مجله جلوه هنر
سال دهم شماره 1 (بهار و تابستان 1397)

Patterns in pottery art contain some concepts and themes which represent the world view of human communities; the patterns designed on the earthenware represent the heritage in which they are created. The fallowing paper surveys and analyses the animal patterns on Naishabours earthenware during the Samanid dynasty which are considered to be some of the most beautiful and the most mysterious Islamic earthenware patterns.
The present paper aims to understand their concepts and themes and determine the factors which effect the choice of selecting those animals’ patterns for the earthenware of the mentioned eras. It should be mentioned that different theories have been presented about these patterns in Islamic pottery art, although most of them have not presented reasonable and documented proofs. It is obvious that the information extracted from Samanid Era samples which have been used in Naishabour’s pottery can open the way to clear up ambiguities in a large extent and create a deeper understanding of animal patterns on this earthenware. Therefore, we try to discuss and analyze different conceptual, thematic and symbolic dimensions of the mentioned patterns based on existing documents. The research method is descriptive analysis which is based on library study. Based on the most important findings of this paper, we cannot determine a single factor as the only reason of designing the animal patterns on the Naishabour’s earthenware, but a set of factors and known and unknown sources were involved in their design. Among the most important known sources are, prevailing and prosperity of Iranian literature and culture in Samanid era, the interest of Samanid dynasty to ancient Iranians culture, art and myth and inventions of earthenware designers. The data has been collected from library sources, written documents, pictures and electronic sources

The new art medias (including video art, installation, photography, conceptual art, digital art, performance art and alike) have had a more substantial role in reflecting female artists concerns. The contemporary female artists have succeeded in taking their methods of presenting their art beyond museums and galleries, by means of using new possibilities presented by these medias, and as a result they have attracted a larger audience and have expressed the concept of their art more efficiently.
To do so, the works of Mona Hatoum, whose concern has been establishing a relationship between politics and art through new media art, Sandy Skoglund, who has criticized the everyday consumerist American cultural in her works, Lorna Simpson, who has focused on racism and gender, Jenny Holzer, who believes in education through art. The present thesis aims to study the changes in artistic expressional tools and the way the new media art was developed in the art of contemporary woman artists.
Present paper tries to answer questions such as: what are the new art medias? What is the usage of new art medias in art of contemporary women artists and how it has resulted to a deeper effect on audiences minds?
The fallowing results were presented after the analysis: new art medias have an effective role in representing contemporary women artists’ concerns and as a result they have led to new and different possibilities for women artists to represent their concepts and massages. New arts media, have led to a clearer and obvious presentation of the artist’s massage due to different equipment and using new technologies and have led them to connect to various audiences and to be more effective. Women’s art has always been studied from feminism point of view and media have generally studied them based on humanities and cultural media such as television, Internet and extra; but the present paper specifically focuses on new arts media and their conceptual analysis in works of four leading artists. The present study was carried out through descriptive-analytical method and used qualitative and visual approaches. Library method was employed to collect data for this research; the data was collected from written sources, books and documents and visiting the works through internet

Commodity markets need the advertisement as the most important requirement to attract more customers and to sell more. One way to achieve this goal is through implementing humor. These days, streaks of humor can be noticed in most of the advertisements. This study sought the answer for the question: what are the differences of humor techniques and their implementation rate in food products advertisement of Iran and the United Kingdom?
The research method is comparative quantitative along with a positivist approach. The theories around the use of humor in advertising were gathered through library research. The humorous techniques used in the samples were evaluated by of the use of humor techniques table of Moniek Buijzen & Patti M. Valkenburg (2004:153-154). This study aimed to determine the differences in type and the usage percentage of humor techniques used in food product advertisement in Iran and the UK.
The results indicate that the techniques with more dominant visual aspect (Humor in logic, comic appearance) have a greater use in both countries. Humor techniques that their implementation is difficult and those that are incompatible with the norms and culture of the society (humor in feelings, humor in behavior) have the lowest usage. The comparison of the usage percentage of each humorous technique and of the six categories of humor showed no significant difference between the implementation of humor in the advertising of the two countries.

Rock relief was one of the best method to immortalize the Coronation in Sassanid Era which has resulted in a number of noticeable relives. Sassanid monarchs created many rock relives. These patterns represented the Religious beliefs and Political thought of Sassanid monarchs throughout four centuries. The Goddess Anahita was a part of this religious belief and depicting her on rock relief started from Narseh era. Present paper’s main goal is to study the view of Sassanid sculptors to the environmental situation in to creation of rock reliefs; and we have case studied Anahita’s costume in two of these reliefs. Climate is one of the most influential factors affecting the presentation of Anahita’s costume in Naqsh-e Rostam and Taq-e Bostan Relives. Anahita was wearing a warm dress that compatible with cold climate in Taq- Bostan which is in Kermanshah province, whiles this goddess wear in very thin and tight dress in Naqsh-e Rostam, which is due to warm and dry climate of Fars province, along with other religious factors. We should not neglect the religious belief and Zoroastrian religious texts descriptions that along with environmental factors such as climate, affect the representation of Anahita’s costume. Sassanid Art patrons and sculpture felt obligated to follow the Avesta’s description of Anahita’s costume and appearance. Present paper is trying to answer the fallowing question: why there are costume differences in goddess Anahita’s appearance in Naghsh-e Rostam and Taq-e Bustan? The hypothesis presented for such question is that, the most important reason of this costume difference in goddess Anahita is due to differences in climate and the patrons attention toward religious beliefs regarding the goddess.

the good and evil have bilateral meanings from perfection to decadence of humanity. mankind considers everything leading to the God as good and whatever distancing him/her from divine nature is considered evil. The good vs. evil is is a very extended discussion in Humanities and Theology but the volume of studies based on form and meaning based on artistic point of view are very limited. In most studies, the expression of good and evil themes has been studied from an analytical and descriptive perspective while the current research intends to present a comparative analysis of the subjects of good and evil in two relevant paintings having the same content from the perspective of the one artist (Master Farshchiyan). This analysis is executed to confirm the hypothesis that even similar themes cannot be a factor for creating works of art with similar allusions and metaphors in the mind of an artist and this in turn indicates the dynamism and prosperity of the mind and craft of the artists over time. Present paper aims to examine the theme of goods and evils present in the stories of “Abraham” and “Siavash” and to show enlightening aspects of each story by a comparative study of the elements of good and evil in two paintings including “Ibrahim in Fire” and “Siavash in Fire” as two valuable works of Farshchiyan. Present research is a qualitative study and done based on a comparative aspect due to the similarities between the subject of two illustrations. The data was gathered based on library documents and sources

The decorative motifs of tombstones are a reflection of cultural, social and religious condition which manifest themselves in format of motifs such as bestial, human, geometrical motifs, inscriptions and symbolic patterns. Based on the field studies carried out, the old cemetery of Mar Zoleykhah (Madar Zoleykhah) in the city of Darreh Shahr, is one of the area where, in spite of erosion of its gravestones due to various reasons, it stills holds great importance and value from anthropological and artistic studies point of view. The main objectives of the present study are two categorize and differentiate the decorative motifs of Mar Zoleykhah (Madar Zoleykhah) cemetery and to present an analysis of the aforementioned decorative patterns on the tombstones based on anthropological studies.
The main research questions are:1. What kind of motifs have been portrayed on the tombstones of Mar Zoleykhah cemetery?
2. How this pattern can be explained according to the culture of the region?
The results show that based on the decorative motifs on the gravestones, they could be divided to the graves belonging to men and graves belonging to women. Decorative patterns on the tombstones of cemetery of Mar Zoleykhah include animal motifs (antelopes and horses), human designs, and inscriptions (indicating the religion, name, date of death and clan of the deceased person), religious sign designs (mohr (praying staff) and rosary), and unreligious motifs (tools of daily life). According to anthropological studies, each of these decorative motifs, alluding to the gender of the deceased, indicates the tribal culture of the area which are depicted despite the very limited space available on the tombstone. Present study is a descriptive-analytical study and based on field work and library resources.

In January 2001, a flood in Kerman province revealed Jiroft ancient city belonging to 5000 B. C. and there, a treasure of objects with distinctive carvings were discovered. Considering the anonymity of this ancient civilization and its importance, works and motifs left by this civilization are the only available sources of information which can provide valuable information about beliefs, customs, the way of life, and other aspects of said civilization.
Present paper aims to identify beliefs of Jiroft civilization in 5000 BC. It seems there are signs of Mithraism in the motifs of Jiroft civilization. Studying the existence of Mithraism ritual in Motifs of Ancient civilization is the main subject of present paper. Geographical and historical situation of Jiroft civilization; then, categorization of works based on type, their shape and application are studied in present paper. Afterwards, Mithraism and its signs are introduced; in addition, the relationship of Jiroft civilization motifs with Mithraism is taken into account. Therefor we have compared signs of Mithraism with motifs of ancient Mithra temples and with soapstone vessels of Jiroft civilization. Many similarities have been observed among Mithraism signs and motifs of Mithra temples with Ancient motifs of Jiroft Civilization. According to the results of present research, it is likely that Jiroft civilization religion in 5000 BC was Mithraism. Library research methods has been used in this study

Pateh is a kind of needlework in Kerman province. Pate-Doozi is the burnish of the religious and cultural beliefs of people of Kerman while protecting its artistic and symbolic values. Kerman’s talented women turn scarf into the burnish of the needs, ideals, wishes and requests are rooted in their religion. Actually pattern and colors of Pate-Doozi is an indication of this art’s relationship with beliefs and tradition culture of the area, which finally, with are manifested by means of Pate-Doozi. Present study is based on the theory that patterns in Kerman’s Pate-Doozi art are formed according to culture and hemisphere of this region’s resistance; and studies these patterns based on a symbolic procedure.
to provide a significant relationship between Pate pattern, we have analyzed them by considering them based on common culture, beliefs and thoughts of people in Kerman. This survey has resulted in indicating the determining situation of people’s beliefs and the regional climate in shaping Pate patterns. Since the artist is trying to show his/her ideal image of nature, he/she selects heavenly and divine patterns for the Pate; and snice he/she requests what he/she desires from nature, uses the Bird patterns – with a symbolic meaning of asking for rain to fall; and while sewing his/her pains and suffering on Pate, the whole scarf’s background is covered and illustrated by bush like motifs – which hold a symbolic meaning in itself.
Data used in this study was gathered from library resources, documents (figurative) and field work based on a descriptive-analytical procedure.

Based on Written narratives and remaining motifs of ancient Iran music had a great position and most of Monarchs and Statesman used to pay attention to the music. The name of many of these instruments remains and a number of motifs depicting them have been identified in reliefs, cravings and patterns illustrated on vessels of such ear. Present paper studies the images of instruments depicted on remaining vessels and reliefs and by such means, studies the importance and position of music in the mentioned era. This paper used a descriptive - analysis approach and the data was gathered by means of library resources.
By studying ancient inscriptions and motifs it became clear that music was not a sole art form and was performed along other social traditions such as religious rituals, feasts and battles. Considering the clay statuettes musicians of Elam, we can guess that the music was used in religious rituals. In the first group musical performance observed in Chaghamish Stamp, all performers were Elamite female artists. There were Three kinds of Music during the Achaemenes era as festive, religious and combat music which indicates the increasing importance of music in such era and based on remaining written documents of the Achaemenes era, most of the musicians were female in that time period. Clay statuettes of musicians belonging to the Parthian period are mostly female. Most of them are harp players performing while standing. Considering the importance of music in such era and the widespread presence of women in the music, we can conclude that women had a high status in ancient Iran. Variety of music and musical instruments, in Sassanid era indicate the promotion of music and honor of musicians at that time. According to the social status of musicians and the fact that the music players used to accompany the king while traveling and hunting and musical performances in celebrations, religious ceremonies and hunting, we could realize the importance of music in such era.

Ferdowsi’s Shahnameh, is a celebrated historical epic poem of Iran. Heroes are the main characters of Shahnameh. There are many positive and negative characters in Shahnameh. Siavash is a positive hero of Shahnameh whose fate becomes the ground for heroism and the fights of other heroes. In this article we try to investigate the visual capacity used in Siavash’s character as vegetation deity of Iran according to Ferdowsi's epics in Shahnameh, and to scrutinize his most important behavioral characteristics and physical qualities. In this paper, behavioral traits, physical qualities and staging features of Siavash’s story are examined. Results show that the most important behavioral characteristics of Siavash include courage, agility, freedom, honesty, daring, patriotism and innocence. Siavash is aware of God’s Will and before his death, he predicts his tragic fate. Siavash has common superficial characteristics with other heroes of Shahnameh, including weapons such as shield, drum, awl, beam, ivory shield, and so on. Some characteristics are also unique only to Siavash. Like the armor with magical property mentioned in the Shahnameh. The most important staging features in the story of Siavash include passing through fire and his martyrdom. Siavash’s behavior in Shahnameh is a reminiscent of mystical image of a perfect man, he was a legendary man with a good soul who is oppressed by cruel people and is brutally killed. Siavash’s pure body and soul makes his purity to become eternal and turn into a plant which bears truth of his existence. Of his blood a plant is grown called Farr Siavashan (Siavash’s glory). For this reason, this character has become the vegetation deity. Vegetation of the plant is a sign of immortality of honesty, the honesty which may be trampled by mean and jealous people, but is not perished and from its worldly body an eternal plant grows which is a sign of go immortality of honesty and trueness