicrafts emphasizing on cultural, historical and ethnical characteristics as well as believes .Researches indicate high and strong power of rituals and believe among these artifacts. 2Which motifs of Asmalyk are common on Turkmen Asmalyks and what are their believe meanings?