مجله رهپویه هنر
سال دوم شماره 2 (پیاپی 3، تابستان 1398)

The present study is a study of the frescoes of the Aegean civilizations (Minoan, Mycenaean). The art of Mural Painting has begun from hunter-gatherer artists who lived in the Stone Age. A one-time flowering of the Stone Age has occurred in the Origen. Modern man has been able to create works in the aforementioned fields 40000 years ago and to apply them in everyday life is likely a ritual (Khalili Zarea; 2011).Human activity and its purpose is to convey the highest and best emotions that humanists have achieved. With the help of art designs, he expresses his feelings to all people and this is true not only of the present but of the past and the future (Tolstoy; 1994).Areas of study of the treatise include the art of civilization of the Island of Crete (Minoan civilization) and the civilization of Mycenaean located in the mainland of Greece in the second millennium BC. The main purpose of this dissertation was to study the features of the mural art of the Aegean civilization palaces.The main purpose of the dissertation is to study the following civilizations:1. Mural study of the Knossos palace. 2. Study of the mural painting of Hagia Triada palace. 3. Mural study of the palace of Tyrense. Number 1 and 2, relating to the palaces of the Minoan civilization, are 1600 and 1400 of BC. And number 3related to the Mycenaean civilization, is 140- 110 of B C. The main purpose of this study, using aesthetic theory in the field of archaeological art, is to demonstrate the wall artistic features of Aegean civilization. The information was collect through library studies. The research method was a descriptive analytic study that was used to interpret the data in three methods 1- combined interpretation, 2- analytical methods, and 3- semiotics.The resource and information collection required, 58 sample images were selected from all the collected images. The questionnaire key, consisting of 28 main questions designed with reference to the sources. The questions coded and then transferred to the Excel program and the qualitative codes became quantitative. Data processing: performed by SPSS software. The research results are in the following sections: statistical (inferential, descriptive) and anthropological. The result of the inferential statistical analysis showed that the positive correlation coefficient between the arts of the Knossos palace with the painting of Hagia Triada indicates a significant relation between the aforementioned two- state painting. This means that only the two Aegean cones and the Hagia Triada have been influential. From a semiotic perspective. Importance of internal issues. Coordination, creativity and imagination (combining, subjectivity and objectivity). The themes of the paintings have been mythical, social and atrocious.Descriptive statistics showed that: All three palaces differed in color (bright, saturated, contrasting colors), and in content (mythical, social, elemental war themes). In other words, the results show how the paintings of Aegean civilization were of impressionism style and that of the Imperial style. The results of the semiotics indicate that the Aegean has been concerned with intrinsic issues.

During the Sasanian era, the knitting craft and also the art of textile design had become very rich and well developed, but the textiles are not survived and are only discoverable by reliefs that are considered as profound artworks of that time. Sasanian reliefs are the valuable legacies which play an important role in validating the collected documents by archaeological and historical studies. Presenting a wide range of art, culture, political and religious aspects of the Sasanian empire, all of these reliefs spotlight the emperor and each one is engraved to represent a concept or a true event. They focus on the emperor and royal court members, therefore, we don’t know about the clothing of the major population of the society, nevertheless, it is a certain way to discover the Sasanian patterns and designs. So Taq-e Bostan is an important place, for it was located on the path of caravans (travelers) passing the silk road in the Sasanian era; it includes a large collection of reliefs. Many studies have been conducted on knitting in the Sasanian period, because of the importance of knitting for Sasanians of middle ages and its effect on the textile art of the three ancient continents. They have used historical texts and other artworks of the Sasanian period, and especially studied the clothing depicted in Taq-e Bostan. To discover the textile design in the Sasanian era, this study tries to answer the question: “How do the Sasanian textile patterns and designs could be discovered by the study of Taq-e Bostan’s reliefs based on principals of the traditional Persian arts?” This study adopts a historical analysis method and tries to study seven reliefs from the Taq-e Bostan, and rediscover the pattern and design of the usual textiles from the Sasanian period based on principals of the traditional Persian arts. The results indicate that these reliefs represent about 25 textile designs and 65 evident patterns, which show the richness of these resources. Also, being similar to some silk fabrics survived from the European churches, the patterns of Sasanian clothing and the sophisticated representation of clothing details in Taq-e Bostan’s reliefs show the importance of these reliefs for a rediscovery of the knitting craft and textile design. The results show that in addition to textiles without design and pattern, other types are divided based on the implementation of main design, including: translational symmetry (vagirei (repeating), frame types), asymmetrical and isolated (narrative) The frame-based textiles found in Taq-e Bostan include qab-qabi (repeating frames), and kheshti (brick-shaped), and their type is not clearly recognizable. This concise category is based on the legacy of traditional design which is illuminated by plant, animal, geometric, human, still life, and composite patterns.

Anthropomorphism, refers to the representation of objects as having human form or traits, is one of the branches of anthropology, which deals with the attribution of human characteristics or behavior to a god, animal, or object. Human attribution to objects or inhuman concepts is one of the historical aspirations of mankind and his manifestations of behavior in the history of human cultural life. Finding the features of anthropomorphism in various areas of human life, including the arts, can be considered as one of the significant communication gateways between man and the world around him. The structure of the human mind in a dual (and sometimes contradictory) approach to nature, first as its origin, which, on the one hand, seeks to take advantage of secondary concepts and avoid primary patterns of nature, and, on the other hand, to re-approach nature and establish a different discourse and based on new experiences, has provided complex backgrounds of intellectual structures and human communication practices while facing the world around us. Anthropomorphism, as a methodological tool that is based on psychology, mythology, religious studies and artistic expression, and reflects the mankind's anthropomorphic manifestations while confronting various areas of life, is regarded as one of the communicative and discursive patterns of man and the universe. The process of anthropomorphic communication structure of the phenomena of the universe, in the form of the creation or the discovery of anthropomorphic notions, stems from a kind of human-mindedness in the human intellectual system, and by considering such a mechanism, it discovers the windows of discourse to the outside world. In the meantime, art in various forms places the tools of this discourse in the hands of mankind. This research has been conducted to achieve a structural pattern to explain the anthropomorphic approach in the aesthetic system of Iranian painting, by analyzing the selected samples of the manuscripts depicted in the history of painting of Iran after Islam and in a historical, descriptive and analytical way, the data have been collected and analyzed through library and online research, and in general, by categorizing anthropomorphic manifestations in the form of religious symbols, animal identification, anthropomorphizing objects, and human beings in mythology, this study explains the mechanisms of anthropomorphism in Iranian painting and addresses the following question: “how and through what qualities does anthropomorphism manifest in the works of Iranian painting?” . In order to answer this question, by studying various versions of paintings and opinions of scholars, as well as studying the literary works and manuscripts related to Iran after Islam, it was concluded that Persian painting, by utilizing the mythological background as well as the oriental view based on the unity of man and nature and by relying on literary and wisdom is known as the heart for the manifestation of anthropomorphism. The present study is a fundamental study based on previous studies in the field of psychology, mythology, religious sociology and the history of painting.

In the Qajar period, “power” has been the focus of Qajar iconography, and is one of the topics that have been widely used. In the contemporary period we have witnessed the development of theories of theory and its relation to the art of painting over the last few decades. Ali is dealt with. Using the concept of power discourse, Foucault introduced a new way of analyzing his historical and social context and is now one of the most applied ideas for the analysis and study of paleontology and genealogy. The hypothesis of this study is the evolution of the meaning of power and its place in Qajar iconography and in the works of Mehrali. In pursuit of this question, Foucault’s theories of power and discourse are first explored, exploring the evolution of the position of power in Mehr Ali’s painting. The content of this study is qualitative and is based on descriptive-analytical methodology and library collection method. The results show that the display of power in Qajar art in the works of Mehrali paintings is in line with the political issues and the display of the Shah’s power and the painting has been used as a tool for displaying power in political discourse. At a glance at early Qajar paintings, one can find less art that is not involved in showing the power of Fath Ali Shah. Accordingly, the main focus of this research is on the profound developments that have taken place in the art of Qajar painting in the field of power in the first period, in the works of Mehr Ali, and which have influenced the Qajar period for many years. One can see how the aforementioned evolution continued and influenced Qajar art in the second period. With this explanation, the following article is based on the assumption of the transformation of the position of power and discourse in the works of Mehrali as the painter of the Qajar court. Power in the works of Mehrali paintings is in line with the social and political conditions of the Qajar era, and Hulat chose Mehrali because he painted most of the figurative paintings of Fath Ali Shah for sending in and out of Iran. He changed the laws of painting by Mirza Baba, and this must have been “with the consent of Fath-Ali Shah. The basis of this study is to answer the following questions: What political context does Shahr-e-Qajar use to show power?” What is the meaning of power in Foucault’s perspective in the works of Mehrali and the iconography of the Qajar and the discourse of power? To answer these questions, the first part of this article first examines Foucault’s theories and his ideas on power and discourse. In the second part of the article, the Qajar iconography and the works of Mehrali are discussed. Reflections on the transformations of power with the works of Mehrali paintings and the influences of the West and the transformation of power in his paintings The purpose of this study is to study the power of Qajar paintings in the works of Mehrali, the cause and necessity of this topic. In painting, Qajar is a political tool.

Art history is an inspirational and motivating factor and a fundamental issue in studies of artistic originality and creativity. The comparison of artistic history is an appropriate methodology for studying and recognizing the artist’s initial motives and examining the qualities and quantities of creativity in their artworks. The comparison of historical documents with the activity process and artwork of artists has a variety of topics and case studies, Among them, three topics are worthy of comparison with the works of The artists interested in this research: attention to the artistic and cultural traditions of the past for the presentation of the creative and contemporary, embody a new and innovative view of Designing and line in painting and creating new capacity and quality for materials and artistic media. In this focused way the paintings of these artists will be examined in relation to the history of the art of creativityThis research is qualitative and descriptive-analytic approach. At first, briefly looks at the history of the three topics mentioned in the history of art, in order to compare the art history of the works of the three Iranian artists studied in adapting the qualities and traditional features of styles various past art in modern form, the possibility of expressing and implementing the framing and conceptual variables of line and design based on the contemporary artist’s motivation and experience and presenting a unique method and concept in relation to the use of artistic material and media and the cases of creativity in their works.According to the sample of the works of the artists and the documents obtained from this research can be concluded that Farh Osoli, Kourosh Shishegaran and Mohsen Vaziri-Moghaddam By relying on their knowledge of the arts and resources of artistic history and the selection of elements, workmanship, principles of style and performance adapted to the painting media, they have been able to creatively introduce new visual and conceptual qualities in relation to the art traditions of Iranian art painting, and the discovery and expression of new motives for elements, materials and media; Also, based on the link with art history, their works have provided new achievements along the historical of art and creativity added to the range of artistic works.

Crafts are a great tool for expressing ideas and representing cultures. The artistic value of a craft product is the result of years, and even centuries of experience, pursuit and continuity of its creative artistry. Crafts as an indigenous and indigenous industry and Iran›s most prominent applied art have deep roots in the rich and fertile culture of Islamic Iran. Handicrafts are one of the most original and valuable handicrafts, and embody the cultural and historical backdrop of societies with artistic and economic dimensions. The amazing beauty and attractiveness of the Iranian carpet has made it the most valuable art among Iranian arts. One of the most important areas of handmade presence in human life is its application in interior decoration. Today, as the lifestyle evolves, new needs have been formed in the field of interior design. As the lifestyle flows toward modernity and with the layout of modern homes, it seems that Iranian hand-made rugs have become an added element in homes. Of course, the strong and continuous presence of Iranian carpets in some design styles cannot be concealed, but unfortunately this market has not grown in sync with other interior design markets. Creativity and innovation are therefore not only necessary but also necessary to change and harmonize these textures with today›s world, and with the knowledge that creativity emphasizes innovation and abandoning established principles, this will damage the craft field itself. Therefore, the concept of creativity in this paper was pursued in the context of sustainable development theory. Due to environmental problems, designers today are planning to introduce designs for living and interior decoration that are consistent with the principles of sustainable development and aim to minimize energy consumption. Contemporary artists with environmental concerns are trying to further the recycling process into the cycle of interior design and production. One of the problems that has been the subject of much attention lately is the problem of carpet recycling. Due to the high volume of carpets consumed worldwide, large numbers of waste fibers go to landfills every year, which not only imposes environmental and economic concerns on the community but also wastes resources. Therefore it is very important to recycle and reuse the handmade. The present study is an applied one that has been done with a descriptive-analytical approach. The method of gathering information is based on library studies and field research which uses the method of interviewing and photographing in the field method. The results indicated that the handmade had the power and ability to return to nature, so recycling is important. Therefore, they are closely related to the goals and components of sustainable development. Depressed handmade have the potential to be used in other parts of interior decoration and, ultimately, can be achieved through the creative production of recycled carpets from a variety of products including cushions - puffs - furniture - benches and ..... He introduced it to contemporary interior design, which would somehow be effective in reviving handcrafts and introducing them to the new generation

Street photography is one of the most popular genres of artistic and professional photography and deals mainly with urban events and citizenship in the streets. All aspects of social life in urban public spaces can be the subject of street photos. People, markets, streets, squares, neighborhoods, parks, urban gatherings, large and small gatherings, urban elements, professions and public works, street arts, national games and entertainment, children and young and old, etc. Various themes ranging from historical recordings, political and social criticism, reflection of urban dilemmas, philosophical worldviews, anthropology, and so on to popular imagery and humor and humor in street photography.Street photography, as an integral part of the art of contemporary photography, sets the scene of people’s everyday lives as their main subject and borrows its main theme from modern life.The main purpose of street photography is to portray everything that happens on the street, not to cover a single incident. Against people who sometimes convey humorous or humorous political or social messages that approach documentary photography in such circumstances. The tendency to study the city and the street in academic and cultural communities is an important and controversial subject, and photo is an important resource for researchers. Street photography and strolling in the street have also become one of the most important and popular topics in cyberspace. This article attempts to explore a genre of photography that has received so much attention in exhibitions, books and dissertations in Iran so far. We’ve got a little bit of a proprietary feel to it, and we’re going to explore this genre separately. This article aims to study street photography in Iran and study the development and development of street photography in Iran as well as the features of this genre in the works of Iranian photographers and considers the importance of recording events and events. The field of photography has been dealt with by various institutions associated with photographers and photographers. Due to the scarcity of resources on the development of street photography in Iran, this article is based on photographs and collections from the personal archive of photographers and online resources. The research method is a combination of analytical and comparative methods, in which data were collected by means of survey, online scientific resources and the study of different books to arrive at the conclusion of the reasons and reasons of the work of photographers. Discussion and finally answer questions. The present study, with all its shortcomings and weaknesses, tries to compile the historical course of street photography in Iran from 1991 to 2016, citing the existing examples and then examining and analyzing the street photographs in the historical period. The result is that in recent years, in addition to diminishing the role and support of government agencies, we have seen an increase in the number of photographers working on city and street issues, and on the other, a variety of approaches and approaches. A look at street photography and a reduction in the concentration of street photography in Tehran are also other results.