پژوهشنامه گرافیک و نقاشی
پیاپی 1 (پاییز و زمستان 1397)

On one hand, Studies about the influence of literary devices on the consumer, have only divided literary devices into two main groups of "tropes" and "schemes" in terms of difficulty level, and ignored the more precise taxonomies. On the other hand, their results contradict each other: those that encourage implementing schemes, because they do not confuse the consumers in understanding the ad's message. The others have suggested using tropes, because they increase ad recall and attitude towards ad. These results puzzle the designers which literary devices to use. Moreover, they have merely evaluated consumer response and have neglected the graphic designers' role in using the devices based on their difficulty levels. This study uses McQuarrie and Micke's four-level difficulty taxonomy of literary devices to answer this question: what is the usage percentage of each four level and why. To do that, we deployed a qualitative method with a positivist approach to analyse the frequency of literary devices of each four level of difficulty in Clio chosen ads. we aim to shed light on the relation between each difficulty level and their usage rates in ads, by using a more precise taxonomy of literary devices difficulty. The results show the repetition group (easier) has the least usage rate (6%), while the reversal group (easy) had highest usage rate (31%). This indicates designers appreciate less complex devices due to their comprehensible nature, but not the easiest devices (repetition). Also, the usage rate of schemes and tropes were equal (18%). So, it can be construed that designer want their ads to be both engaging and comprehensible.

in contemporary times, audience, meaning and artwork are not the same value, and the value of the audience is more and more important because it has new meanings in dealing with the effect. In the contemporary era, the author has been marginalized. The contemporary world artist uses modern communication media to influence the audience more effectively. The theme of the body in contemporary times has been of interest to artists, and as a work of art, it is one of the most important innovations. Also, the meanings and position of the body have changed in art. The pre-study study of the Iraqi plan looks like a contemporary Iraqi artist, Wafa Bilal, who has immigrated to the United States. In his authoritative work, the text and the artist are the same, and meaning is transmitted through the written signs to the audience. Wafa uses digital art and computer art and chooses his body as the main tool for creating the work. The art of acting on the body of the artist is promoting a new discourse based on the values ​​of today’s world. In this research, after examining Barthes’s ideas about the author, the effect of the plan of Iraqi Bilal was discussed, in which various cities were referred to as the body of the artist. This research focuses on the study of the body of the text by Bilal. According to the results, the art of the ear has various semantic layers. Also, the text is used as a sign of protest on his body, and the author and artist are one of his works. His post is related to one another, as an objection to the artist’s body, and is considered a part of the artist.

B ecause one of the most noble visual arts in the Islamic world is calligraphy, the writing of your Quranic verses is one of the favorite topics of calligraphers, among which the book “Bismillah al-Rahman al-Rahim” has a high status. This holy phrase spreads throughout the life of Muslims and is present throughout their lives, thus, during different periods of history, it has been shown differently in the art of Islamic calligraphy. One of these cases is writing this sacred phrase, shaping letters and words in the form of different birds that have become famous for the chicken Basmell. It is in the form of various birds that have been known as Basmell Chicken. This research has been done by analyzing and interpreting the symbols and checking available designs. It seems that the root of the symbolic use of birds in the name of God is in the verses and traditions of Islam, and there is a close relationship between its face and its meaning from Islamic and mystical culture.

Raqam or writing the artist's name on the works was used since about the eighth A.H/fourteenth A.D in the Persian painting tradition that prevented the suspicious assignments. Lutf Ali Suratgar Shirazi, a famous artist of Qajar era, has provided short or detailed explanations along some of his raqams that can be considered as the valid documents to awareness about the status of his artist. However, so far, no serious and independent study has been carried out. This study aims at survey the raqams in the Lutf Ali's works, identifying the possible patterns of raqams and to recognize some aspects of the artist's life based on his raqams. The questions of article are: 1. What are the features of the raqams in the Lutf Ali Suratgar's works? 2. What can be understudied from Lutf Ali's raqam? This study was carried out through a descriptive-analytical method and the data collection was done through library (written documents) and field (direct observation). The results showed that Lutf Ali's raqams were accomplished in two different ways. Tughrai's raqams are more formal that have been written based on specific pattern with the reference “Raghmeh al-Abd al-Aghal Lutf Ali” in five lines. In comparison with the Tughrai's raqams, the Nastaliq's raqams are more historical precedence, but they cannot be considered a single model for them. The location of the raqams in the works of Lutf Ali were often in the2:3middle of the screen, which has the most visual impact on the spectator due to the location of the main event or character in this area, based on the type of composition. Traveling to Tehran, Kurdian, Tbilisi and Georgia, and his ideas about these places can be find out from the margin explanations of the letter along raqams.

I slamic painting has won its highest status especially in Iran and has been at the forefront of Islamic arts, but it has not yet been taken into account as such, and therefore the theoretical framework for reviewing such an art has not been introduced. Is. The purpose of this study is to study the main lines of thought that can be interpreted and evaluated by the works of Iranian painting. To this end, the necessity of this research is explained, and then the basic concepts of “Islamic art” and “painting” are analyzed. In the course of this research, various views and theories about Iranian painting are classified into three main sections of basic identity, mysticism and philosophy of the foundation. After expressing each of these views, their weaknesses are explained in the explanation of Iranian art. Based on the results of the research, it is impossible to explain the Iranian painting alone and fully with these views. In other words, the manifestation of Iranian painting in its propaganda era is more than that within the framework of these views.

Folklore painting has generally become popular within post-Islamic art. The design plan of these pieces of art complies with religious beliefs, traditional rituals and national epics. A remarkable number of such folklore paintings have formed during Qajars ruling eras that have roots in elements and signs belonging to ancient Iran. The predominant tendency of folklore artists among current subjects of the time was related to epic, mythical and religious stories with the approach of Good and Evil that are depicted via visual symbols of Angel and Demon. Nowadays, such forms are visible in religious and ritual buildings, wall paintings and Iranian Coffee House Paintings (mural frescoes based on religious traditions and national epics); good samples of which could be seen in the ritual buildings of Mazandaran province. The present research was accomplished in descriptive-analytical method. The objective was responding the question of the quality and type of design, fine line work with the black ink, exploring compositions and visual elements in the images of Angel and Demon, the quality of expressing them and their content structure in folklore paintings and a few ritual buildings in Mazandaran, such as Soqanafars of Kija Takieh and Shiadeh in Babol. Above mentioned question is also the main problem of this research. The results indicate that fine lines of Angels and Demon patterns enjoy a substantial expression and content, meanwhile having simplicity and smoothness. The focal attention of folklore art relies both on partial and total composition and solidarity of lines in small scales (roofs of ritual buildings), besides being loyal to principles and structure of art-works. In these traces, the methods of professional artists and some images in lithographic books are adopted- no pure copy or emulation.