نشریه نامه هنرهای تجسمی و کاربردی
پیاپی 22 (پاییز و زمستان 1397)

Throughout the history of painting, there are several works that have been reproduced according to numerous approaches, including Leonardo da Vinci`s Joconde (mona lisa). The characteristics of these inclusions are remarkable similarities between the first and second text. But one of the less known paintings derived from this painting is Rene Magritte`s Joconde, Belgian surrealist painter. In this painting, the feature mentioned, Resemblance, is not at least at first glance. Type of derived is one of the studied topics in transtextuality approach of Gerard Genette (literary theorist) as hypertextuality. hypertextuality is the term chosen by Gennett to link a text with other texts. Magritte painting as hypotext forms to complex, multi-layered and mystery relation between work, title and it`s Ohypotext, da Vinci`s Joconde. This study intends to read Magritte’s Jocondo by descriptive, analytical method and based on hypertextuality typology of Genette and context`s characteristics of the creation, the surrealism’s style. In this regard, the relations between the Ohypotext and the hypotext are divided into four categories, and we classify it according to the Genette typology of the gene (in the study of this sample, 3 of 6 cases were identified including pastiche, parody and transposition. among them, Parody appears more powerful than the rest of the types in the overall connection between two paintings). The categorization of inter-authoring relationships includes the following: The relationship between the title of the first text and the title of the second text, the relationship between the common title of texts with the hypotext, the relationship between the first and second text and the relationship between hypotext and its title. Apart from these main relationships, some min-relationships were made between other works that were somehow associated with the joconde of magritte, and were also studied their hypertext relations. We have given the title of intra-authoring relationships to this section of the relationships. This kind of relations include: The relationship between the joconde paintings of magritte, editions 62 and 64, The relationship between the paintings and the sculpture of joconde, the lost effort and the beautiful world and The relationship between the paintings and the sculpture of joconde. transtextuality types in these relationships also include: pastiche, Transposition, forgery. It seems that Joconde of Magritte can be considered as a different type of painter `s parodic visual puns by continuity and special text relationships with its Ohypotext. But due to the work`s surrealistic context, its title forms to the meaning conflict, and in this way leads to create an amazing object. This seems to be of the same Congruent with a rhetorical advice Named Catachresis (using the strange and seemingly wrong words in the new context in a way that is isolated from known for his context). All these features forms to different work in naming that is not tautology. Which means that proposition will not be repeated in the work and the role of language would be deconstructed in the interpretation of a work of art and this role only is decodeable in multi-dimensional network.

The article follows two goals: first, clarifying three dimensions of temporality in Deleuze Thought and secondly applying these dimensions and their temporality in Francis Bacon's act of painting. In order to understand Deleuze`s ideas in this issue, we search in chapter 2 of Difference and Repetition & his courses on kant. To answer the main question, the role of these three dimensions of temporaliy in Francis Bacon's act of painting has been analysed. The three dimensions of temporality in Deleuze`s thought is the present, the past & pure past, and the future or the possible. In the first dimension, The presents are contemporary with each other in the successive order in straight line. the first passive synthesis of Habitus, is repetitive. living presents by means of a passive foundation are passing. The first passive synthesis concerns the present, the second concerns the past. The second synthesis, like that of memory, constituted time as a pure past, which makes ground for the passing one present and the arrival of another which pass in the reality. the pure past is no more than a condition. the Past as virtual is coexistent to the presents. The layers of past as virtuality encompasses the reality of presents. Pure past allows the presents passed on it`s ground. by the intrusion of pure past, the fissure or fracture is formed. it operates as an interval or intrusion in the coexistence of reality and layers of virtuality. Then the present and the proper layer of past become adjacent intensively, then a new relation is resulted from their interpenetration. This relation bring about the possibility of fact or future, and the actualization of it will shape to the modes of existence of beings. The third dimension gives coherence to other dimensions of time. All three dimensions of temporality are to high extent in the Bacon's act of painting readable. They can be analyzed by passing three moments: 1) the material-color = forces, 2) the formation of the diagram = the relation of forces or possibility of fact, 3) arising the pictorial fact or image through it. The painter will start from figurative givens, suddenly an (maybe mental image) image from past as intruder interrupt the succession of them. The parallel level or circle of past which encompasses the presents that are clichés or response to them, insist in actual layers of reality, and through it`s pressure there will a chatasrophe or an indeterminate area in painting. This indeterminate area bring about pure form of time or pure past. It make genesis to arrangement of different forces that called diagram there will be possibility of fact and through it will emerge pictorial fact. The pure form of Diagram and it`s temporality will rulling over other different types of temporality & time. SO the diagram and modulation and aesthetic analogy make a ground for passing from structure & structuralism. There will be a posteriori armator instead of fix & unchangeable and apriori structure.

Abstract In a global economy, more and more companies start developing their activities beyond borders. The success of these companies and brands in such a global market is influenced by many factors. One of the most important factors is their audiences' culture. The influence of cultural factors on business flow is important. Every society has its own cultural elements and considerations what has appeared in language, religion, values and attitudes, customs, etc. International companies which are going to have international audiences for their products and services need to interact with different cultures. Target audiences of international brand's advertising differ from country to country in terms of how they approach to advertisements, understand them or decode symbols and respond to their contents. Cross cultural communication solutions try to help minimize the negative impact of cross cultural differences on cross cultural advertising. Regarding the undeniable effects of cultural factors on the success of brands' advertising in different countries of the world, the necessity of study the role of culture and its application in the international trading advertisements is felt. In today's world, the advertising would be effective that can adapt to the cultural requirements. To recognition the culture of a country, affecting factors on social behavior should be studied. The same behavior also could be effective on advertising styles. Recognition the capacity of a culture, intercultural communication, as well as the overall advertising practices in each country, can help the popularity of the brand in the public acceptance. Therefore, advertising campaign of IKEA brand is evaluated as a research sample in two countries of America and China. This is a case study. The images have been selected from 2000 to 2015 campaigns that have been run and presented in several different countries. The samples have been collected according to international sites such as Ads of the World and Coloribus and available promotions archive, and were reviewed, described and analyzed through careful observation of the researcher. To analyze the samples, the researcher using the culture factor of high and low background of Hall and the three factors of masculinity/femininity, collectivism/individualism and indulgence/limitations has reviewed the commercial advertisements of Ikea in America and China. The criteria of choosing this brand were having a good global market and its attention to cultural factors to advance its advertising goals. Six advertising campaigns of IKEA in these two countries were studied according to cultural theories of Hofstede and Hall. Consider to the factors such as overall formation of an ad based on consideration to cultural factors and how to address it have been studied in this research. The findings indicate that IKEA brand has adapted its advertisements to the cultural features of the target country to a large extent. However, the adaptation of IKEA advertisements with low cultural context is more seen in the west countries and advertising message is obviously understandable in it. The reason is that the brand knows that mother culture more than eastern cultures.

Samanid Earthenware, determine one of the most Iranian art painting in early Islamic period. Change and Continuity in these motivies show that there are two differnts proceedings in Iranian art painting. In otherwise, there are Sasanid impact anf Soghd Culture that influenced on the motives and so, interaction of Islam culture and art that it formed and developed in this case. So far Iranian painting is rare evidence in early Islamic period in Iran, created motivs can be demonstrate as history of Iranian painting and it can be resolve in researches gap, approximatly. Thus, in this article attempted that pottery motivs Samanid studies as structure and concept and variable effective on the formation. Present research carry out by descriptive-analytic approach and documentary and meusum studies. In this paper tried that how were represent of samanids earthenware style? Whats of varieable impact on the miniature potteries? hus, in this article attempted that pottery motivs Samanid studies as structure and concept and variable effective on the formation. Present research carry out by descriptive-analytic approach and documentary and meusum studies. In this paper tried that how were represent of samanids earthenware style? Whats of varieable impact on the miniature potteries? Result of this research show that motifs despite being created in the third and fourth centuries of Islamic period. They reflect in some cases the characteristic traditional art of ancient Iranian time and also show sogdian paintings. in addition to that it has to be pointed out that the artists during samanids area were selecting many of their designs based on their national beliefs from Iranian designs but they didn't copy them totally but they modified them according Islamic culture. Result of this research show that motifs despite being created in the third and fourth centuries of Islamic period. They reflect in some cases the characteristic traditional art of ancient Iranian time and also show sogdian paintings. in addition to that it has to be pointed out that the artists during samanids area were selecting many of their designs based on their national beliefs from Iranian designs but they didn't copy them totally but they modified them according Islamic culture. hus, in this article attempted that pottery motivs Samanid studies as structure and concept and variable effective on the formation. Present research carry out by descriptive-analytic approach and documentary and meusum studies. In this paper tried that how were represent of samanids earthenware style? Whats of varieable impact on the miniature potteries? Result of this research show that motifs despite being created in the third and fourth centuries of Islamic period. They reflect in some cases the characteristic traditional art of ancient Iranian time and also show sogdian paintings. in addition to that it has to be pointed out that the artists during samanids area were selecting many of their designs based on their national beliefs from Iranian designs but they didn't copy them totally but they modified them according Islamic culture.

Nowadays, the main approach for furniture design concentrates on the psychological, social needs and giving new experiences to audience. Furthermore, urban furniture could Influenced on the minds of the audiences with an excuse for a long-term presence and developed the accessibility and legibility of urban public space in addition to the purely functional thinking and meeting physical needs. Nevertheless, the role of urban furniture design in urban vitality is an important issue that has been less addressed as an independent research. The purpose of this study is to evaluate the impact of key factors of urban furniture on the usage of furniture as one of the vitality indicators of space. In addition, urban furniture experience-oriented design criteria are identified in accordance with the users' behavioral needs. In order to achieve the goal, the research was carried out using a case study method (Azadi Park and National Garden of Shiraz). Data were gathered through observation and questionnaires, and data analysis was combined with both quantitative methods (using SPSS software) and qualitative analysis. The results show that if the attractiveness of the exterior and functional factors in urban furniture could make it amazing, memorable to the audience, undoubtedly seems as an important parameter for population to be in the city and have entertaining, sense of belonging and memory. Also, the vitality of urban space may increase by more much people and more activities. According to the results of this research, attention and implementation of experience-based design indicators in furniture can excite emotions and then create a deeper connection between man and product. The use of non-Neutral color, the diversity of the form, the attention to the cultural values of society and other environmental factors increases the amount of use of furniture and the vitality of space ultimately. Nowadays, the main approach for furniture design concentrates on the psychological, social needs and giving new experiences to audience. Furthermore, urban furniture could Influenced on the minds of the audiences with an excuse for a long-term presence and developed the accessibility and legibility of urban public space in addition to the purely functional thinking and meeting physical needs. Nevertheless, the role of urban furniture design in urban vitality is an important issue that has been less addressed as an independent research. The purpose of this study is to evaluate the impact of key factors of urban furniture on the usage of furniture as one of the vitality indicators of space. In addition, urban furniture experience-oriented design criteria are identified in accordance with the users' behavioral needs. In order to achieve the goal, the research was carried out using a case study method (Azadi Park and National Garden of Shiraz). Data were gathered through observation and questionnaires, and data analysis was combined with both quantitative methods (using SPSS software) and qualitative analysis.