مجله رهپویه هنر
سال چهارم شماره 3 (پیاپی 12، پاییز 1400)

Man thinks with language, symbols and myths and interacts with his surroundings. Myth and art have a common theme because they both speak of the unconscious. The reproduction of ancient myths in contemporary paintings also shows this connection and interest. Prominent anthropologist and mythologist Claude Levi-Strauss, one of the pioneers of structuralist theory, considers human thinking to be dialectical. In other words, man resolves the conflicts of his life through double confrontations. Thus, from the point of view of Levi-Strauss, the distinctive feature of mythology is the elimination or, in a more precise sense, the modification of the contrasts it expresses. Complex and unsolvable confrontations such as the confrontation between culture and nature as well as the confrontation of life and death. And myths help man to solve his problems by creating similar but solvable contradictions and putting them next to unsolvable contradictions. Thus, for Strauss, myth is the search to find the immutable among superficial differences. In this way, myth according to Levi-Strauss can have different functions such as moral function, social function, cultural function and psychological function. Iranian painters, along with artists around the world, have paid special attention to the function of myth in art. Based on their individual and social experiences, they have addressed their concerns in their own way through the creation of works of art.The aim of this study was to investigate the dual structural contrasts with the sociological function of myth based on the views of Levi-Strauss and how it is reflected in contemporary Iranian painting.The main research questions are: 1. What are the effective factors in the formation of the sociological function of myth in contemporary Iranian painting? 2. How has myth, based on the views of Levi-Strauss, found a sociological function in Iranian painting? This research has been completed by descriptive-analytical method based on library studies and observation of works.The studied works have been selected from the works of contemporary Iranian painters by judgmental sampling method. Each of the contemporary artists studied, in terms of individual and social experiences, has addressed their concerns in their own way through the creation of works of art; Therefore, the factors influencing the formation of the sociological function of myth in the works of art are different.The results of the research show that contemporary Iranian artists, relying on Iranian myths, have resorted to research and search to find a way to their ideal world. This reliance on Iranian myths has been to such an extent that these artists, in their quest to achieve human values and criticize inhuman temperament, have also given Iranian aspects to Western myths, using symbolic methods of variety in their works. Their painting has emerged, which can be explained by the views of Levi-Strauss.

According to the excavations, Luristan region has been inhabited for a long time. The evolution of time and various natural events have enabled the evolution of civilization in that region and its inhabitants have made progress due to this evolution and gradually created a more complete life by inventing and creating new tools and instruments. Early Iranian plateau in the Zagros region, we can name the lithographs of stone shelters in Luristan region such as Humian, Mir Molasses and  Dusheh Cave. Among them, Dusheh Cave with lithographs that are about two thousand years old, has been studied in this article. Dusheh Cave is a historical and natural monument located in the village of “Karshorab” in the “Chegni” section of Luristan. Regarding Dusheh Cave, unfortunately, despite the large number of images available, little research has been done and as a result, resources for the present study are very limited. This cave was first discovered by “Hamid Izadpanah”. He took photographs of the lithographs of this cave and in the first volume of his book entitled “Ancient and historical monuments of  Luristan” which was published in July 1353, he described the lithographs of this cave. On the flat walls of this cave are painted about one hundred and ten black carvings. Most of the cave motifs depict people fighting and hunting and animals on the battlefield. In them, humans are depicted on horseback or on foot, mostly shooting and fighting. Animals such as horses, goats and wolf-like animals are engraved on the walls of this cave. Also, this cave has two inscriptions, which today is half of an inscription that remains. Considering the main purpose of this article, which was to explain the formal features of the lithographs of Dusheh Cave, the question is as follows: What are the visual characteristics of the lithographs of Dusheh Cave? The present study is qualitative in nature and will analyze the data with a descriptive-analytical method and collecting information from library sources. The results of this research show that the designs of Dusheh cave have been drawn on the walls of the cave in an abstract and narrative manner. In some of these motifs, we see depth and distortion of proportions. Also, the color in all the works is black and no volume has been done in the pictures. One of the main features of the lithographs of Dusheh Cave is the narrative aspect of the designs. In some scenes of Dusheh cave motifs, especially the battlefield scene, the viewer sees images in which a story of war, how to fight and defend the attacked people can be seen. Another motif is the role of the mountain goat, which has been widely used in different periods, and in these petroglyphs, they have been drawn in profile and in a picture with a profile body and an all-red head. The important point is that during the comments made, most of these motifs have been destroyed today and no trace of them remains except some images.

Roland Barthes’s work in semiotics, the study of symbols and signs, gave rise to a kind of process from structuralism to poststructuralism. The most enduring concept for Barthes, which was constantly taking on broader themes, is the concept of text. This feature made the text more than just written and alphabetic symbols. The photograph, like the sign system, is different from the text but is always confined to language and meaning, and Barthes sought to read the image, and especially the photograph, through semiotics. He believed that the photograph signified, more than it reflected, or represented reality. The signs and things that are considered important for the viewer as a reader of the photo, formed the basis of interpretation and analysis. In the present study, the following questions are answered. First, what are Barthes’ semiotic features in text and image? Second, what transition occurs in this reading of Bart’s semiotics from structuralism to poststructuralism? Finally, how are Bart’s semiotic concepts introduced in the photograph? The research method is descriptive-analytical and data collection has been done using library resources. The tools of semiotic approach in text analysis are briefly described and their role and importance in photo analysis and reading are explained.  In Barthes’s semiotic approach, the mythology of the new analytical system, based on implicit and explicit implications, creates more design and function to analyze how meaning and visual representation are conveyed, using only words as linguistic cues. He sought a wider range of cultural actions in the linguistic model. For semantics, which means the search for the fixed meaning of a sign, Barth moves to semantics, in which a meaning is created by the reader. That is, to give up finding a final meaning to a chain of signs or to move from structuralism to poststructuralism. The fundamental result of this research in Barthes’s poststructuralist process is the image as text, the reader and the viewer or the audience as a creative artist, which increases the semantic range. There is independent research on Barthes, semiotics, and theoretical analysis of his ideas about the structure of the literary work and his pattern in the practical critique, narrative, or semiotic reading of literary works. Photo or text and image are not done. Therefore, the author tries to express the role and importance of these tools in reading photos, relying on descriptive and analytical approaches, semiotics in text analysis. The exclusion of the author in the text has been an important step in that the hypertext becomes a force against the past, which not only finds the power to enter and occupy the text, sometimes takes the place of the author and especially in relation to the authorial text, in which the audience creates the meaning of the work as the author, is emphasized in photography by the word punctum in a bright room. The photo viewer or viewer is in fact the same audience as a creative artist can add to the semantic range of the work.

Cultural policymakers invite artists from the studio to the public space to make art public. But their selection from works of art is often politically motivated. Public art is linked to politics. Especially at important durations such as revolutionary events. In Iran, too, the Islamic Revolution had a profound effect on the meaning of public art, or art that can (or should) become public. After the revolution, some works of art were removed from the public space and replaced, and new works of art were displayed as memorials and murals. Artistic monuments are in line with political goals and reproduce political discourse. During the revolution, many artists became line up with this popular movement. Of course, just as in the years after the victory of the revolution there was a difference between the revolutionary forces with religious, liberal and Marxist tendencies, there was a difference of opinion in the definition of public art and art that should come to the public space. Just as religious forces overcame other revolutionary forces, religious arts with a religious orientation prevailed over other trends in the definition of public art.  Public art in Iran was a revolutionary art that was influenced on the one hand by Marxist tendencies and Latin American art, and on the other hand by religious views. The mural was derived from the conditions of the revolution and the visual language of the revolution, which continued in the following decades. Of course, with the political developments, the form and theme of the mural also changed.The goal of this article is how murals have become a visual representation of political discourses and manifestation of the systems of power. This study focuses specifically on murals from the 1980s, as its legacy was emphasized by cultural policymakers in Iran in later decades. Therefore, the main question of this research is this, what was the cause and context of the formation of mural painting in this decade? The methodology of this article to answer this question is qualitative and based on a grounded approach (Grounded Theory). The trend study in this research is based on documents, conversations and observations to describe the paradigm model (causal, intervening, strategy, consequence and context) of the emergence of the mural phenomenon. The results showed how the purification discourse and Cultural cleansing produced a form of public art with signs of enduring values, political unity, and the cohesion of collective morality in the 1980s. This movement of art, which can be described as committed art and Maktabi Art, included a picture of Shiite thought in murals, political messages and manifestations, and unifying themes.

Iranian painting has always been of interest to researchers and many of them believe that Iranian painting is the manifestation of the Imaginal world and the artist depicts it through the intuition of the Imaginal world and its preservation in the imagination. But recently, this theory has been criticized by some researchers and its drawbacks have been studied. The painting of the court of Kiomars by Sultan Mohammad in Shahnameh of shah Tahmasp as one of the most prominent works of Iranian painting is a suitable case for study and analysis and has attracted the attention of many researchers. In this article, the position of the Imaginal world in the analysis of The Court of Kiomars painting has been studied with a critical approach to the traditionalists' view on Iranian painting. This research has been done by descriptive-analytical method. In this painting, Sultan Mohammad has created an imaginary nature by combining warm and cold colors.  The colors in this picture are incredibly bright and pure. Most of the researchers believe that this painting is the manifestation of the Imaginal world. Most of these studies have interpreted Iranian painting based on the views of traditionalists and have followed their path. But reading paintings with this approach has its drawbacks. According to the results of this research, this painting can be considered on the border between abstraction and realism. Realism disappears in some visual elements and provides an opportunity to create an ideal world. Although many elements in this picture call the audience's mind to the Imaginal world, but it can not be considered as an example from the Imaginal world.Certainly, the field of research in Iranian painting is so vast that it is not possible to generalize a specific theory to all paintings. Each of the paintings are created in different conditions, and many factors have a great impact on the creation of a painting such as the artist's skill, his beliefs and adherence to mystical principles and painting, the client, the subject of the work, the space of creation, the available facilities, the pre-painting tradition, historical and cultural conditions and many other factors. So the analysis can’t be based on just one of these factors.Eventually, according to what has been said about the Imaginal world and Iranian painting, the Imaginal world can not take the form of a materialistic painting. After all, what is depicted is all about the material world and It is difficult for people to perceive the Imaginal world and it is not perceived by the senses. It takes a lot of struggle to reach a level where the forms of that world can be seen by the artist and Such a position can not be considered general for all painters. Also, due to the imaginative nature of the image, it can not be attributed to the Imaginal world and suspended forms.

Needlework or Balochi embroidery is an art with history as long as the history of Sistan and Baluchestan. This art, rooted in the fabric of tribal life, reflects the taste of women in the mirror of eternal designs. The present paper intends to introduce, classify and provide a formal and semantic analysis of the main patterns and sewing techniques of Balochi needlework. So what are the most common designs used in needlework? And what are the factors affecting their creation? The authors first review and introduce the Balochi needlework designs, then study it in terms of form, category, and also in terms of content. Due to the lack of information on libraries, villages and cities in the Makran region and the borders of Sistan and Baluchestan, including Chabahar, Nikshahr, Iranshahr, Qasemabad Bampour, Irandegan, Marandgan, Saravan, Khash and Zahedan with field observations including interviews and questioning of artists acting needlework in naming and classifying patterns, used to analyze the subject. The results show that:Studies of the patterns and designs of traditional arts in terms of their oral transmission over the centuries, due to the lack of familiarity of many researchers with the concepts and language common among the local producers of these products have always encountered numerous problems. In answer to the research question, it should be stated that the most widely used Balochi needlework motifs include animal, plant, geometric and cosmic motifs. Human figures were not seen in this art, because of the beliefs adhered to in Baluch, but because of some of the signs that it has on humans or any other object, they adopt its name. Animal motifs were also seen more abstractly in Balochi needlework, which in most cases may have no resemblance to the original form of the animal, with only signs or part of the animal in the motifs, such as the death of a punch (chicken footprint). Due to the lack of flowers in Balochistan, plant motifs have led needlework to combine several geometric patterns to create works. These designs are sometimes completely abstract and sometimes realistic. Cosmic motifs include the moon and the sun and large and small stars, among other motifs, which are used to design these motifs of seals or hills. In Balochistan, colors have been influenced by tribal, historical and epic principles. Red, purple, crimson, orange, brown, and red in general make up 80 percent of color choices. In the villages, the pure color of the artist’s mind has been used, but in the city they have changed due to cultural and social influences. The way of life and the environment around the Baloch artist have been appeared so much in his designs and motifs that the play of colors and his emphasis on a number of designs can be clearly seen during his life; for this reason, some designs are specific to a city or village. In the dry and hot desert of Balochistan, a Baloch woman pursues her aspirations by creating the role of flowers, plants and combining colors, and creating a colorful and beautiful nature that is formed in her thoughts.

Industrial designers, as producers of products and services that are related to the life of each individual, have an undeniable role in maintaining the relationship between society and industry. The state employment statistics have revealed that the employment status of industrial designer graduates is not in compliance with the growth of their number. This has resulted in certain problems regarding educational system philosophy. Apparently, job applicants including those academic graduates need several skills which are not in conjunction with those of the market demands. Undoubtedly, reviewing the industrial design educational system in accordance with the cultural structure of the country and improving the educational structure will help the growth and development of this academic field and its reconciliation with industry.The main objective of this study is to assess the feasibility of the principles and revival of the Master-apprenticeship education approach along with combining it with the positive aspects of the current industrial design education system in order to meet the demands of society and train design-pruner.The present study is qualitative in terms of strategy or paradigm. This research has been done in three phases. In phase zero, a pilot study has been conducted by the authors on the teaching methods and weaknesses of the current system on the one hand and the observation of limited examples of the Master-apprentice method in Tehran universities. According to the observations and studies in the pilot phase, in the first phase of the research, the strengths and weaknesses of teacher-student education were examined and the available samples were determined for further study. The research method in this study was descriptive-analytical. In the present study, the sampling method was purposefully selected and a five-point Likert questionnaire was completed by 40 students and graduates of industrial design. The results were analyzed using SPSS Win 23 software.Finally, it can be pointed out that the Master-Apprenticeship approach has many dimensions and benefits, including increasing students ‘skills, increasing the motivation of teachers and students, and increasing students’ entrepreneurship, which can be revived in the current system. Based on the aforementioned findings, it seems that another advantage of the Master-apprentice method, which can be considered as the results of the present study, is the project-driven and student involvement in the practical-workshop environment. This feature provides the teacher with the ability to evaluate his / her students not only on the basis of theoretical or mere tests but also to be able to evaluate the student from the point of view of practical work. The continuous presence of the teacher in the workshop space allows the student to receive the teacher’s opinions and views on the project at the same time, and direct modeling of his teacher occurs as a problem-solving process for the student. This is why in the teacher-student system, the individual does not view the lesson only as a fleeting project, but as an employment or an active project, not absolute classroom research.