مجله رهپویه هنر
سال سوم شماره 3 (پیاپی 8، پاییز 1399)

Henri Cartier-Bresson is among the most considered and also the most debatable artists and photographers of the modern era. Shifting from painting to photography and from photojournalism into surrealism as an artist makes his career a bit vague and his personal approach of photography ambiguous as a practical approach. Known as the ‘decisive moment’ his practical theory is based on reaching the most harmonic point possible between the form and the meaning in a single photo and that photo should necessarily be captured in an unrepeatable moment that is a unique one. The ‘decisive moment’ was proposed by Cartier Bresson through the publication of his book under the same name in 1952. The book contained a selection of Cartier Bresson’s photos and a brief introduction in which he explained some features of his artistic vision and photography approach. The book was soon titled as the ‘Bible of Photography’ by Robert Capa, his friend, his colleague and a co-founder of Magnum Photos. The decisive moment has two major components; first a complex, meaningful composition that Cartier-Bresson himself calls it ‘Geometry’ and the second, is ‘Spontaneity’ in action meaning that the photographer should skip any kind of contemplation and hesitation while capturing the moment that is due to Cartier-Bresson’s admission to surrealism as an artist. Cartier-Bresson’s emphasis on the geometrical composition as the major and fundamental component of the decisive moment roots back in his tendency toward painting However, the contradictions between Cartier-Bresson’s role as a photojournalist or documentary photographer and his artistic vision and his artistic stem caused some ambiguities in the quality and the possibility of applying the geometrical ratios used in the realm of painting as a rule for composition in photography specially in photojournalism where every second has the potential to lead into a photograph and therefore such obsession with composition might result in missing important moments in an event. In 1920, contemporary to young Cartier-Bresson, Canadian Jay Hambidge invented ‘Dynamic Symmetry’ armature as a system of geometrical composition based on the Greek Golden ratio which became popular among his contemporary visual artists. The ‘Dynamic Symmetry’ consists of two major diagonals named the ‘Baroque Diagonal’ and the ‘Sinister Diagonal’ and the rest of the armature or the grid named as the ‘Reciprocals’ are drawn, at a ninety-degree ratio toward the major diagonals. Hambidge believed that applying the Dynamic Symmetry has the benefit to promote balance, flow and rhythm in a composition and the whole idea is in contrast to static symmetry therefore it can bring more dynamicity, and in result movement and life in a frame.This article initially studies the components and the qualities of the decisive moment and its roots and then explains the dynamic symmetry as a system of composition based on the geometrical proportions and then by applying the dynamic symmetry armature or grid to some of Cartier Bresson’s photos evaluates the amount of concordance between Cartier Bresson’s arrangement of the visual elements in his composition with the order of the Dynamic symmetry armature.

The purpose of writing this article is to study the Mugals school of painting with the formation of the work of Hamza-namah, in the creation of which Iranian artists had an important role. In this research, we seek to: What are the effective factors in the formation of the Mugals school of painting? The structure of this school of art is derived from which schools? What effect has Iranian painting had on this school? As a finding of this research, it can be stated that the presence of Iranian artists in the second period of Homayoun Mughl’s reign(962-963AH/1553-1554AD) in India caused the influence of Iranian art on Indian art and the core of Mugals school of painting emerged in which subsequently the attitude And there are significant approaches that need to be explored and pondered. . Moghal’s coincidence with the Safavids led to babur to become acquainted with artists such as Behzad, and the Behzad Art School was welcomed at the Moghal court before Iranian artists immigrated to India It should be noted at first, this school was derived from schools such as Herat and Tabriz, but later an eclectic method consisting of Iranian, Indian and European elements emerged, Which later influenced Indian and Iranian painting. But what is known as the Mughal School of Painting was influenced by Iranian painting and schools of painting were established in the Indian states. The presence of these artists, their cooperation and efforts with the Mughal court, created a huge illustrated version such as Hamza-nama and this great work can be considered the beginning of the formation of this school and known as one of the best examples of painting in the Moghal school and the Islamic book designing of India. The existence of some plant, animal and celestial elements has created realistic or, conversely, imaginative scenes that have been very similarly depicted in Safavid schools of painting. One of the important features of Hamza-nama paintings is the abundance of characters in each scene, the painter of which, unlike the usual paintings of the era, completely defines the different moods of the characters. Iranian artists have taken every step in this school None of this was based on coincide and they have used Iranian painting using the method of colors. The story of Hamza-nama is one of the prolific Iranian folk epics in the biography of Amir Hamza, the Prophet’s (pbuh) uncle and his battles, and a mythological description and legend of his heroism and bravery in the face of infidelity, evil and sin, which was admired by the Moghal kings. Various sources have numbered one thousand two hundred and two thousand and four hundred of these paintings, of which one hundred fifty two are left, which were curated by Mir seyyd Ali-e Tabrizi(D.975AH/ 1566AD) and Abdul samad Shirazi(969AH,1560AD). After Hamza-nama, other large illustrated versions such as Babar-nama, Akbar-nama and large Albumes such as Golshan and Golestan were formed, which are very important in their place.Finally, as a result, it should be said that the interests and desires of the Mugals sultans on the other hand, and the lack of a suitable bed and space for painting in parts of the Safavid court on the other hand caused many artists to migrate to the Mugals court. This migration became the main factor in the formation of the Mugals school of painting, and according to that, the meaning and concept of space in the art of painting changed according to the Mugals.The method of this research is descriptive-analytical and with a historical approach, it seeks to re-read the important factor in creating the Gurkanian school of painting and the first valuable work in it. Scientific data has been collected in a library style among historical and artistic works in Islamic civilization.

Glassmaking is one of the oldest, most valuable and growing arts throughout history. It can be said the art of glass has developed in the Islamic period which has long been the manifestation of outstanding and unique glass works that show the level of interest, mastery and skill of glass artists in Iran and Egypt. With the advent of Islamic civilization, the glassmaking of Iran and Egypt reached its peak with its rich historical and artistic background. Iran and Egypt, among the pioneering lands of the art of glassmaking, have made a great contribution to its advancement in the Islamic era. This study is an attempt to identify and adjust the glass carafe of Iran and Egypt in the 3rd and 6th centuries BH based upon the morphological approach. Morphology literally means studying and recognizing shapes and faces. That is, the study of the components of an object and their relationship to each other and to the whole structure of that object. It is a term first used by Vladimir Propp. His emphasis was on analyzing an effect in terms of its components and believes the structure of an effect is made in terms of its constituent components and the relations of that component. This approach was first introduced in the field of literary criticism and is now applied in artistic fields where it is possible to examine and recognize the components of these types of glass and to give a general overview of the shapes of the works for further comparison. In all, morphology as one of the methods of artistic explanation is an approach that in most cases studies the constituent elements of the work and examines the general form and structure of the components, motifs and decorations. In other words, morphology is efficient in recognizing and determining fixed and variable elements of the work. Fixed elements are the ones that are constantly present in the work and do not change, but variable elements appear in different ways and cause diversity.Studying the shapes and forms of glassworks of Iran and Egypt including the carafes is an approach to glassmaking art in this era. The samples are collected to answer these fundamental question that “What are the visual characteristics of glass carafe of Iran and Egypt in 3-6 AH centuries in terms of fixed (reservoir and neck) and variable (motifs and ornamental) elements” and “What are the differences and similarities in their shapes?” This research is based on library studies in a descriptive-analytic manner. The results showed that the glass carafes of both countries have structural similarities such as reservoir and neck elements, and the decorations can be traced in two abstract and semi-abstract parts. Despite the similarities in the morphology of the Iranian and Egyptian carafes, which illustrate the effects of glassing in these two countries, there are some differences in the varied elements including craters and various ornaments such as geometrical, non-geometrical, textual as well as plant and animal decorations in which abstract quality is noted.

In the Iranian plateau, technological advances have always been evolving. The beginning of the third millennium for most parts of Iran shows the process of extensive socio-cultural changes, which are often considered as signs of the beginning of the early Bronze Age. The most important of these changes, based on archaeological evidence, are technological and demographic changes, trans-regional trade relations, and the formation of the first government-based societies. The invention of the bronze complemented the method of creating and studying metal objects, and the demand for raw materials increased. This source of wealth made Iran one of the most important producers of copper, tin, lead, wood and stone among the nations. From the third millennium to the first centuries of the second millennium BC, there was a trade relationship between Afghanistan, Turkmenistan, Iran, and Mesopotamia. Thus, the civilization and culture of this region of the world have in many cases been in close and direct contact with each other. Discovering alloy, humankind recitative tools had evolved in life, religion, business and art. In the Bronze Age, northeast of ancient Iran and Central Asia had great similarity in culture and art. In these two region, human Statuettes had been built from the stone and copper with little dimension in abstract method and had remarkable nicety and delicacy which can be indicated the relevance and interactions of northeast of ancient Iran and middle Asia in the Bronze Age. The purpose of this project is finding the answer of this question that: how was the similarity rate of human Statuettes from northeast of ancient Iran and middle Asia from the view point of form and usage? In the Bronze Age, the gender of many founded Statuettes had been built of women. These women Statuettes had been built with delicacy, subtlety and nicety from the view point of construct and body form in abstract method and condensate. They also had enforced on female organs with little tridimensional content in small size. These statuettes had religious usage which referred to the fertility and birth and had found in the burial bed. In the Bronze Age, communication and social interactions between northeastern ancient Iran and Central Asia were widespread, and accordingly, significant interactions can be seen in the culture and art of the people of these regions. These interactions and similarities are very noticeable in the human bodies found in the burial bed. Most of these statuettes are female. The statuettes of Hesar and Tourang in northeastern ancient Iran are similar in structure and form to Altin, Namazgah and Gnoor that made in a concise and abstract style with elegance, softness and emphasis on femininity and with open arms to the sides. It should be noted that in Central Asian sculptures, despite simplification in body shape, there is more reference to decorations, hair and clothing, however, in Turang, in spite of these cases, the tendency towards realism is also seen in some cases. This research has been done in comparative-descriptive method by using library data resources.

Javanmardan computer-animated series is one of the series produced by the order of Saba Animation Center. The first sequence of this series is produced in 13 episodes of 20 minutes. The story of this series revolves around an imaginary character named Shahab al-Din, who was the commander of the Iranian corps during the Mongol invasion of Iran and was defeated in battle due to the betrayal of one of his troops. After losing his troops, Shahab al-Din with entrance to the city called Gharan decided with the help of several people and his close friend, Murad, to forme a group called Javanmardan, and to defend the people in the face of the Mongol oppression. This animation is produced in computer three dimensions, directed by Ali Ahmadi and produced by Elham Ebrahimi. In this research, considering the period of this series, ie the Mongol invasion of Iran, which takes place in the early seventh century AH, it has been tried to examine to what extent the traditional arts coincide with the period this animation, that is, Seljuk and Khwarazmian, has been used, and in what fields has this use been more? The purpose of this study is to examine the historical realism-graphy in today’s figuration. The type of research is basic and the research method is descriptive-analytical and data collection is done in the form of library, field, observation, and interview. Due to the short life of the Khwarazmian government and the few works of that period, in addition to the art of the Khwarazmian period, the art of previous governments, especially the Seljuks, was also studied because the eastern Islamic lands between 391 and 617 AH., have a common artistic language and the art of the Seljuks, Buyid, Ghaznavids, Ghourid, Qara Khitai and Khwarazmian are mixed. In this research, the traditional arts used in the Javanmardan animation series are divided into several categories. Urban planning, architecture, architectural elements, pottery, textiles, carpets, and metalworks.The result of this research showed that in the design of this series, no attention has been paid to its historical period and only space with an Islamic attitude has been created, regardless of its geographical and historical location. In other words, an attempt has been made to use a beautiful Iranian face, and in this way, they have even used the art of more recent periods, such as Safavid and Qajar. During the comparison and study of the arts used in this series with historical examples of the sixth and seventh centuries, AH, only a few parts of the brickwork and tiling decorations, inlaid doors, urban structure, market architecture, and men’s clothing can be considered consistent with this period, although in these sections there are contradictions in the details and decorations in such a way that in some cases. Still, the existence of these works in that period cannot be ruled out with certainty, there are no obvious signs of the art of that time to represent the artistic richness of that time.

Contemporary Iranian painting, in terms of historical background and rich cultural background, has had significant influences from previous schools and works, and the continuation of this structural link is very important in preserving and surviving this cultural-artistic tradition. Valuable examples that have survived from different historical periods as a heritage of this art show the cultural and social characteristics of their time. So, in this research, efforts were made to find components of present miniature, in order to analyze structurally the expressing characteristic of this art and discovering social and cultural effects in outstanding works of active miniaturists and well-known masters. The method of data collection and analysis in this study is a combination of documentary study method with in-depth interview, with well-known masters of this art during 1990 and 2000 decades. Since the field findings are obtained in a way other than quantitative, so what the present study is in terms of what can be considered a qualitative research. For this purpose, the Delphi method will be used to organize and collect interviews and to obtain the views of contemporary artists and painters in order to be aware of the up-to-date components in their works and the importance and understanding of the social concerns of the time.. Many of the paintings created and depicted in this period, although they show the growth and excellence of Iranian painting, have changed in terms of historical criteria and adaptation to their predecessors and offer a different structure. Give. Nevertheless, preserving the identity and artistic originality of these works has proved their compliance with the formal criteria and technical frameworks of painting, showing the commitment and stability of contemporary artists in this field to the high status and spiritual value of this art. Many examples can be given as examples of this claim from the works of modern painters, veterans and professors. However, a point to consider is the multiplicity of content and themes that have influenced contemporary painters and their thought and vision to create works much different than in the centuries-old history of this art. I have witnessed it. Thus, it can be concluded that despite the valuable experiences and examples and success of contemporary painters in creating unique works throughout the history of Iranian painting, we may not easily and accurately be able to determine a specific pattern and structure such as components. Which we know in the old schools of painting, to introduce in the evaluation of painting today. The most important results will be impressive difference in face making, stippling and hatching, tools utilization and different coloring than past, also the variety of theme and subject in contemporary works shows a kind of integration between abstract and naturalistic point of view. However, some present miniaturists have outstanding success for reflection of daily social events in their works, so it seems that the contemporary miniature has more communication with general audience and is not limited to special social class.

The photographic works of the Iran-Iraq war during a period of thirty years from 1980 to 2010 have been published in the form of 80 books in Iran, and a review of the titles of these books shows that all of them include a collection of works based on A period or works of a photographer or a subject have been formed. What has not been addressed in the meantime and has received less attention with caution is the analysis, evaluation and review of the works of war photographers as visual documents of the historical event and the explanation of the visual narrative of this event which has been focused in this research. The reason for choosing the period 1980-82 in this article, is clear for the beginning of the period and refers to the date of the beginning of the war. The professional, spiritual and emotional conflict of the photographers with the event that affected all aspects of people’s lives, after two years from the beginning of the war, reaches an important historical climax, and that is the conquest of Khorramshahr. Until this date, which is the third of June 1982, the best works of photographers are formed at the peak of spiritual and professional interaction with a historical event. Then, just as a historical event enters a long period of erosion, war photography changes from an ideal and motivational activity to a repetitive task, and in fact neither an important photographer nor an important current emerges in War photography takes shape. The main purpose of this article is to compare the content of photographs of the Iran-Iraq war between 1980-82 as visual documents with written documents from the same events that have been published in the form of the calendar of the history of the holy defense. The theoretical approach of insight in this study is based on the analytic history view of Robin George Collingwood and the method of analyzing content that has qualitative and quantitative qualities combined in summative content analysis. The period of research from the beginning of the war to the conquest of Khorramshahr is about 22 months, and 667 photographs have been selected from the series of “imposed war” volumes. In the written history section, the collection of “Holy Defense History Calendar” series was reviewed by the Army Armed Forces Holy Defense Research Center in the form of a 17039 reference page. After identifying and extracting visual and textual categories, the illustrated history and the written history of the war are compared. The results of this research show that both the photographs contain some concepts and messages independent of the written text, as well as some information that the written text does not exist in the photographs and cannot be presented in the picture. Generally, imposed war photographs are mainly the domain of determined concepts and the revealing of emotions and internalities, and the written text in most cases uses the ability to process historical information and design undetermined concepts.