مجله رهپویه هنر
سال چهارم شماره 1 (پیاپی 10، بهار 1400)

Linguis tic and visual media differentiation is a paradigm firs t introduced by Lessing in art his tory. The Time-Based nature of Poetry in the sequence of events and the Place-Based nature of Painting in the simultaneous description of phenomena, s till cause disagreement among linguis tic narratologis ts and art his torians in the narration of single images. This research tries to answer these two ques tions in a descriptive-analytical way and collecting documentary data, with the aim of examining the methods of representing the narrative time in single images (paintings): Do images represent only a single moment of an event? Compared to linguis tic s torytelling, does visual s torytelling lack the basic criteria of narrative? As a result of the present s tudy, focusing on the cons tituent elements of narrative and applying the main criteria for defining narrative in linguis tic and visual media on a s tudy sample, secondly by proposing perceptual theories about time and motion in individual images, and emphasizing visual language independence and viewer role In the perceptual process, it shows that there is no significant difference between the main criteria for defining narrative, especially the element of “time” in linguis tic narrative and visual narrative. Thus, visual works, by their very nature, represent the category of event narrative time in a different way from linguis tic products.

Modernity and Nihilism have an inseparable bond. Philosophy of Nietzsche is centered on criticism of formation of modernity, to the effect of criticizing the his tory of wisdom thinking. Nietzsche pursues criticizing Rationalism approach, which is the heritage of Socrates- Chris tianity in the wes tern culture. He introduces rationality with the excuse of being cold, ins tinct-free and militant life, as a disease. Nietzsche by means of s tudying the phenomenology of the outcomes of Rationalism in the culture of his contemporary society, points out that the lifes tyle created by philosophy and later on by Chris tianity which has spread over the pas t 2000 years in the European civilization, have caused a great and his toric disease in the culture and life of the humans, which is called “Nihilism”. Nietzsche by portraying new prospects in ethics like what has been said in the books of Thus Spoke Zarathus tra, Beyond Good and Evil, The Will to Power, preaches new values.Nietzsche’s approaches towards the disease of Europe and the Nihilism hidden in it, entered art through modernism as one of the paradigms of modernity to the extent that it had deep impacts on the formation and orientation of schools of thought, like Futurism, Dadaism and Expressionism. Despite being present at the heart of the modern art, Nihilism cannot be obviously seen in the initiating aspects of the modernis tic art in Iran. In 1934 in Iran, Tehran University the firs t ins titution for development of modernity was s tablished. With formation of the faculty of fine arts in 1941 at this university, the firs t s teps of teaching modernity in the art were officially taken. Eleven painters, as the firs t generation of Iranian painters graduated from this faculty between 1941 and 1945. And from amongs t them, Jalil Ziapour s tudied more than the res t about the modern art in the wes t. Through awareness and choosing from amongs t wes tern art frameworks, with an eye to the modernis tic schools, he tried to find a new framework of art in order to express the Iranian contents in his works. This paper is aimed at asking why the Nihilis tic aspects of modernism are not reflected in the modern works of art of the firs t generation of Iranian painters, with an emphasis placed over Ziapour’s works. According to this artis tic research ahead of us, with reference to the accredited sources, and explanation of modernity and the progressive artis tic movement of the 20th century like Dadaism and Nietzsche’s Nihilism, it has been tried to inves tigate the way the artis tic modernism entered Iran, and how it affected the modern painting in Iran. This paper tries to indicate that although Ziapour and other modern painters in the firs t generation of painters in Iran have been effected by modernity and its outcomes, they were not interes ted in reflecting the concepts of the wes tern art in their works. He ignored this issue that in the modern art, the form and the content are dependent on each other, and by means of separating these two, he tried to localize the modern art.

One of the important aspects of the visual s tructure of Iranian painting is its decorative aspect, which has taken various forms in different schools and has been expressed in the Safavid period with the compilation of seven decorative principles of painting by Ahmad Mousa. These principles include Islimi, Khataie, Farangi, Niloofar, Abr, Waq, Bande Rumi (Greh Chini). It seems that no research has been done on the usage of these principles in the painting of Mashhad School, and since Ibrahim Mirza’s Haft Awrang is one of the magnificent manuscripts illus trated by Safavid painters in Mashhad, this s tudy can provide more information on the characteris tics of Mashhad school. Therefore, the main ques tion of the present s tudy is how the seven decorative principles of Iranian painting in the Safavid era were used in Ibrahim Mirza’s Haft Awrang? The aim is a comparative s tudy of the usage of Seven Decorative Principles of Iranian Painting in the paintings of Ibrahim Mirza’s Haft Awrang. The method of this research is descriptive-comparative and the method of data collection is library. Findings show that the principles of Khataie and Niloofar are used by all painters and in all paintings; in fact Khatai principle has been used to decorate the components of the painting and in golden, azure, red, blue, white and black colors. Niloofar principle has been widely used among Khatai motifs and in various colors. This process of using Niloofar Principle continued during the reign of Shah Abbas Safavid, but its name was changed to Shah Abbasi flower. Islimi Principle is used more in the facade tiles of the building and it is more of a golden color that is embossed on an azure and black background. Abr Principle which is of Chinese origin, is used in half of the paintings, and in mos t cases in black and white. Waq Principle, which is derived from the concept of the tree of life, is also used in mos t paintings, and this shows the adherence to the painting traditions of the pas t. While the usage of Farangi Principle is much less than other principles and is used only in the works of Sheikh Mohammad and Mirza Ali, and considering that almos t half of the paintings are attributed to these two painters, it s till has a low percentage of usage. In fact, after a period of decline, at the end of the Safavid period, Farangi Principle is used again in abundance and in the form of Farangisazi. Greh Principle is used in paintings based on the common architectural s tyle of the Safavid period. In fact, the painters of Haft Awrang have tried to be faithful to the decorative tradition of Iranian painting, which in addition to showing their skills in painting, can also be considered as a feature of their artwork. In addition, the different levels of usage of these principles and the emphasis on decorating many components of the paintings, can be considered as one of the features of Mashhad school book decoration, which of course needs more researches.KeywordsSafavid Art, Mashhad School of Book Decoration, Ibrahim Mirza’s Haft Awrang, Seven Decorative Principles of Painting.

Nowadays , due to the multiplicity of methods created by the Artworks of the divine religions, the need to create a common visual language, the ethnic integration approach, is felt. . Creating repetitive symbols and elements, In architecture, is an expressive method and inseparable way of different religions texts. Research of Subscriptions in the repetition of motifs can create a single bridge of communication in the art of nations, which is influenced by the Belief, cultural and artis tic components ,is the main issue of this research. This article is searching for repetitive visual symbols in one of the religious architecture buildings of Chris tianity (The Church of Sagrada Familia, Spain, and Islamic architecture (The Nasir Al-Molk Mosque of Iran) ,and the recognition and adaptation of these elements in geometric aspect ,by focusing on the colored s tained glass windows of both architecture buildings. With all the differences in the culture and art of the two nations, can the mos t repetitive elements of art be the bridge of communication and the spoken language of those tribes ? The ques tion is to what extent, by matching the symbolic and repetitive patterns of colored s tained glass, the effects of the mentioned components and the geometry of the patterns could, physically, play a role in creating similarities, adaptations or differences? And with the hypothesis that there are similarities and differences in the design of various patterns of glass, the goal is to decipher and achieve commonalities and differences from the perspective of geometric patterns and to find the roots of basic meanings and patterns, as well as to create a common visual language .The research method is descriptive- comparative and qualitative analysis of text content and based on library documents. As a result, the difference between the designs of the glass: in the mentioned mosque, simple designs: Shamseh , multi-pointed s tar and simple geometric shapes in Gerehchini of the glass are used in the , while in the church, in addition to these designs, complex narrative and visual designs symbol on the colored s tained glass of the church. , The role is closed. But the design of the circular pattern of s tained glass with regular and complete repetition is the mos t used and common feature, as well as the root of belief and attention to God (religion), nature, abs traction and geometry, as the highes t similarity layer of creativity in designing and creating a space immersed in light and color. A transcendental and spiritual world, together with the security of the imagination, is created jointly in both buildings, which are arranged in matching tables.

The Battle of Edessa was one of the mos t famous a nd important wars between the two empires of the Eas t (Sassanid) and the Wes t (Romans) in its time. Shapur the Great was the second Sassanid emperor to lead the Sassanid army in battles with the Romans in successive wars with the Romans. According to some his torians, he had three battles with the Romans; the third battle took place in 260 AD in Edessa (a region in Turkey) with Roman emperor Valerian. Because of such a great victory, Shapur ordered that the scene of his victory be engraved in several places. Naqsh-e Ros tam is one of the places where the scene of Shapur’s victory in the battle of Edessa and the kneeling and humiliation of Valerian is shown in a bas relief. The scene of the victory of Shapur and the humiliation of the Roman Emperor, in addition to the reliefs, have been depicted as an important his torical event in the following centuries, but in some Wes tern paintings, this his tory has been narrated and depicted in different ways. The dis tortion of the narrative of Shapur’s victory over Valerian has continued in Wes tern writers even in later centuries. It is said that he was cons tantly ridiculed by the people and after that, whenever Shapur the Great wanted to ride a horse, he would put his foot on his neck. After Valerian died in captivity, his skin was s tuffed with s traw and shaped into a human body and placed in one of the temples. Contrary to all narrations and according to the inscription that exis ts in the Kaaba of Zoroas ter, Shapur the Great captured Valerian and his companions and servants and benefited from their knowledge. The truth of this claim can also be found in the poems of Ferdowsi’s Shahnameh. This s tudy intends to answer this ques tion: “What is the reason for the difference in the narration of Shapur’s treatment of Valerian in this battle in some works of Wes tern painting?” The result of the s tudy shows that in mos t of the Wes tern paintings with this subject, the reason for Valerian’s humiliation and the feeling of remorse on his face is attributed to the narrations of the punishment of the torturers and persecutors of the early Chris tians. Some Wes tern his torians, because of their religious bigotry, as well as the Chris tians who were persecuted by Emperor Valerian, have considered his humiliation and Shapur’s mis treatment to be God’s revenge, and this has led to exaggerations and dis tortions of this s tory. In general, in the relief of Naghsh-e Ros tam, the s tory of Shapur’s victory in the battle of Edessa with the capture of Valerian and his coming to terms with Shapur’s horse is depicted. Shapur sets his foot on the fallen Valerian while riding his horse. In mos t Wes tern paintings, Valerian is depicted in all scenes, such as the s tool of Shapur riding a horse, with a face that shows a sign of supplication and humiliation. This research has been done by descriptive and analytical methods.

“Kinetic Typography”, or what is also known as the “technique of oration using kinetic text”, is a branch of Visual Communications wherein, by integrating text and motion, it communicates the personal, emotional, and semantic characteris tics of the text, and in the end, manipulates the attention of the viewer with a specific intent. The emergence of Kinetic Typography in the early twentieth century as a powerful tool in visual communications set the s tage for scientific and experimental s tudies about the effectiveness of this communication medium on information transfer processes. The result of these s tudies, along with the technological challenges of the new age, lead to the emergence of a discourse which deems focusing merely on readability and attractiveness of various characters insufficient, and seeks to unders tand the qualities and potentials of Kinetic Typography as a communication medium in information processing and also in its ability to conjugate and express a message. Aiming to achieve a s tructured model, this s tudy focuses on Kinetic Typography in the visual learning sys tem with a Semiological approach, and gathers and analyzes data using a descriptive-analytic method, utilizing library and internet resources. By categorizing the characteris tics of Kinetic Typography in different forms and media, and also by analyzing methods of creating visual content in visual learning, this s tudy focuses on the ques tion: “By what characteris tics does Kinetic Typography improve visual memory in visual learning?”. In answering this ques tion, through s tudying exis ting Iranian and international scholarly literature on “Kinesis, expression, and creation of meaning based on visual thought and cognition”, the s tudy comes to the conclusion that Kinetic Typography can be effective in better unders tanding and relating to subject matters by the merit of its bringing spatial, temporal, and kinetic potentials, as well as expressive signs based on meaningful cognitive models, to the creation of kinetic learning materials. Kinetic Font, which is an attribute of novel outlooks towards text, makes possible a unique interaction experience with more effective and efficient potential for communication, more expressiveness, and attractiveness, compared with traditional approaches to text. Motion technology and its potentials create an attractive playing field to show the Semiological changes of Typography. It also creates a suitable vessel for the creation and presentation of kinetic Typography’s abilities in this novel media atmosphere which will, in the end, lead to the effective exchange of information and knowledge. Additionally, with (1) the presence of reader in the role of viewer, (2) involvement of the audience in the context and formal relations of the text via variety in Kinetic Typography’s behavior, and (3) with the improvement of the process of reading and comprehension and aiding the interpretation of a new layer of text as a way for transporting the audience from one thought to another in an axis of time, it increases the text’s comprehension time.

Colors are the identifiers of cultures and have ancient roots in various ecosys tems.They have different roles and meanings in different countries and the approach of nations is heterogeneous and different. Iran, with its ancient antiquity in its traditional or modern context, has used the aspects and characteris tics of color in all its biological fields and cultural, artis tic and religious resources. Iranians have tried to express their beliefs in different forms and in indirect ways. The way of indirect expression in the cultural and literary contents of poetry and prose, carpets, paintings, architecture, etc.,crys tallizes the special aes thetics that is unique to this country. Visual elements such as colors have always had an overt or covert identity in these works, which have been used in accordance with Iranian beliefs. Colors play an important role in giving meaning to different elements, and each of them expresses different concepts. Colors can make an environment happy or sad. They have also had a significant impact on various religions and rituals of the pas t centuries and in the Qur’an, hadiths and narrations, the effective properties of colors have been mentioned many times. Animation, as a pervasive medium, has the ability to portray fantasy in the bes t possible way, Media literacy and awareness of audiences have led filmmakers and producers of animation art to visual cinema, and color has a significant role in this regard as an important element. Iranian animation with a long his tory, influenced by such an approach, has been trying for years to take advantage of the properties of colors in the crys tallization and radiance of national religion and culture. Unders tanding such a concept, Iranian animation productions have been able to play a significant role in es tablishing national and international relations with domes tic and non-domes tic audiences based on these characteris tics. The present s tudy examines the s tatus of this national belief in the symbolic role of color with a practical purpose, and its main objective is to analyze how color is used in the atmosphere of Iranian religious animations of the 90s SH. The research method is qualitative with an analytical-descriptive approach and data collection has been done through library sources and audio-visual archives. In this regard, the researcher has purposefully selected the films “Mr. Kind”,”Prince of Rome” and “The Las t S tory”. What has been found from the s tudy and analysis of selected religious animation films in the 1390s SH. shows that color has a symbolic function in Iranian culture and Islamic mys ticism, and artis ts have used this in various explicit and implicit ways. The saints are often depicted in green and white and luminous faces, and the forces of evil in colors such as red and black. Angels also wore blue and gold cos tumes to symbolize the realm of dominion. The crys tallization of this approach and the symbolic use of color has been in accordance with the symbolic aspects in Iranian mys ticism and often with special attention to Qur’anic interpretations and has been reflected in the s tructure of religious animations of the 90s SH.