نشریه مطالعات عالی هنر
سال دوم شماره 4 (زمستان 1399)

Animation, due to the breadth of visual capacity and the multiplicity of techniques used in its construction, has the ability to occupy a large part of the audience’s emotions and, consequently, convey a message and bring very deep effects to the audience. On the other hand, the art of animation is not unrelated to society and its changes and developments. What is pursued as the aim of this study is the answer to this question: How social harms are reflected in short Iranian animations that have made it to international festivals have became? The method of the present research is applied in terms of purpose and descriptive-analytical in terms of method. Information was also obtained through library and field studies through conversations with some animators. The theoretical framework used in this research is Victoria Alexander’s theory of reflection. Studies have shown that the creators of animations in the mentioned statistical community, by looking at the social and cultural conditions, have reflected the harms and challenges related to society in their works as much as possible. In fact, due to the function of animation as a medium, artists in this field have used different elements such as narrative or visual elements to represent human relationships, cultural customs, moral and religious affairs, problems and social harms in society.

Pieter Bruegel the Elder as a narrator, inclined to involve all parts of the canvas surface to the events and to balance between human and animal actions which are expanded in different surfaces of the canvas. The art of Bruegel is the visual equivalent of lower and superior literature; he lived during the chaos and drastic socio-political transformation, when Protestant Reformation was in a complete destabilization and many of the old traditions and customs are endangered. Joining of catholic to fasting ceremony was the kind of the religious ceremonies which is criticized by Protestant Reformists severely and the soul of carnival is being repressed by the individuals of two parties. It was the issue which Bruegel translated it in the form of his special visual language and depicted smut criticism from the movement confliction of religious reformation. Ridiculous and funny forms, imitation and border crossing play important role in understanding of the Bruegel’s works. In this research the work of War between Carnival and fasters with emphasis on formalistic, aesthetic and sociological critique and also with examination of symbols and the meaning of work is investigated by analytical and descriptive approaches and documents and written sources are used in visual paintings. The visual effects of joke language and carnival games are inherent features of Bruegel’s works.

Graphic is an art related to society and the visual discourses of society such as advertising. In New Wave cinema advertisements in the 1340 and 1350, graphic designers worked with the New Wave (elite) cinema champ as clients. New Wave cinema is an art champ founded by a group of young filmmakers with the mental and social concerns of the time. This champ had a great ability to create different and artistic works that showed the pains of its contemporary society in an innovative structure. Therefore, a champ of principles that could provide a coherent and powerful form of expression was felt in the champ of advertising. According to the cultural and social capital of agents in both champs (New Wave Cinema champ and New Wave Cinema Advertising champ), this constructive connection emerged. New Wave movie commercials were formed in line with the concerns of this champ, and the agents of the Wave New Cinema advertising champ based their strategies on cultural and social capital. Pierre Bourdieu achieves a two-dimensional combination of objective and subjective structures by designing the Champ and Habitus in the champ of sociology, which allows researchers to study external factors as well as internal and individual factors that shape the strategy of agents. Achieve social. In this article, descriptive-analytical method is researched in the champ of advertising of new wave cinema films. The agents of this field are identified, their relationship with the agents of the New Wave cinema champ is studied, the effect of the power champ on the champ of visual communication is mentioned, and finally the analysis of the activities of the agents of this champ is based on their habitus and capital. The purpose of this analysis is to look at the art champ that has received less attention and also to pay less attention to the social analysis of this type of art champ.

Unlike Christians who illustrated the Bible to teach religious subjects, Muslims faced many barriers to draw religious imagery. The passage of time and diminishing strictures led some painters to depict historical and religious events. The presence of the Mongols in Iran also contributed to this process. Jami’ al-tawarikh is a work of literature and history, produced in the Mongol Ilkhanate and written by Rashīd al-Dīn Faḍlullāh in 8th AH in which the influence of Chinese, Byzantine and Sassanid art is evident. In this book, there are eight paintings of the Prophet of Islam, one of which is a picture of his birth. In Christianity, special attention is paid to the events of the birth of Jesus, Nativity, and is depicted in different ways. There is a fresco of the Nativity in the Arena Chapel in Italy, painted by the Italian painter and architect Giotto in 14th AD In this study, first, these two artworks have been studied separately. The historical background of each has been considered and their structure has been analyzed. Then, by comparative analysis of the two works of art, their similarities and differences are investigated. In the end, attention is paid to the different atmosphere of the two paintings and the cultural differences between the two environments in which these pieces of art are presented.

The process of the emergence and formation of a work of art has always been the concern of artists and researchers in art studies. The creation of artwork has also been the subject of educational programs due to its technical and technical aspects. This underscores the importance of studying the path of the creation of a work. This is possible through the genetic criticism and its methodological feasibility. Genetic criticism is one of the new critiques officially introduced in France in the second half of the twentieth century and from the 1970s and then in other countries. The object of this review is research into how the work was created. Unlike other reviews that study the final work, this review deals with factors influencing the creation of the text or work. Genetic criticism, like many critics, begins with literature, then enters the field of visual arts. And gradually, due to the synonyms in which it is used, it is considered by art critics. This article aims to explain the method of genetic analysis in the field of painting studies. For this purpose, the painting of The Virgin and Child with Saint Anne is studied. And the question is answered, how can the method of genetic criticism be used in the study and criticism of paintings? To answer this question, we must first collect the documentation of the text, including the pre-text, para-text, meta-text and hypertext, which are the main elements of genetic criticism. Therefore, using the descriptive-analytical method and following the model of formative analysis, we reach the stages of work development.

Zhang Xiaogang is one of the notable painters in the contemporary China. The article takes an analytic-interpretive study, considers Bloodline: Big family series by Xiaogang comparing. Zhang Xiaogang is one of the notable painters in China. The political and cultural circumstances that occurred during the cultural revolution in China, are both the main subject and spectrum of his artwork. Xiaogang precisely declares the cultural revolution and its impacts on fracturing the human and family identities. This article tries to study the perception of an artist from history and the fracture that caused the inception of the aforementioned political changes through pluralism and collectivism by investigating and redefining the incidents of the revolution that took place in the cultural and political system. Incidents of the revolution that took place in the cultural and political system. The system that was so important in the Chinese contemporary. There are several other artists who have undertaken the contemporary historic incidents in China. They are introduced and several works that have gone through the historic destiny of Chinese contemporary people are described. Besides, it could be hard to perceive these works unless the contemporary politics of China is taken into consideration. Therefore, sufficient explanations about political incidents like Communistic Revolution will be proposed. Considered the works by these artists that undertake the reaction to the unsaid history. The perception and the representation of the incidents of the cultural revolution is critically stated by Xiaogang. He puts what the communists and his leader, Mao, imagined for family and pluralism under scrutiny. Such criticism is recognizable in a selection of Bloodline: Big family series. Having been similar to a family album and the fact that people normally believe that the picture is the symbol of delighted memorable moments depicting the fracture and hidden villainy of human being.