نشریه پیکره
پیاپی 18 (زمستان 1398)

Despite the pervasiveness of modern visual arts principles, as well as diverse styles and techniques that are rapidly spreading in the world, Iranian painting (miniature) carries out both actual and potential visual and expressive functions. With the presence of female painters in the history of contemporary Iranian art, Iranian female painters, apart from the use of Western methods and techniques, have gained great success in using some of the visual techniques of this treasure in the contemporary Iranian painting.The current study aimed to collect and introduce these contemporary painters and assess and analyze their artworks by considering the presence of miniature in their artworks. The question is about the role of Iranian female painters in the restoration of the miniature in ontemporary painting in Iran and the miniature features they used to express new methods in contemporary painting.Despite all the influences of female artists in this field, there is a paucity of studies to introduce these artists and their executive procedures. Among these studies, we can refer to the thesis of "Elaheh Farahani" conducted in 2014 entitled "The Analytical Study of the works of the ancient and contemporary female painters, a case study of ten Iranian painters”. This study sought to introduce five miniaturists within the decades 10-11 AH and five contemporary miniaturists, including "Clara Abkar", "Mahin afshan pour", "Zinat Sadat Emami", "Farideh Tathiri Moghadam" and "Farah Osooli”.The next research is "The position of female artists in the history of Iranian Art” performed by "Marjan Edraki" in 2014, which only investigated the social conditions and the emergence of female painters, especially after the Islamic Revolution Iran.

Markazi province is one of the long-standing centers of Iranian carpet weaving. Farahan is a large area of ​​Markazi province that includes more than 200 villages and weaving centers. Sarough, as a prominent Iranian carpet brand, is one of the most important centers of carpet weaving in Farahan. Farahan carpet, which has been the origination and the first carpet of Markazi province, began to grow, develop, and flourish in the middle of the Qajar period due to the presence of Tabriz merchants and then the establishment of foreign companies in Sultanabad. It was at this time that Farahan Carpet found its true identity with the help of a coherent and coordinated management and exemplary quality of production.Currently, Farahan and Sarough carpets are presented in the most prestigious museums, collections, and galleries around the world. The quality of weaving, brightness and sparkle of colors, and beautiful and varied patterns (which are the result of the attitude, taste, talent, and imagination of Iranian designer artists) have made them unique. As a result, during the ups and downs of economics and art caused by global challenges, they have always been interesting, as components of identity and quality, for the manufacturers in all eras, especially the recent decades.Farahan Carpet Company is one of the most prominent manufacturers of Farahan carpet, which has been working in this field for almost six decades. This company is based on indigenous, national, and transnational standards and consciously follows a purpose. It examines the needs of the market and the customers in order to offer coherent products with two traditional and modern approaches. The destination and target markets of most of these products include the United States, Europe, and the Far East. In Farahan Carpet, all the steps and production processes from the beginning to the end are performed under the supervision of the company's managers and experts. The lack of resources in the field of Farahan carpets highlights the need for this research.In sources which briefly refer the carpets of Markazi province and its subordinate cities and villages, such as "Persian carpet" (Edwards, 1989), "Persian carpets" (Hangeldin, 1996), "Ghalin” (Sabahi, 2014), “Study of Persian Carpet” (Jouleh, 2011), and “Golden Sunset of Sarough Carpet” (Sooresrafil, 1993), there have also been some brief and general references to Farahan carpet and its villages, such as Sarough. In addition, in recent years, studies have been conducted on the carpets of Markazi province (Arak, Farahan, Sarough and Jirya), namely "review, analysis, and introduction of native and original designs and patterns of Arak Carpet weaving school (Sultanabad)" (Afroogh, 2017) and "Study, analysis, and introduction of new and imported (adapted) designs and patterns in the contemporary carpets of Arak (Sultanabad)” (Afrough, 2018). The present study aimed to introduce the Farahan carpet-weaving school and the design and patterns of its carpets in order to study, investigate, and introduce the Farahan Carpet company and its products.

Defamiliarization is one of the novel techniques for the presentation of new forms in an attempt to achieve a stronger effect in some fields, including visual arts. This concept is usually formed by presenting or creating new artwork and depends on such components as time and space, imitation and habits, rules, and traditions. The current study which was conducted with the aim of recognizing the components of time and space in the works of some prominent graphic designers and its application in graphic design. It was attempted to answer the following question: How can we defamiliarize graphic design works? Information and library databases constituted the source of the present descriptive-analytical study. In this regard, "Shafiei Kadkani" elaborates on the position of this approach in literature in an article entitled "Defamiliarization" in  2012. He is of the belief that all innovations in the field of literature and art are related to the concept of defamiliarization, except in very exceptional and rare cases. Moreover, in 2019, "Mohammad Khazaei" and "Erafaneh Ismaili" in an article entitled "Understanding the concept of defamiliarization in Michal Batory's posters" provided a detailed study of defamiliarization in works of this artist and also defamiliarization techniques in graphic design including visual arrays.

The aim of this study is to express the semiotics of the element of water in the works of Andrei Tarkovsky and to create a new concept in the mind of the audience. In general, Tarkovsky's views on cinema and filmmaking have symbolic and poetic features. Also, by examining his works, it can be seen that the four elements have a special place in his films. The question that arises in this study is what does the semiotics of water as one of the elements of nature create in Tarkovsky's works? In this study, Tarkovsky's intellectual and theoretical foundations will be examined first, and then, according to the discussion of the system of signs from people like Fardinan.Christine Metz will be featured in two exclusive and cinematic debates. Semiotics, such as the valve between Tarkovsky's thinking and the image of his mind from that lens on the cinema screen, is one of the important points of this research. The water element is clearly selected from the four elements in Tarkovsky's films to be scrutinized in the scenes of Tarkovsky's work. As a result, what are the meanings of the use of the element of water in Tarkovsky's works and how he was able to use the elements of nature in his works in general?

Throughout history, man has been constantly looking for reasons to explain the events of the world around him and considered the sky to be one of the main factors in the occurrence of these events; Therefore, curiosity in the heavens and searching for the secret of the universe is as old as the human presence on earth. The emergence of Islam and the tendency of Islamic caliphs to astronomy and astronomy led to the growth and development of this branch of the natural sciences, especially between the 3rd and 9th centuries AH. In the present study, astronomical concepts and beliefs in the Islamic era have been identified and extracted, and in order to match the astronomical motifs, two illustrated copies of "Types of Al-Kawakab Al-Sabetah" (820 AH) by Abdul Haman Sufi The original version belongs to the 4th century AH and "Al-Mawlid" (700 AH) has been studied by Balkhi Publishing House. The present study is qualitative and theoretical in terms of purpose. The data of this study are based on library information and scientific databases and its presentation method is descriptive and analytical with an adaptive approach. The most important questions of the present study are: 1. What are the components of the astronomical rules of the Islamic era, and with what characteristics are the types of constellations embodied in the two illustrated versions of Surah Al-Kawakib and Al-Mualid? 2. How much Has the role of the Twelve Tornadoes in the above-mentioned versions been visually matched? According to the research findings, Surfelki is divided into two categories: the twelve Boroughs and the weekly planets. According to the artist's taste, changes have taken place in them.

The creation of a work of art by an artist and the supremacy of the creation of a unique work, has caused thought to always seek the originality and credibility of the art of creation. During the period of the emergence of modernism, these measures underwent significant changes, and the change in the minds and views of artists caused the artist, as an author, to display concepts such as non-representational art, abstraction, conceptual art, etc. in his works. With the advent of the postmodern era and the extra-textual reference, the issue of intertextuality was raised in literary and artistic critique to explain and explain it, and a new reading of a work of art entitled "From Self-Making 1" came to the attention of postmodern art. Since the beginning of this period, the difference between self-creation in art and art theft and how to evaluate the originality of a work that has been created in the way of self-creation,One of the most challenging issues has been the valuation of works of art. This paper seeks to examine and evaluate the characteristics of self-creation and the originality of visual works of art created during the postmodern process and to answer the question of how much of that self-creation is in conflict with the criteria of originality. . This research is theoretical and fundamental and the required information is collected by library method. The originality of works of art, relying on the method of self-creation in the postmodern era and its intertextuality, does not have the characteristic of unity in determining the originality of applied art, but the intellectual originality and value of the artist's reflection is considered to measure the originality of the work of art.