مجله جلوه هنر
سال نهم شماره 2 (پاییز و زمستان 1396)

One of the interdisciplinary study field in the realm of culture is studies on the relationship between religion and art. In fact, we can observe periods in history of art when the religion and art mixed. Although the mixture of art and religion was not at an even pace, religion is one important context for creation of the art works. Things have changed in the modern and post-modern period and they were not moving toward the same ends any more. Meanwhile there were artists who have worked on signs or religious traditions. Present study is an analytical, historical and social study of the modern and post-modern art which deals with the relationship between religion and art in works of four modern and postmodern artists naming Paul Gauguin, Francis Bacon, Mimmo Paladino and Robert Gober. The key question is: how is the relationship between modern and postmodern art to religious, political and ethical teachings and how is selection and composition of visual elements?
Modern art, rather than being a tool for propaganda and preaching of political, religious and ethical teachings; wants to be a goal by itself. Post modernism says we should speak of logic, insight and plural thoughts without any efforts to effect anything or anyone.
Present research is a qualitative study and required data were gathered through library documents. The researcher has studied works of Paul Gauguin, Francis Bacon, Mimmo Paladino and Robert Gober in order to describe and analyze the statistical sample of the study.
Findings show that artistic work can’t be created in vacuum but it is the result of time, place and awareness of its creator time period. Religious concepts of modern works are rooted in criticizing wisdom. Postmodern works are the outcome of selfish combination of elements put together just due to their visual appearance or have radical criticism to religious teachings.

stucco art is one of decorative arts in Iran building architecture decorated most parts of pre-Islamic palaces and buildings. One of unique Iranian stucco is plants patterns, plenty of them were found in Sassanid palaces. These patterns in stucco are abstract patterns of nature and consist of various forms like palm, grape, pomegranate, lotus, and multilateral flower. Sassanid in relief motifs were made of gyps, And play significant role in decorative art and cover brick walls and rubble walls. Gyps were worked as cubic plaque and carving in monarch building decorations in which it was used various plants, Geometric, Symbolic and etc. In Sassanid rock sculpture it was used large in relief motifs with huge stone form in 32 in relief motifs most of them located in Fars. Siraf in relief motifs belong to Sassanid era in which various samples of plant patterns had seen clearly. Due to Siraf motifs following questions raised: What plant patterns were used in Siraf in relief motifs?
Is there any similarity between Siraf plant patterns with other plant patterns of Sassanid era?
This research aims to study Siraf motifs plant patterns in Sassanid era. It was concluded that Siraf motifs are symbolic forms and also it was emphasized on its decorative aspects. This is an analytic- historical research and data gathered in documentary-library method.

Trash bins are elements of urban furniture which not only have a functional role, but also effect on the environment beauty and its identification. Now a day, due to the different methods of waste disposal and recycling, waste separation in the production place is another function of trash bins. A huge amount of waste produced today can be recycled and returned to the consumption cycle. In Iran, a high percentage of these products are disposed of in other ways due to the lack of separation of various materials in the wastes. Considering the environmental graphic in design and implementation of urban trash bins, while respecting the characteristics of urban furniture, they also can help beautification and separation of waste from the production site. Present research was conducted using desk and field research methods, and some pictures of trash bins in various waste recycle stations of Shiraz were randomly collected and analyzed with descriptive and analytical methods. Results indicate that environmental graphic, as an important factor in urban legibility, design of pictograms, signs and trash bins with special colors and designs, can be effective in educating and encouraging citizens to collect and separate waste from source; and it can have a significant impact on the identity and beauty of city with respect to characteristics of urban furniture in the design and implementation of recycle bins.

Iranian modernists of 1940s to 1970s who were after a personal expression and Avant-garde movement, used native and Persian symbols in their works. This action caused a new movement in this Iran’s modernist art which now is known as Neo-traditionalism. Elements inspired by ancient Iranian arts were a group of motifs used by Neo-traditionalists. The present study tries to provide an answer to the question that: whether the ancient symbols and patterns used in the works of the Neo-traditionalists in the 1940’s and 1970’s had had a semantic value or just were used due to their aesthetic and decorative values? Researchers believe that they, by selective analysis of some ancient motifs in context of modern works, have been able to show the fallowing: these symbols can guide the audiences mind toward new and modern world based understanding by de-familiarization in audiences mind. The present study believes that a serious and detailed rereading of the works of the modernist pioneers is essential for production, understanding and interpreting the more recent works. Furthermore, it aims to expand new readings of modern works and familiarizing the audiences with the decoding methods of these works. The historic-documentary method was used in analyzing the ancient symbols and patterns, and in case of contemporary works, the comparative analysis has been applied. These works were selected purposefully from the museums, archives, private collections and libraries.

The Polo is an ancient game and sport belonging to Iran, and despite its long history, there is little recorded information about its principles, rules, equipment and clothes. It seems that Timurid rulers did not appreciate čawgān (game of polo) as before, and that concentrated their focus on reconstruction of the country, and this seems logical regarding the fact that Timurid dynasty is contemporary to Mongol's invasion during Ilkhan era. As a result we can witness the growing interest of Timurid court to architecture and its related arts in great number of remaining works. Thus there were not proper conditions for growing and development of čawgān in Timurid dynasty, and Timurid court did not have enough time and interest for team sports such as čawgān (similar to Safavid period). Nevertheless, due to the great interest of Teimurid princes to literature, we can witness a great variety and numerous poems with the subject matter of čawgān in this period. According to the results of present research, there are 264 cases of ''čawgān'' and 27cases of ''sawlajān'' (cognate of ''čawgān'') were found in poems of this era and based on the finding of the studied Timurid miniatures, there are three forms of polo mallet looking like curved cane =“á” ,similar to “L” form and “V” form(with an open angle). Present paper has selected study cases by asking this question that: what was the changing procedure of the polo stick and ball in the Timurid miniatures and the reason why, this paper has gathered the previous related research works using the library, documental and internet resources and in the next stage, gathered the old texts and illustrated pages related to the polo game and refining them in terms of the validity of documents and containing the date. Finally, after collecting data, the differences and similarities between them have been analyzed. Present paper is a descriptive-analytical one, using the library, observation and interview techniques.

Questioning the concept of space and location has turned into a fundamental issue in education theory due to the effect of “Spatial turn” and considering the importance of “Space” in regard to producing knowledge and the concept of truth. Gilles Deleuze, French post-structuralist philosopher, along with Felix Guattari in their book, "A Thousand Plateaus", employs the rhizome to introduce a new paradigm in the relationship between space and knowledge. Present study aims to prove this hypothesis that using rhizomatic spatial space in art classes can create an environment for creation and innovation, presenting many opportunities and capacities in regard to art education. The importance of diversity and multiplicity of rhizome model converts the classroom to a space with shifting and fluid perspectives, which stands completely in contrast to traditional pedagogical environment with a homogeneous single perspective. It might be argued that one of the major achievements of employing rhizomatic space in the art theory classes is the juxtaposition and combination of disparate perspectives and heterogeneous viewpoints in relation to an artwork and can overcome the logic of single meaning in an art work. Present paper is a theoretical study, using descriptive – analytical method and gathering data by library resources and documentation.

The Sassanid motifs penetrated the European culture due to trading along Mediterranean Sea, crusade and Muslim Arab domination on Christian lands and many motifs of fabrics, utensils and moldings transferred to Christianity. The Christians changed these motifs to religious concepts regarding their own religious beliefs and illustrated their religious books with them. The Christian art of book illustration has a very close relationship with Byzantine art. The Byzantine art was a result of Sassanid and Roman cultural and artistic achievements. Writing the New Testament and presenting religious concepts motivated the abbes to design manuscripts with abstract symbols and adornments. The style drawing animals and imaginative beasts along with composition methods in silk fabrics and Sassanid silver works not only created aesthetic signs but also resulted in abstract expression which also penetrated the Christianity. Present paper is based on the fact that the Sassanid art was the most glorious historical era before Islamic, when political and social influence lead to globalization of art of such era and its imaginative concepts led to a semantic relationship with Christian art. The book of Kells is a middle age's illustrated manuscript, trimmed by abbes and includes exemplum of gospel and revelation of John. This manuscript includes images of hybrid beast, winged creatures and imaginary birds which demonstrates the effect of Sassanid art in design of its images and motifs. The present paper aims to study the pictorial and conceptual context of animal motifs in Kells book and also consider the Sassanid art influences. This is a descriptive – analytical study and the data was collected based on library resources. The question is that: what were the characteristics of Sassanid motifs and how did they effect book illustration of Christian religious manuscripts. With declaration of the reason for such effect, it is also clarified and explained how the Sassanid motifs made their way to the western world.

Muslim painters have used different kinds of methods to portrait prophets in different ages which not only reflects the painters’ insights but also mirrors the belief of art patrons in the time of their creation. Among the allegories about the prophets, the story of angles bowing to Adam is depicted by painters in numerous manuscripts and different approaches.
Present paper, which has applied a descriptive – analytical method, is trying to introduce all of the remaining images with such subject in Islamic painting, while also extracting methods of representing the shape and figure of Adam and the visual elementsand signs used by painters in different ages. The studies indicate that Muslim painters not only used conventional symbols and signs that are known in Islamic painters, Such as holy aura but they also implied some other elements and signs, for representing the holy and sacred character of Adam, which are used for suggesting their objective mental concept. We can mention the divine Calipha’s throne and crown, angels’ presence with trays of light and holy fire and also the particular position of Adam in composition of the images among this element.

Toranj patterns have been existent since Iranian ancient times in artistic works and various designs nonetheless the ample interpretations regarding its origins. The patterns have crucial roles regarding the aesthetic effects. Since Safavid dynasty has been, in some people’s opinion, the period for advent of artistic works and artists used to be creative in making their works, the aforementioned pattern is widely seen in the works of the era such as rugs, book covers, plaster patterns, tiles and generally any architecture design. This paper aims to evaluate the similarities and differences of Toranj patterns in rugs, Quranic covers, and Safavid Shahnameh covers using comparative-descriptive methods and by data analysis as well as using library methods. The results illustrate that Toranj patterns in Iranian arts and especially in the Safavid era are nearly unique in a way that few patterns compare to them both in practical and conceptual aspects .

Present paper tries to consider the relationship between science, art and religion from past till present besides the role of imagination and creativity as the most important connecting factor of these areas and study various types of imagination such as combinative imagination and intuitive imagination from eastern and western scientists and philosophers’ point of view.
Considering the “pure structure” as a common element in various worldviews is manifested throughout the whole paper which have a close relationship such as internal understanding, absolute truth and mysticism. The author believes that it is possible to create a link between art, religion and science by means of imagination and have a new understanding and interpretation of realities in this world by means of that; and to do so, we need a deeper connection and coexist among civilization to achieve a new concept of art. Islamic civilization can play a determining role in such pioneering change due to owning great mystical resources. Present paper is a fundamental research, gathering data from library resources and context analysis.