نشریه پیکره
پیاپی 22 (زمستان 1399)

The design training relies on dynamic, collaborative and creative processes. Regardless of the inherent differences between the humanities, engineering and/or other fields with the art and design disciplines, the teacher-centered classroom platforms do not have the proper facilities in order to provide dynamic and creative processes. This serves as a challenge for the virtual training of practical, workshop and design courses which require studio spaces.

The present study aims to share the lessons learned in using parallel tools and strategies in order to bring dynamic, collaborative and creative learning pro cesses to the design studio classes.

The current research is a qualitative type and has been conducted by design-based research (DBR) method. This research method has been found to be appropriate for the present study due to the inclusion of repetitive cycles of the design, evaluation and redesign.

The obtained themes including the possibility of teamwork, being multimedia, time management by the student with focus and productivity, observation of the learning and thinking process with the possibility of correction and improvement, and the need for digital literacy with codes extracted from data as the analysis unit were used in the qualitative method of the research. In this paper, lessons learned from two different virtual design studios have been examined using Padlet platform.

The current atmosphere of the society has directed many workshop and laboratory courses in some academic and educational fields towards e-learning, although being associated with many challenges in the education, especially learning and virtual communications of the students. Although electronic learning (e-learning) has been common in many theoretical courses in some fields and universities since previous years, today the nature of e-learning, requires the need to carefully examine the factors affecting learning and effective teaching methods with emphasis on e-learning management systems, virtual classrooms and associated activities, etc. However, such issues have always criticized the e-learning and virtual learning in a variety of contexts and approaches.

The present study, while introducing some effective learning methods in some courses with the aim of investigating the e-learning system in the case of art workshop courses and effective factors, has dealt with various approaches in this field and explored the existing and forthcoming challenges with a pathological approach in this space.

This research has been carried out in a descriptive-analytical manner and based on the content analysis of related topics, by predicting the future possibilities in this area, and has benefited from the documentary and library studies.

In the e-learning system, the main burden falls on the learning part, not electronics. The present analysis can pave the way for proper planning proportionate to the effective teaching and learning technique. There are some suggested educational capacities and methods in the way of giving exams or starting classes throughout the country, which are mentioned in the suggestions section.

The strengths, weaknesses, opportunities and threats (SWOT) analysis is one of the strategic planning approaches used to evaluate the status of a plan or strategy. The strengths describe which aspects of a topic or part of an organization are superior and what distinguishes it apart from the competitors. The weaknesses stop the effectiveness of a strategy at its desired level. Moreover, the opportunities indicate the desirable external factors which can provide the target strategy with a competitive advantage, while threats point out to the factors that are likely to harm the organization or its strategies. It should be noted that this method, in addition to the strategic planning, is generally employed in the situation analysis. In fact, this analysis is considered as an effective tool for identifying the environmental conditions and internal capabilities of a system.

The present research is based on the collected experiences of online education in the field of art, especially with practical content, which has been proposed and employed as an effective strategy in the field of education along with in-person training on the basis of the coronavirus pandemic conditions and its limitations.

The current study has been conducted by collecting a questionnaire and analyzing the data in an indirect manner with the aim of avoiding the inclusion of tastes in the research findings. The SWOT analysis las been also performed using a quadruple standard worksheet.

The research has been mainly focused on the use of creative methods by the teacher to induce the spirit of active participation and collaboration in order to enhance the learning experience of the students. It is known that the practical skills training is not possible except through the synergistic interactions resulting from active participation. The results illustrate the importance of evaluating the strengths and weaknesses of the strategy in achieving the desired results for the novel techniques.

Tahmasebi Shahnameh is an exquisite manuscript of Ferdowsi Shahnameh which belongs to the tenth century AD. This edition contains 258 paintings of the legends, myths, epic poems and stories of Shahnameh in 1200 pages, illustrated by the most prominent painters and calligraphers of the Safavid era. The paintings of Tahmasebi Shahnameh are of great artistic value and many decorative motifs have been employed in them. The geometric decorative motifs are considered as the most prominent and common ones in these paintings. The painting of Zahak dream is one of the drawings of this Shahnameh in which many decorative geometric motifs can be observed in various and beautiful compositions. The important place of geometric decorative motifs in Islamic art decorations, especially painting, has been the main concentration of the present research. It has been attempted to answer the question that what is the maximum number of repetitions of geometric motifs in this drawing?

The present study aims to quantitatively and qualitatively identify the decorative and geometric patterns of Zahak dream painting as an important Iranian visual documents.

The required information has been collected from library sources and historical documents and have been presented with a qualitative approach and in a descriptive-analytical manner.

The present results indicated that a number of 26 geometric compositions are present in Zahak dream painting of Tahmasebi Shahnameh. These compositions are composed of 19 types of geometric patterns, among which, the geometric patterns, regular hexagons and sun sixes met the highest amount of repetition in the studied drawing, respectively.

Iranian painting totally represents the world of exemplification. This is mainly due to the desire of past painters to discover and display this heavenly world through imagination and themes such as stories and narratives. The display of the world of exemplification has not been limited to the past, and contemporary artists has also sought to exhibit this world in their works, and this has been an appropriate context for their creativity. The present study addresses the way to create the world of exemplification in the past and contemporary artworks and also the difference between its representations in the works of contemporary artists such as Farshchian, Darroudi and Hosseini in comparison with the past of Iranian painting.

The purpose of the current study is to examine and analyze how to display the world of exemplification in the past painting and to know how it emerges in the artworks of some contemporary Iranian painters.

The present findings are qualitative and are presented in a descriptive-analytical manner. The required information has been also collected through library resources.

The results of this study indicated that in the past, artists paid attention to the imagination to draw the world of exemplification and the contemporary artists have also benefited from this ability. The difference is that today every artist uses his own way of expression to demonstrate the power of imagination, while in the past, artists usually followed a certain style. For example, Farshchian by eliminating the reality and paying attention to the stories and narratives, Darroudi by disrupting the reality and imagination and creating unknown spaces, and finally Hosseini by displaying the reality but in the way that the artist imagines, have illustrated their powers of imagination.

Saqakhaneh is one of the most significant artistic movements of the fortieth decade in Iran, which was formed with a traditionalist as well as modernist approach, proportionate to the time. The artists attributed to this movement, while respecting the ancient visual elements, created artworks that are dependent on the past, but at the same time different from it. What brings this group’s viewpoint somewhat closer to Shklovsky’s view of defamiliarization is the preference for the past. Shklovsky believes that everyday life is based upon the habit, and these habits make us be disrespectful of our surroundings. The need to change attitudes is also felt from this point, one of the approaches of which is defamiliarization. According to the mentioned points, the question is to what extent is Shklovsky’s theory of familiarization capable of being illustrated and expressed in the works of Saqakhaneh painters, and how did the influence of the artists of this movement on Iranian painting continue?

The present study aims to examine the thinking and ideas of Shklovsky and its adaptation to the approach of Saqakhaneh artists.

The historical-correlation method has been employed to achieve the desired results. The present data collection has been conducted by reading the image and viewing the works existing in the libraries and databases.

In this research, it was found that the artworks associated with the Saqakhaneh artistic movement can be considered within the framework of Shklovsky’s theory of defamiliarization. Although the Saqakhaneh school ceased with the end of this group’s working, then artist’s experiences had a lasting effect on the contemporary Iranian painting, and this thinking was pursued in various ways in the following decades.