مجله رهپویه هنر
سال دوم شماره 4 (پیاپی 5، زمستان 1398)

Relation narratives of transposition from the speech is one of the current issues in the field of art criticism and painting .some of the iconoclastic cultures translate speech to image more than other cultures. For this reason Christian artists have long history and considerable diversity in this field. Solomon ‘s judgment is one of the short narrative but very attractive that many prominent artists specially painters have paid attention to it and have devoted some of the most beautiful Christian painting works.These narrative has speech sufficiency for illustration and painting .In other words in addition to the advice in such narratives it is also very convenient especially for painting. The article intends to peruse some of the most prominent paintings of Solomon judgment with the theory of »imitation desire« of René Girard, the contemporary anthropologist and philosopher. This theory propound imitation of desire and how formation of violence and in solving the role sacrifice.«imitation desire» is one of the reference theories for many analyzes of narratives and religious mythical and social-political competition. According to this theory the desire is not internal matter or completely internal but is formed following one the desire. Therefore, the desire of one person or group is imitated by the desire of another or others. This desire, which first begins as an imitation of a pattern, over time leads to the imitation and the pattern relationship becoming a competitive relationship between the two to obtain the desired object. According to this theory, desire is not internal or completely internal, but is formed following another desire. When competition intensifies, it becomes violence and the crisis begins. Because crisis means an unsolvable situation. According to Girard’s theory, the only way to prevent complete destruction of all need a sacrifice. The sacrifice of society transforms “all against all” into the society of “all against one” and leaves the crisis by sacrificing. Girard himself refers to the interpretation of the narrative, but has never criticized the paintings of this narrative with his theory. The subject of Solomon’s judging painted by prominent artists such as Vicar Jean-Baptiste, Paul Gustave Doré, Nicolas Poussin, Raffaello Sanzio, Julius Schnorr von Carolsfeld, Gaspar de Crayer.

Of the most important visual themes in ancient Iranian culture is the role of water in a variety of concepts. Water is the main foundation of the human creation and the life substance, it is fruitful in all aspects of human life and has a special prestige and dignity. Water symbolizes life, fertility, purity and is the manifestation of cleanness. Humans have been associated with this pristine element since the beginning of creation. Decoding a visual design with the concept of water provides a context for an in-depth understanding of the artwork containing this symbol. These motifs express specific meaning, so by examining the motifs taken from the experience of the ancient artist, one can easily derive many meanings from the thought and belief of the culture of that time.Of the main early centers in Iran whose people were engaged in manufacturing earthenware are the people of the Susa. The visual elements in Susa’s pottery are one of the richest pieces of Iranian culture, with many hidden clues and symbols therein.Susa’s potteries are of the most valuable works of Iran where water symbols are abundantly decorated on them as various visual elements.Susa’s pottery is part of the burial objects obtained from the “City of the Dead” at the lowest layer of Susa Hill, with an average height of 25 meters.The motifs on containers are taken from nature and contain various plant, animal, human, geometric, abstract images that are ornamented in isolation and combination. The drawing of the textures was done with just a smooth, balanced pen movement. This research investigates the visual water element with the semiotic approach. Semiotic classifies the signs by specifying them in terms of the specificity and organization rules as well as particular symbolization processes, and identifies the meaning and concepts of the work. This article is an endeavor to recover codes of some motifs and explain their meaning in relation to the water element, while classifying and identifying different species of visual cues by analyzing the shapes and recognizing the signified meaning of images via comprehending their implications. The method in this research is descriptive-analytical by studying library resources and collecting images in books and museums.Fifteen works of Susa’s Pottery presented by these sources have been studied to answer the questions; What symbols of Susa’s ancient pottery are adorned with? How is the classification of visual elements based on the semiotic approach? What are the symbolic themes of these visual cues?The results showed the visual elements are divided into plant, animal and geometric categories. The structure of pottery motifs consists of a variety of schematic, indexical, symbolic, and hybrid symbols that are related to the signifier and signified and have a direct and sometimes indirect relationship with the concept of water, blessing, and fertility. Meanwhile, most of the symbols and the visual element of water have a symbolic indexical relation.
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In the contemporary era, the increasing presence of women in the international art scene has been considered. The increasing presence of women in the visual arts, especially painting, has witnessed a great development in recent decades. The increasing presence of women in the field of visual arts, especially field painting, opens up the possibility of exploring the role of women in the field of contemporary visual arts. Women usually use ‘gender themes’ in their work and use their work to express their identity and representation and gender. This study examines the works of contemporary Iranian artist Mounir Shahroudi, who has been active in the international arena. His work is based on traditional mirroring based on the geometry and fracture of mirrors, so that it can be compared with the contemporary theory of gender-based theorist Lucy Lippard, which has been restated on the basis of failure. Lipard’s theory as an artis t A theoretical perspective is presented and then the works of Munir Farmanfarians are studied and analyzed with this view.The content of the present study is qualitative and based on a descriptive-analytical methodology and the method of data collection is library-based. How is feminine gender defined in the writings of Monarchs? How is Monir Farmans’ works analyzed with Lucy Lipard’s theory? Neha and its geometric order are in his works. Failure and cavity in his works is the main pillar of the work of art and is influenced by the norms of Iranian Islamic aesthetics in mirror art. Failure in his works completes the evolution of the final process of the work, and in this respect the most important development in his work is the failure of mirrors, and the process of traditional object transformation, metaphorical image, and failure occurs in the mirror. The mirror is used as the main element that symbolizes femininity and reflection. In his works, the composition of his works is arranged in an orderly and irregular manner, influenced by his life and worldview. In these works the failure of mirrors challenges the eyes of the audience and is a visual representation of reality. The reflection and repetition of her work can be a symbol of femininity. Unfortunately, good written works in this field were not found in Persian sources and most of the text is translated from Internet sites. As noted in the article above, the works of militarists as one of the most prominent contemporary Iranian artists have always been considered. His work is influenced by Iranian-Islamic art and traditional Iranian architecture. He was a modern artist who used traditional mirror material as a tool to show an abstract and modern approach to his work. The works of the Commanders are geometrical works based on precise geometry and mathematics.It is fragmentary and emphasizes the personal life of the artist, femininity and reproduction, as can be seen in the work of Monir Farman and emphasizes the assumption that her work has a feminine aesthetic and is based on repetition and formality.

The Traditionalists’ viewpoints on the philosophy and wisdom of art are one of the richest and most prominent in the discourse of “Traditionalism”, which has been widely criticized in the contemporary era, and especially in the field of art, and has always been cited and referenced. Today, faces such as René Guénon, Ananda Coomaraswamy, Frithjof Schuon, Titus Burckhardt, and Martin Lings are known as founders and commentators of Traditionalism. Meanwhile, Nasr, as the Iranian representative of the Traditionalist viewpoint, as well as the most famous academic personality among the living Traditionalists, has deep Attitude about Traditional Art, Religious Art and Sacred Art. On the other hand, traditional Iranian painting as one of the most influential Iranian-Islamic Arts, and in particular the works of Kamal –o-din Behzad, Sultan Mohammad and Reza Abbasi, have always been a favorite and the field of research by scholars, philosophers and international artists. Meanwhile, The style and works of Mahmoud Farshchian, as a standard example of this research, have emphasized the fundamental, aesthetic and beneficial use of the original art of painting. In the contemporary era, in addition to the revival of classical painting and the creation of style and modern school, he has also had a significant contribution to the development and richness of traditional and national arts. Farshchian has distinctive styles and outstanding works that have never been taken from the Traditional perspective. The problem of this research is to consider and extract a comprehensive, new and intrinsic theory about Farshchian’s works, while adapting and critically analyzing Attitude of Nasr on art with the works of Farshchian, and identifying the means of differentiating and sharing these two components, which can comprehensively represent Farshchian’s artistic system in the Iranian-Islamic art system. The type of research, theoretical basis, research method, comparative and analytical and information gathering method, library documents. The data analysis method has been quantitative and qualitative. In this regard, the statistical community of this research is composed of the technical and applied comprehensive works by Mahmoud Farshchian. The technical works of the artist, including the works of books and unpublished works, that total over 538 works. Among them, the three images of “Simorgh, Ghaf and Thirty Birds”, “The Great Test” and “Ashura Evening” due to the special content and visual capacities as standard examples of Traditional Art, Religious Art and Sacred Art of Nasr Adaptation and critical analysis. With regard to Nasr’s differentiation in art with Farshchian’s works, the theory of “Transcendental Art”, along with its cosmology and its foundations, has been proposed by the author to address the critique and deficiencies of rival theory such as “Traditionalist Art” on Farshchian’s works and, in general, the Iranian-Islamic art system. It is also anticipated that in view of the extensibility of this theory, in the case of the proof of Substantive Theory (Farshchian’s works), it is to be found in two other levels of theory, namely, the formal or intermediate theory (Iranian-Islamic arts) and the Grand theory (Islam world arts ) Will also be generalized.

“Drma” as an art is a universal category and “display” is a very old phenomenon among human beings. Today, the play as a text (art made by humans) has a special position in art history. One of the topics discussed in art history is theories about the emergence of a phenomenon until it becomes definable and accepted in the form of a special-absolute art. In this evolution, the identification of the origin, factors, and elements affecting the formation of that art is of great importance, because theorists have justified their ideas by referring to them and using the various sciences, and, on the other hand, it can influence their application in the present and future condition of arts. In order to approach the origin of this phenomenon, we should analyze the life of primary man; in particular, we should consider their rituals in two social contexts and beliefs, both of which have fundamental use in movement ritual symbols. the present study is based on a descriptive-analytic and deductive similarity design and seeks to recognize “dramatic art” as a historical-social and religious-artistic phenomenon and it attempts to review the ignored parts of the history of this art in the past and also analyze their role in the creation and formation of ritual-theatrical movements and subsequent theatrical traditions and dramatic art. Civilizations have their own existential status and expand in their particular circumstances. The land known today as Iran has a long history. The historical-artistic study of Iran in its distant past will lead to a wider section of present-day Iran, i.e. the Iranian Plateau and its native Najd people. The prehistoric documents of the formation of Iranian empire on the Iranian plateau and in the present-day Iranian interior testify to the civilization’s complete control over their art history.The remaining stacked dishes are the best proof of that. Study of applied-artistic dishes can reveal both a large part of the people’s identity on this land and convey more in-depth information on other arts. Part of these motifs show human motions in rhythmic motion. Among these rhythmic motions on the utensils and instruments, there are distinctive motions than the other dancer motifs, which today can be described as a “dance with Samacheh”.”Samache” has not ceased in its pre-historic past and is still present in many cultural, artistic, social and religious contexts in most societies and cultures. It will also reveal the origin, base, process and factors associated with its formation and consequence of its continuation and use. the social and religious contexts of this pervasive phenomenon in the culture of the ancients will show that “dance with Samacheh” is an integral part of the life mixed with metanarrative world view of pre-historic people. Samacheh dance can be the very origin of arts such as drama and drama-dance. Accordingly, this article aims to explore this phenomenon and its course in Iran in order to study the importance of recognizing and introducing this phenomenon for historical and artistic identification in this land by historical-analytical method.

Nowadays, each person is exposed to a large amount of advertising every day. Given the role these ads play in determining people’s lifestyle, it is essential to gain greater awareness of how urban advertising works. It causes a greater control over environment and a better understanding of the society. One of the essential functions of urban advertising is the role it plays in shaping public discourse in society and this study investigates this important issue. In present study, enjoying a descriptive-analytical approach, Owj Arts and Media Organization’s urban ads, selected purposefully, were studied and analyzed from Foucault’s perspective, using discourse analysis. Discourse understanding is a tool for understanding different streams of knowledge leading to the emergence, change, dissolution, or displacement of an object in the context of power or knowledge. In fact, what makes Foucault’s approach comparable to artistic research is his understanding of object production, which is parallel to form production in visual art in which urban advertising is like the forms of discourse. Therefore, the method of data collection is documentary-observational. This study aims to understand the conceptual-visual formulation of Owj Organization’s discourse in the light of the existing knowledge network and it seeks to answer these questions. How are the world, social reality, subjects and objects constructed in Owj Organization’s advertising discourse? How do the visual elements contained in Owj Organization’s advertising define the audience within discourse structures? Since in discourse analysis, in order to understand how subjects and objects are constructed in discourse structures, it is the discourse itself which is analyzed, the analyst in the study did not seek to find precise answers to research questions or discover the truth. Therefore, the performance of the discourse structures is analyzed only to illustrate how discourses shape human understanding of reality and how the boundaries between truth and error are drawn. The research generally shows that although the subject is constantly changing in the organization’s advertising and the audience is exposed to a variety of social, religious and family themes, what is always preserved is the use of images and themes which the viewer is familiar with and can communicate with. According to the research findings, concepts such as martyrdom, solidarity, generosity, religion, and patriotism are reproduced in the organization’s common discourse. The aim of this reproduction is to create belief and return to those values as well as to reproduce the desired discourses and prevent their removal. This is achieved through the use of visual elements to depict the human beings’ presence in the desired discourse, the use of symbols which have become meaningful in the historical context of that discourse, the elimination of the boundary between discourses in terms of time and place and the meaningful and truthful statements in common discourse. Examining the visual elements and form analysis, extracting the statements and analyzing the written texts indicate that the individuals, within the discourse context and through discourse structures, become involved in their roles and become subjects according to the object of each discourse

The study is about the study of the mural of the Knossos Palace wall paintings. It is located on the island of Crete belonging to Minoan civilization; it has the most beautiful murals in the modern Bronze Age. The main purpose of this study was to study the subjects of mural painting in the palace from the viewpoint of painting art. The basic matter is the study of themes: plants, animals and humans from the perspective of painting art. This research has been done in a descriptive way.Data collection was carried out through library studies. It  is    done    by   three      methods 1.axis  combination interpretation. 2.analysis manner. 3.semiotics.The circumstance and essence results show that: In the Konossos paintings palace, the role of Griffin Hall in the throne is influenced by the Civilization of the East (Iran) and the role transfer has been carried out by impression. Data collection was carried out through library studies. The resource and information collection required, 14 sample images were selected from all the collected images (about 60). 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. 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). The Aegean Civilization painting is style by Impressionism and Fresco. The Impressionism History is depending on Aegean Civilization in the Konossos Palace. The study indicates that the location of the paintings with regard to their subject in different parts of the palace was this: the topic of vegetation in the west wing. The subject matter in the south side, the human subject in the south side and paintings of the northern side of the palace were related to celebrations, spiritual celebrations and worship. The paintings have been around the busiest in the home and exposed too many viewers. The results showed that paintings were of rhythm, unity and harmony (composiosion, line, color, texture). 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. Minoan paintings are one of the first things, which means getting out of the laws and regulations of painting at that time. In visual art, it is the first time that Impression method has been used and then impressionism was the beginning of Minoan Civilization.This indicates a change in the history of this painting in the history of art.