نشریه نامه هنرهای تجسمی و کاربردی
پیاپی 31 (بهار 1400)

The mythological field of human life history has always been one of the interesting fields of attention in relation to the analytical study of the history of human societies and the schools of thought belonging to them. Myth is, in fact, the manifestation of the social aspirations and aspirations of human beings who have common cultural components and, in order to have a deeper understanding and greater language in praise of the values ​​specific to those ideals, know They have given a visual form. Mythical thinking has a spirit full of praise and sometimes even worship and has gradually become a sacred thing. This approach arises from the inner desire of man to praise forces beyond himself and can include different aspects of his life. Areas such as love, power, natural instincts, the forces of nature, the passage of time, the cosmic and celestial structure of the planets, warfare, fertility, blessing, fertility and thousands of other areas, each of which has a place in the common life of human societies. Dedicated to themselves and given.The mysterious and wonderful realm of the holy Quran, in the form of pre-Islamic Prophets’ stories and tribes, has caused the emergence of various imaginary and mythical icons in a variety of illustrated manuscripts of texts with religious content, such as Islamic accounts of The Ascension (Meraj-Nameh). In addition to similar comparisons which are more or less observed between the abstract and sacred creatures like the angels, there exist some differences and even deep contradictions in previous mythology and Islam, some of which originated from revelation and some others had an imaginary and man-made origin. In this study, the account on the Ascension of the holy prophet of Islam has been discussed from one of the imaginary storytelling aspects in Islam to find the similarities and differences with Islamic mythology and a book called “ Asatir-al-Awalin” which translates as “the first mythologies”. A case study was conducted on the chosen copies of Meraj-Nameh during three periods of Ilkhani, Timurid and Qajar. The aim of this study was to achieve a comparative aesthetic in the application of imaginary and mythical elements in the illustrations used in Meraj-Nameh in the above-mentioned periods and a comparison between imaginary and historical mystical figures. This study is of fundamental nature and was carried out through a historical-descriptive methodology and the data were collected in a comparative way through library and online sources. The review of literature in the areas of the interpretation of the Qur'an, the narrations of the Ascension of the holy prophet of Islam, mythological studies, history of Persian painting and the history of religions have been used and finally it has been shown that many of the previous mystical figures share similarities in terms of ontology and they have some differences with regard to identity and meaning with Islamic mystical figures in the story of the ascension in the above-mentioned editions. And also in terms of visual arts aesthetics include more or less similar forms.

Studying the previous researches carried out in each area and extracting their weaknesses and strengths has a special impact in improving the quality of next researches in that area. The field of HandiCrafts, has a special importance in scientific researches due to its deep roots in the people's culture, and it is also at risk of research poverty due to its practical nature. The current study aimed at evaluating HandiCrafts master theses at Art University to extract their weaknesses and strengths, has reviewed intended theses based on the criteria obtained from the method approved by the University of Art in the field of master's thesis writing. The study based on its purpose is an applied type and the research method is qualitative-analysis. Descriptive statistical techniques and content analysis method have been used to analyze the data. The method of data collection is library and documention, and the tool used is the researcher-made questionnaire include structural features of a thesis includes title, research generalities, methodology, research background, data presentation method, analysis and conclusion, sources and references, basic features and appendices, which its reliability was measured using Cronbach's alpha coefficient and its validation confirmed by the relevant masters. The results of analysis of research data indicate that in general, the theses on the tendency of design and production toward the trend of traditional arts research have a higher quality, and the most important weaknesses of the theses are related to the generalities of research, data analysis and scientific outputs of theses. Studying the previous researches carried out in each area and extracting their weaknesses and strengths has a special impact in improving the quality of next researches in that area. The field of HandiCrafts, has a special importance in scientific researches due to its deep roots in the people's culture, and it is also at risk of research poverty due to its practical nature. The current study aimed at evaluating HandiCrafts master theses at Art University to extract their weaknesses and strengths, has reviewed intended theses based on the criteria obtained from the method approved by the University of Art in the field of master's thesis writing. The study based on its purpose is an applied type and the research method is qualitative-analysis. Descriptive statistical techniques and content analysis method have been used to analyze the data. The method of data collection is library and documention, and the tool used is the researcher-made questionnaire include structural features of a thesis includes title, research generalities, methodology, research background, data presentation method, analysis and conclusion, sources and references, basic features and appendices, which its reliability was measured using Cronbach's alpha coefficient and its validation confirmed by the relevant masters. The results of analysis of research data indicate that in general, the theses on the tendency of design and production toward the trend of traditional arts research have a higher quality, and the most important weaknesses of the theses are related to the generalities of research, data analysis and scientific outputs of theses.

The story of the giant ʿUj, which was rooted in Israʾiliyyat, has penetrated into the works of Muslim authors since the early Islamic period. The earliest sources of these legends were a group of mostly converted Jews. In Islamic texts, ʿUj is regarded as an infidel confronted with the prophets, and thus symbolises the adversaries of the true religion throughout history. He was so tall that at the time of the Flood, the water only reached up to his knee. When he was hungry, he plunged his hand into the sea and brought out fish which he could roast by holding them in front of the sun. He was killed by a strike of Moses’ staff to his ankle bone. This legend received much attention from the Persian artists of the medieval period. Images of ʿUj beside Noah’s ark, and especially his combat with Moses can be found in books on history, Qisas al-anbiya, Ajaʾib al-makhluqat and Falnama. This paper surveys the origins and development of ʿUj’s legend in Islamic culture, and on the other hand, analyses the evolution of the iconography of ʿUj in Persian art. What have been penetrated into the Islamic texts are those narratives which are rooted in the Talmud not the Bible. In the Bible, ʿUj, who was left of the remaining Rephaim, is described as a giant of realistic dimensions, while in the Talmud he became a figure of monstrous proportions. The oldest known illustration of ʿUj in Islamic art, which dates to 1280, shows a bearded giant, wearing short trousers, while striding to the left. In the early fourteenth century, a part of the sun was added to the iconography of ʿUj that indicates the attempt of the artist to represent his stature comparable with the height of the sun. It seems that the most important epoch in establishing the iconography of ʿUj was the Jalayirid period. For the first time, the Jalayirid artist depicted the half-naked ʿUj with a short skirt, black beard and an oval rock around his neck. This icon was frequently utilized in the Persian painting of the following centuries. The depiction of ʿUj, who wears a short skirt, is reminiscent of the traditional representation of demons in Central Asian art. The interest of the Timurid artists in depicting the giant ʿUj is evident from the fact that they added his figure into the iconography of Noah’s Ark. They portrayed ʿUj standing beside the ship with a fish in his hand. Most of the Timurid images to the combat between Moses and ʿUj follow the iconography that was established under the Jalayirids. In the sixteenth-century paintings, the gestures of ʿUj are based on those of the earlier centuries, and the height of ʿUj is still four time larger than Moses. However, the exception is the Falnama paintings, which show Moses’ stature approximately half that of ʿUj. Based on Safavid aesthetic, in the background of these illustrations, an urban landscape or a group of onlookers was added to the paintings.

Type(script) is the most important indicator in graphic design. Graphic designers are to deal with both form and content of the script. The proper use of the writing forms contributes to the exact transferring of the concepts and meanings as well as sounds and tones of voice intended by the author to the audience. The experience and research in regard of working on scripts has been repeatedly conducted in the area of Persian scripts but the emotions, personalities and tones of voice latent in the written forms of Persian language have been less frequently taken into account. The present study tries analyzing the body font in the forms of the Persian typefaces so as to come up with a solution for the extraction of the existent properties and establish a deeper relationship with them. The method is based on the form analysis of the characters of the four typefaces from two different groups followed by the analysis of these findings in the statistical population (the students of graphic design). The accomplishments of the present study which is the result of the highly repeated notions of the study population are indicative of the idea that the formal properties can influence the personality, tone of voice and emotions induced by the typefaces. The present study is effective in elevating the visual perception of the naive designers in terms of the correct selection and application of the typefaces considering the work subject and the audience type. Moreover, the importance of these properties is more clear when type designers design their typesfaces. Type(script) is the most important indicator in graphic design. Graphic designers are to deal with both form and content of the script. The proper use of the writing forms contributes to the exact transferring of the concepts and meanings as well as sounds and tones of voice intended by the author to the audience. The experience and research in regard of working on scripts has been repeatedly conducted in the area of Persian scripts but the emotions, personalities and tones of voice latent in the written forms of Persian language have been less frequently taken into account. The present study tries analyzing the body font in the forms of the Persian typefaces so as to come up with a solution for the extraction of the existent properties and establish a deeper relationship with them. The method is based on the form analysis of the characters of the four typefaces from two different groups followed by the analysis of these findings in the statistical population (the students of graphic design). The accomplishments of the present study which is the result of the highly repeated notions of the study population are indicative of the idea that the formal properties can influence the personality, tone of voice and emotions induced by the typefaces.

Our knowledge of the seals of the early centuries of Islamic Iran in Iran is very little. So far, limited traces of these seals have been found in archeological excavations in sites such as Neyshābūr, Siraf and Kangavar. Also, a small number of these seals are in museums and private collections. One of the valuable collections of seals of the early centuries of Islam is kept in the National Museum of Iran, which have not been studied so far. Therefore, studying the seals in the National Museum can partially compensate for the lack of information about the seals of this period. The purpose of this article is to identify the typology of these seals, and to find out the time of construction as well as the artistic style used in these seals. Using a descriptive-analytical method, this article is an attempt to introduce these stamps and to typologically investigate and analyze the writing style and decorations used in them. Finally, the information obtained from these stamps with similar stamps has been measured and evaluated. The results of this study show that the seals of the National Museum of Iran can be classified as ring seals and, in terms of shape, in two groups of quadrangular and oval with a flat surface. The seals are made of opal and hematite and their line is of the Kufic type, which is divided into five types. Apart from a seal that has a geometric pattern on the border, other seals have no decorations. In terms of the writing style, the collection of seals under study is dated in the period from the second to the sixth century AH. These stamps seem to have been used for personal use due to the short scripts on them. For engraving on seals, a shallow shaving method has been used. The lines of the seals are negatively engraved and, in their design, the dimensions of the seals are taken into account so that the height and length of the lines are in harmony with the dimensions of the seals. The sealings are simple phrases and, in terms of content, they can be categorized into two types of religious phrases and people’s names. The first type, which is seen in four of the seals in the collection (seals No. 1, 2, 4, 5), includes phrases that show aspects of Islamic beliefs in praising God, asking for help, and request forgiveness from God. The second type is seen only in one seal (Seal No. 3), in which the abbreviated name of the owner of the seal, whose identity is not known, is stated. Examination of the seals shows that both rectangular and oval shapes were used to engrave verses of the prayer and the name of the owner of the seal. Also, from a functional point of view, the introduced set of stamps should be considered as personal stamps because these stamps do not have official government titles or names related to the administrative geography of the Islamic era.

There are several definitions of "art criticism"; But many scholars consider all kinds of critical writing, including theoretical texts, articles, notes, and reviews of visual art exhibitions that discuss and interpret works of art and their evaluation, as "visual critique." Based on such a definition of criticism, the present article has formatted "Critique of Visual Arts in Persian Language Press" in the 1390s. Research shows that there are four different media streams for publishing reviews, including 1- academic journals 2- specialized journals 3- press and 4- cyberspace. The main purpose of this study is to find the most important features and components of visual critique in each of the above four contexts. This article seeks to answer the question of how visual critiques can be formatted based on structure, form, tone, and other linguistic features. To achieve this goal, structural coding tools have been used as a way to categorize and analyze qualitative data. The statistical population and sample selection were also collected by purposeful sampling method from academic art journals, specialized visual journals, press and online journals. The components are analyzed based on the following three categories: A) Extent of reliance and citation of studied texts on theories of humanities and methods of scientific research B) the importance of the form, structure or style of works of art for criticism; And c) the degree of attention to the views, personality and biography of the artist for art criticism. Based on the results of this study, it can be said that the Release media of critical texts has a significant relationship with the tone, form and structure of these texts, so that academic critics have paid more attention to theories and less attention to the personality or life of the artist. Reviews published in specialized journals focus more on art style. Press reviews are more interested in studying the artist's life and opinions. There are several definitions of "art criticism"; But many scholars consider all kinds of critical writing, including theoretical texts, articles, notes, and reviews of visual art exhibitions that discuss and interpret works of art and their evaluation, as "visual critique." Based on such a definition of criticism, the present article has formatted "Critique of Visual Arts in Persian Language Press" in the 1390s. Research shows that there are four different media streams for publishing reviews, including 1- academic journals 2- specialized journals 3- press and 4- cyberspace. The main purpose of this study is to find the most important features and components of visual critique in each of the above four contexts. This article seeks to answer the question of how visual critiques can be formatted based on structure, form, tone, and other linguistic features. To achieve this goal, structural coding tools have been used as a way to categorize and analyze qualitative data. The statistical population and sample selection were also collected by purposeful sampling method from academic art journals, specialized visual journals, press and online journals.