فصلنامه کیمیای هنر
پیاپی 35 (تابستان 1399)

In third-person video games, players are able to move and progress in the interactive world of the game while watching their avatar from an external point of view. The purpose of this paper is to investigate the role of avatar in the interactive imaginary world of video games using double vision theory. This article is based on descriptive-analytical methods and the use of library data and images taken from the game in question. The video game player considers his avatar - like a puppet - to be both a virtual inanimate object and a living body in the game world. The world presented to the audience, although interactive and responsive to users’ input, is continuation of the imaginary world tradition. Due to the interaction in videogames world, the boundry between performer and the audience is vanished and the player becomes at the same time the actor and the audience. This in itself leads to the emergence of new meanings in the concept of the imaginary and fictional world.

The present study attempts to address the issue of typographic communicational methods in posters. The purpose is to investigate the visual elements in creating the communicative functions of typographies of Asma’ol Hosna’s posters based on Jakobson’s communication theory. The question is: By what visual elements are the communicative functions in typography of posters this study propounded? The result of the study by using descriptive analytics method and 17 samples shows: Referential function in Typography as readability (extensional), in the emotive function (expressive) the transmitter’s intellectual and ideological values are appeared through the psychology of form and color and structure. In the conative (impressive) function, the attractive signifiers are used to attract. The aesthetic function makes the orientation and emphasis on the message clear, and metalingual function, as extra-pictorial elements, displays visual codes. In the phatic function, the relationship context of artist with audience by poster is effective.

The events of the Prophet Muhammad’s life are one of the most important issues considered by painters in different eras, which many examples are in the manuscripts of Mongolian Ilkhans. This study includes the investigation of Ilkhani images related to prophet’s life based on Iconography method. Therefore, three questions formed the purpose of the study (1. Which characteristics have been basically utilized to describe the prophet pictures in Ilkhani period? 2. How is the evolutionary religious icons’ trend during the Ilkhani period? 3. What are the factors affecting on religious icons during the mentioned period?) Four images in Ilkhans’ manuscripts were assigned using the iconography method in order to answer these questions. The findings revealed that the painters typically illustrated the prophet’s events life relying on existing descriptions in the Qur’an, hadith and Islamic narratives as well as the interests of art patrons. The results indicate intellectual, religious, political and artistic background of the study period, which looks at the differentiation and the similarity of the images of the Prophet in this period.

In the view of a wider audience, the interpre tations of book paintings from the Demmote Shahnama have never been the subject of detailed semiotic studies. While Ferdowsi’s Shahnama is a literary context with axial at tention to the lyricism that appeared in the Iranian pretext, Jami al-Tavarikh is basically a historic source in which the pictorial language of the Ilkhanid context remained the main fo cus of attention. It is quite possible to pinpoint an Ilkhanid background to both the Demotte Shahnama and Jami al-Tavarikh. A fresh look at the Great Mongol Shahnama’s book paint ings is essential based on the semiosphere ap proach in a way that epic narrations from the general texts of Shahnama and Jami al-Tav arikh have been considered as a non-text and filtered through the Turco-Mongol culture in an implicit way or even accepted an explicit transsemiotic mechanism and introduced in a completely various pictorial language as a result of trans-continental influence. The aim is to study those codes related to the “Tree” in the two stunning book paintings from the De motte Shahnama and Jami al-Tavarikh that are entered into the realm of the Ilkhanid semio sphere through the trans-continental cultural translation. This paper is a basic one that rests on descrip tive-analytical methodology and the cultural semiotic approach developed by Yuri Lutman. What results clearly suggest is the significant concept of tree in Turco-Mongol myths in cluding the power of generation and creation, the source of invincibility for heroes, protec tion and security for both country and the king himself, a passage to enter the after here, the holy presence in royal ceremonies as well as a sacred location indicating the place of the Sahmans and Khans tombs.

Style As the conception of human underwent significant change during the renaissance era, the theory of human proportions gained great importance among the artists and art theorists of the time. The renaissance artists put considerable effort on finding and presenting an ideal model for human body proportions that could represent the newly founded status of the human being in their time. However, Leon Batista Alberti, among these artists and theorists, had sought a different objective. Contrary to what some art historians believe, he was critical of the break, which he thought that was caused by his contemporaries’ insistence on presenting an ideal image of the human body, from the natural human. Therefore, by using precise instruments and empirical methods besides his especial theoretical approach to nature, Alberti attempted to present a system of human proportions that would lead to a real, and at the same time ideal, portrayal of the human body. This paper aims to provide a complete picture of Alberti’s theory of nature and beauty by reviewing his written works and then explaining his practical methods and solutions to obtain body proportions according to his theoretical achievements.

A manuscript of Ibrahim Sultan`s Shahna ma available at the Bodleian Library of Oxford, representing the full range of vi sual features of the Shiraz School at the age of Ibrahim Sultan Timuri (817-838 AH) which has the symbolic aspects and semantic trends of painting and the po tentiality to be interpreted based on phil osophical hermeneutics. It seems that an alyzing the visual element and re-reading the narrative in this version, through Paul Ricoeur`s philosophical hermeneutics is an effective step towards an in-depth understanding of the content features of painting in one of the schools and il lustrated manuscripts of Iran. The pur pose of this study, which has descrip tive-analytical method, is to answer this question: How is the narrative in Ibrahim Sultan’s Shahnama paintings re-readable with Ricoeur’s philosophical hermeneu tics? The results indicate that some of the paintings, in addition to narrating of the Shahnama, have content independence and social, cultural and advertising func tion and they have established some sort of content interaction between the visual elements of the paintings and the political and historical themes of this era.