نشریه هنرهای کاربردی
سال یکم شماره 2 (تابستان 1400)

The general principles of the Gestalt school, meaning "whole unit", were formulated by a group of German psychologists in the first half of the 20th century. This view is based on theories of how the viewer is organized from a set of simple visual elements that, when applied according to specific rules, are defined as groups in a single set and lead to the whole system of visual perception. The dynamics of this type of study in the field of visual arts are tied to the name of Rudolf Arnheim, a theorist and psychologist of art. The present article examines and analyzes the paintings of the Song period based on the principle of simplification of Gestalt school theory of "visual perception" narrated by Rudolf Arnheim. This article has been done by descriptive-analytical method and information has been collected by library method. The aim is to examine how to recognize the visual components in the visualization of a single concept, while highlighting the main elements of painting in this period. In total, by comparing the 7 parts of the article with each other, we can understand the Gestalt, ie the unity of the shape of the works and the separation of the main spaces of the paintings. Overall, with this result, it can be said that one of the reasons for the success of this painting, in addition to its mysterious aspects and its important subject in the field of Chinese meditation arts, is its relatively high adherence to Gestalt visual perception principles for better understanding. They help the audience. In fact, it can be summarized that the use of similar gestalts in color, the principle of proximity of the type of proximity of edge and contact and overlap, the principle of continuity, the principle of completion and integration and the principle of common destiny with strong prognosis to succeed. The extraordinary visuals of the painting in question have contributed significantly.

Balasar mosque is the remnant of an Iranian historical monument established in Ghaznavids, the Ghaznavid dynasty was a Persianate Muslim dynasty of Turkic mamluk origin at their greatest extent ruling large parts of Iran, Afghanistan, much of Transoxiana and the northwest Indian subcontinent from 977 to 1186. The entrance to the mosque was from inception on the west side (called as the porch of the Dar-al-Siyadah as one of the oldest porches extends from north to south in the west and southwest of the Imam Reza Shrine (the shrine in Mashhad, Iran is a complex which contains the mausoleum of Imam Reza, the eighth Imam of Twelver Shi‘ites); the reason for naming it is that this porch has been the place of gathering of Sadat and those belonging to the family of Imam Ali (as) since ancient times) and then was through the corridor behind the northern wall of the tomb, which is called the back corridor (Pas Posht) in later periods. The door of this mosque has been added to its main entrance after the construction of this building. Khalesi Door located in Balasar mosque is one of the valuable monuments of the Ilkhanid dynasty (the Ilkhanate, also spelled Il-khanate, known to the Mongols as Hülegü Ulus was a khanate established from the southwestern sector of the Mongol Empire, ruled by the Mongol House of Hulagu in Iran from 1253 to 1336 for 83 years), which is preserved at the Astan Quds Razavi Museum. During the repair and rebuilding of the Imam Reza Holy Shrine in this period, this door was built to order "Amir Abdul Hai ibn Amir Taher al-Musawi" for the Balasar mosque, which was joined to the shrine via a corridor. The structure and design of this door is in the form of frames and plates, the ornaments of this door has benefited from approaches, techniques and architectures such as geometric motifs, plant designs and arabesque decoration as well as inscriptions using several skills and techniques such as carving, wood carving, Latticework, Javak, Girih and Zomudgari. The purpose of this article were the attempts made to scrutinize and analysis the ornaments implemented on this door, aiming at classifying the utilized motifs and techniques, and to answer the question of what type of ornamentation has been employed on the Khalesi Door. The design of the present study was descriptive-analytical research of historical objects. The required data collection tools in this study was the sources andreferences related to library and field studies, manual techniques and the application of software to analyze the motifs. According to the findings obtained from the current study, most of the ornaments and the motifs were implemented by wood carving technique, which has been widely applied during the Ilkhanid dynasty. The Javak technique, known with Zil Khatam during this period, has been rarely performed and mainly in smaller instruments, such as bergamot, due to the difficulty of work and the type of materials utilized in the technique.

Metalworking artist Mahmoud Dehnavi is one of the famous metalworking artist in the field of contemporary Iranian engraving, whose works are kept in museums and private collections. Rhytons are one of the most important works of this artist, which have been designed and made inspired by the art of the Achaemenid period. Metal Rhytons with animal heads are important Applied and ritual works of the Achaemenid period and they have a lot of religious, ritual and artistic importance. Therefore, the importance of Rhytons and the source of inspiration for these works by Mahmoud Dehnavi, necessitates the present research and in this research, have been identified the properties of Achaemenid Rhytons and engraved Rhytons of Mahmoud Dehnavi and the similarities and differences of these works. Also, the questions raised in the present study include two cases: 1- What are the properties of Achaemenid Rhytons and engraving Rhytons of Metalworking artist Mahmoud Dehnavi? 2- What are the similarities and differences between the Achaemenid Rhytons and engraving Rhytons of Metalworking artist Mahmoud Dehnavi? In the present study, documentary information have been studied by descriptive-analytical method and comparative approach and case studies include 5 works of engraved Rhytons by Mahmoud Dehnavi, which includes a Rhyton with a horse's head and 4 Rhytons with a goat's head and these examples have been compared with two examples of Rhyton works with horses and goats head of Achaemenid period that are most similar to each other. The research findings also show that among the 4 engraved Rhytons of Master Dehnavi with a goat's head, 2 samples are most similar to the Achaemenid Rhyton and these are designed and made in a conical and elongated shape and the other two examples of Dehnavi's Rhytons are designed to be slightly rounder and more cylindrical. In the case of horse-shaped Rhytons, the Achaemenid sample is made with more elegance and more natural than the work of Master Dehnavi.

In Iran, the entrance of cities does not have a suitable position. Large-scale, unspecified entry limits, uneven growth, and lack of codified programs in organizing their development are among the reasons that have shaped the current situation. How the experience of space and user perception is one of the most important effective ways in determining the correct entry limit and qualities of the entry points of cities. In this study, using questionnaires, interviews, and field observations in the form of a combined model of Lynch, Nassar, and Appliard, objectives such as determining the boundaries and reviewing the eastern entrance of Sanandaj from the Hamedan axis are followed according to users' environmental perception and analysis of gender differences from the extracted maps of the above triple models. The uncertainty of the entrance boundaries of cities as one of the main obstacles of design, the multiplicity of views and diversity of opinions about the entrances of cities, made it necessary to conduct this research. The nature of the data is qualitative and documentary and library studies form the basis of interpreting the survey and field concepts used in this research. This article seeks to answer the question that despite the existence of gender differences among all members of society, which originate from cultural, social, education, age, etc., a specific framework for gender differences in the perception of entry points can be considered? Findings of the study, while confirming the existence of perceptual differences based on gender, according to what was obtained in the process of collecting cognitive maps and interviews with statistical samples, in the form of seven criteria "orientation, position recognition, range visualization, scale, proportions, qualities, Details »A common framework between women and men maps was developed and discussed.

Up to now, it has not been discovered any piece of works of Shiraz miniatures from the beginning to 13th century A.D/7th century A.H. But it has to take in consideration that the remaining works after the mid-13th century A.D/mid-7th century A.H have an ancient history and emerged out of this city’s historical background of developing miniature trends.This research aims to gather more information about two remaining manuscripts from the school of Shiraz’s Injuids, named as 731 Shahnama (Istanbul edition) and 733 Shahnama (St. Petersburg edition) by Comparative survey methodology.One of the significant schools of Persian art is Shiraz school in which, the dynasties of Injuids tried to revive the ancient Persian glory to strengthen their reign against their enemies. Shiraz always has been one of the important centers in this way. Although there have been many surveys about Persian miniatures, none of which has researched these two masterpieces or at least have not surveyed them in a research to understand their traits.These two surveyed manuscripts have the General features of Persian art in the other historical eras, so the survey, study and identification of them seems to be necessary. The findings and outcomes of the research indicates that the influences of Chinese art in them are far less, compared to school of Tabriz. It can be said that the impacts of the Sassanid art Patterns in this manuscripts are clear and obvious. This visual patterns came out of Shiraz’s social and political changes in that period of time and undoubtedly the tendencies of Shiraz’s dynasties in reviving the ancient Persia (Sassanid era), has a big impact in this approach which caused preservation and resuscitation of Persian art patterns.

Molded pottery works from the era of Seljuq dynasty constitute a manmade artifact which provides an appropriate context for anthropological studies due to it being affordable, abundant, and easily accessible. One of the cultural symbols and signs frequently seen in molded pottery artifacts involves the illustrations of the constellations, commonly utilized in the era of Seljuq dynasty. Due to the fact that during the reign of the Seljuq dynasty, astronomy flourished and became mainstream while Iranian scientists became more involved in this field, these illustrations gradually became prominent symbols for the constellations. Semiotics is a science, whose founder can be considered Ferdinand de Saussure, because of his Signified and Signifier theory, which quickly spread in literature and lexicology. And Pierce divided that theory into three parts; icon, index and symbol, the most important part of which is symbol, and constellations are not an exception, and they can be examined in this part. Through evaluating the specimens collected from Shadyakh Islamic Compound, located in the southeastern part of Nishabur, which was the official settlement of the people of Nishabur from the third century AH until the seventh century AH, the current study tries to perform a semiotics investigation and evaluation on the illustrations of the constellations on the pottery works discovered from this compound. The main goal of the current study is to trace the symbols of constellations on the molded pottery works as well as the impacts metalworking might have had on this art. The main question is how the position and prominence of these symbols impacted the advancement and progress of the science of astronomy. It seems that during the reign of the Seljuq dynasty, due to the presence of many scientists as well as the expansion of the arts of metalworking and pottery, the illustrations of constellations gained such a special prominence among artists that they would often utilize such illustrations both as ornaments and as a means to educate people.