نشریه دانش هنرهای تجسمی
سال دوم شماره 2 (پیاپی 3، پاییز و زمستان 1393)

This article is an attempt to study the formation of modernist painting discourse in Iran. The study of newly emerging signs in Iranian contemporary painting has been done under the light of Laclau and Mouffe’s discourse theory and the concepts of extra-textual codes and hierarchical structure of texts as explained in stratificational semiotics. The present research is essentially fundamental. The method of the research is analytical and descriptive. Our findings show that the social action of modernism was formed by the involvement of floating signifiers such as “impressionism”, “post-impressionism”, “expressionism” and “cubism” through the study of modern European artworks and as a result, signifiers of “visual traditions” articulated with newsignifieds and therefore new discourses formed in relation to each other and the identity of “modernism” was established against “traditionalism”.

Herati is a traditional pattern in Persian carpet. Lexically, this pattern is attributed to Herat and it consists of two motifs in structure – mainly reciprocal and symmetric leaves or fish shaped leaves that encircle a distinctive large flower.Herati design can be connected to the ancient art of Iran, but the latest form is clearly identified in the artworks of Timurid and Safavid era.Perhaps the first prototypes of Herati carpet design were woven in Herat, in the Great Khorasan or the region, and then were introduced to the world’s carpet markets. Nevertheless, gradually along with other weaving centers in Iran, it is woven in other countries like India, Afghanistan, Armenia, Turkey and Syria.Due to the variety of methods, weaving style, taste, sampler size, common motifs, design and color, in different regions, the Herati pattern has entailed various names and that can especially contribute to the identification of the regions of production.design Two characters have survived In the process of the design development:_ Circular multiplication of the main motifs around the central motif._ The use of certain SAMAVARI and DOOSTKAMI borders.Due to the dominance of fish & fish–shaped leaf motifs, and use of diamond shape, called pond, this motif is traditionally named as “Fish”, “Fish Up”, “Fish and Pond” in all Iran’s weaving centers, and in fact these are versions of the Herati patterns.In this article the structure of Herati pattern, its evolution and its different versions in different parts of Iran has been comparatively investigated.

Iranian and Indian cultures have similarities based on partly common racial origins in habitants. Additionally, due to the historical vast common border lines, considerable cultural exchanges are identified between the two cultures. However, despite the similarities, major differences in social and religious backgrounds are inevitably significant. Women are a part of these different perspectives. The differences may appear in different forms either in art orsociety. The purpose of this research is a comparative analogy of women’s status in Ancient Iranian and Indian art. The question of the research is which similarities and dissimilarities are identified in women’s status in the two cultures. The research is based on the social reflection theory which assumes arts to be representing social and cultural structures of the time including women’s status. This research uses a historical-descriptive method and the results indicate that in spite of the profusion of women in Indian visual arts and the significant variety of the worshiped goddesses in India, Iranian society shows more respect for women and the presence of women in Indian visual arts, makes no connection with their social status uplift.

The more recent trend of mythologists, including Roland Barthes state that the myths are not abandoned in the contemporary life, but just transformed, and through regeneration, they now prove to function even more sustainable and effective than the past. Persepolis is one of the most frequently reproduces myths in contemporary Iran, especially through the handcrafts produced either before or after the Islamic revolution in Iran (1978). The present research investigates the reproduction of Persepolis myth and its ideological functions in Iranian contemporary art in the light of the idea of “Contemporary Myths”. Tokens of this reproduction/regeneration process in contemporary artworks and handcrafts are studied through the article.

As a part of the natural world, while making effects on the nature, we take mutual effects from it. Hence, formation of this mutual interaction makes a key feature in sustainable, environmental designs. Clothing products, as a sub-division of seasonal short-lived products, are of great impact on this mutual connection between us, the human kind and the nature. Hence, considering specific standards and solutions through the whole process, from design to production, consumption and post-consumption, the least possible amount of ecological and economic impact is made. The present research tends to focus on solutions for the sustainable development in fashion and clothing, based on the new perspective of “value-making”. Clearly, design process is of the least focus in the cycle of sustainable development, while mostly all the ecological and environmental impacts of the product, either directly or indirectly are referred to the design process. Findings show that the most effective solution to prevent the ecological impacts is the appropriation of natural and organic systems in design. This adaptive model will be based on concision, closed cycles, aesthetic considerations, and responsibility to the nature.

The present study investigates on the deviation of eyes in portraits made by Sani’-ul-Molk, the Qajar royal painter. Analyzing the exact visual and technical features of the works in the course of his artistic life, it assesses the possible causes affecting the deviation in eyes, either accidental or intentional. Through the analysis, different scenarios including his technical weakness, the reality in subjects, symbolic codes etc. were articulated as well as evaluated. The results shows two possibilities: either technical problems magnified in the light of stylistic traditional norms, or intentional reproduction of symbolic codes referring to the middle ages’ religious painting in Italy. Though a combination of both possibilities could be valid. The study is fundamental and takes in the descriptive – analysis method.

Environmental art as an art movement that claims to present a solution to the environmental crisis and problems of the contemporary world, takes in all the external, physical, social and cultural opportunities which might affect any person or group in order to realize this idea. In other words, environmental art, which is one of the ratheryounger branches of art, tries a new approach to the human relationship with nature and explores new ways for coexistence with the environment around. By a deeper consideration into environmental art, its branches and artists, some new aspects of equally natural and cultural value will be revealed. According to the role of semiotics which has an important position in textual analysis of the contemporary culture phenomena, and on the other hand the combination of significant and insignificant world is considerable, the relationship between “culture, nature and works of environmental art” is subject to this study. And also, three works of three environmental artists are studied through a cultural semiotic approach to layers of meaning. This descriptive-analysis research is based on the view that participation of the elements of nature such as stone, wood, etc. and its temporality would make essential differences inexpression and application of the elements in works performed by these artists. Furthermore, it can be concluded that these works which are formed in the nature, become an inseparable part of the nature and human culture in different regions orcultures. Marks and signs have cultural and social connotations because they preserve ecology and human life primarily and parallel with the expression and common world cultures.