مجله رهپویه هنر
سال چهارم شماره 4 (پیاپی 13، زمستان 1400)

This research has been done with the aim of recognizing Imam's thoughts about art and communication in Islamic society. For this purpose, all written works of Imam were examined by qualitative content analysis research method and by purposefully selecting his statements and coding them using Nvivo 10 software. Imam Khomeini's ontology, epistemology, and methodology in Imam Khomeini's thought, which is based on his political jurisprudence.The artist communicates with the audience through his art. This communication is sometimes present and takes place in the exhibition of the artist's works. It is also formed through the press, radio and television, and social networks. The earliest definition of communication is quoted by the Greek philosopher Aristotle, who said: Communication is the search for all the means and possibilities available to persuade others. Imam Khomeini also has ideas about communication, media, and art that can be a way for communicators and artists in Islamic society. These views are based on Imam Khomeini's knowledge of the universe and the realities around him. Can be viewed.In Imam Khomeini's thought, supporting art and media by defending the freedom of the media and the independence of artists, protesting against censorship by supporting freedom of criticism, propaganda in society such as propaganda in mosques, Halal art by expressing art accepted in Islamic mysticism, committed and protesting, and beautiful art in the form of rulings Shari'a and avoidance of haram art such as haram music, sculptures of non-possessors of souls, entertainment and games have been counted due to sharia forms which are explained in the ontology, epistemology, and methodology of Imam in the form of two comprehensive categories of art and freedom and the sanctity of spreading corruption. Imam's basis in the monotheistic thought of his political jurisprudence as opposed to the school of "art for art's sake" and they believe in committed revolutionary art.Therefore, it is suggested that Muslim artists adhere to the laws and rules of Sharia in creating their works, in order to fulfill their artistic responsibility, remain loyal to the Imam's thought in art and communication, and in addition be able to respond to some protesters against works of art or media.In Imam's thought, it is seen that art and communication are based on the importance of art and freedom, and Imam, by supporting the freedom of art and media, especially defending the freedom of the press and the independence of the artist, along with opposing censorship, also believes in freedom of criticism. Freedom is important for the Imam. It is the defense of halal art, which seeks to ban haram art according to the rules and rules of the Shari'a. Imam's firmness is on jurisprudence and political jurisprudence. "Media jurisprudence" and "art jurisprudence" can be explained under the same government jurisprudence. Artists and communicators can rely on the jurisprudential rulings of the Imam and his monotheistic thought in art and communication, which were explained in this study, in cases of disagreement with opponents of works of art.

Today's world has witnessed many changes in the field of communication and technology. Many areas of contemporary human life have also been affected by these developments. Naturally, the field of art, as one of the deepest and most original aspects of human life, has not been far from these changes. Therefore, today we must pay attention to the impact of digital technologies and the new generation of virtual media on various artistic currents and forms. Painting of the Islamic Revolution is one of these artistic forms. In this research, the painting of the Islamic Revolution refers to works that have dealt with the concerns, events, themes, attitudes, beliefs and identity elements of the Islamic Revolution in the period of the Islamic Revolution. These works - in addition to the role of intellectual issues in the formation of their original identity - have been able to achieve certain stylistic components. The present article intends to examine these effects on a branch of contemporary Iranian art called revolutionary painting, focusing on the works of the new generation of digital artists. This article tries to answer the question that how new generation of painters of the Islamic Revolution have used digital painting techniques in their works? And what are the effects of using digital painting techniques on their work? The theoretical framework of this article is the views of Walter Benjamin, one of the thinkers of the Frankfurt School, in his article "Art in the Age of Mechanical Reproduction" and his critical view of traditional art and the challenges it faces in expanding industrial and technological achievements. The type of research is fundamental-theoretical and the method is descriptive-analytical and the method of gathering information is documentary and observational. The data collection tool is filing and observing the works and also the new scanning tool and the method of analyzing is qualitative. The young artists whose work this article examines are Hassan Rouhalamin, Daniel Farrokh, and Mikael Barati. This article examines the characteristics of digital painting, from Benjamin's critical point of view, to the challenges of using digital painting techniques in the works of the new generation of painters of the Islamic Revolution and concludes that the artists of the new generation of revolutionary painting have been able to overcome the new situation and they use digital painting in order to achieve their artistic and ideal goals. Some of their goals are more direct communication with social issues, quick reaction to events, Interaction with a wider audience, reducing production costs, eliminating intermediaries for displaying and publishing works, removal of artists' signatures from the work, focusing and increasing emotion, and using different artistic techniques. Therefore, this group of artists have been able to take advantage of the new situation and conditions of digital painting and use it to achieve their artistic goals. Therefore, according to Walter Benjamin's critical views, the effect of digital painting on these works can be considered in line with the goals and policies of their creators and can be evaluated as generally positive.

In painting, Post-impressionism consists of a collection of works which appeared in the two last decades of 19th century in Europe. Although these artists never formed an official group, the purpose of their work was to amend impressionism's shortcomings. The most important quality that is observed in post-impressionist paintings which this research notes, is the abundance of variety of color spectrums gathered into a single painting. Multiplicity in this research, is an idea loaned from French philosopher Gilles Deleuze and is a method to describe the plurality of all beings and to demonstrate the new ways of an ever-evolving nature. This research tries to describe how the multiplicity of color appears in post-impressionism and answers the question of how multiplicity of color has influenced different domains of expression in the art of painting and what the results are. The multiplicity of color is an unitarianist answer to the historical dualities of Europe painting such as "art & nature" or "objectivity & mentality", and post-impressionism through that makes these contrasts to unity. The multiplicity of color makes "expression" the main purpose of painting and sets it in contrast of pure "representation". For this we analysed paintings of artists from the last two decades of 19th century who mainly worked in France, specifically George Surat, Vincent Van Gogh, Paul Gauguin and Paul Cezanne. This research concludes that form and color in paintings of Cezanne and Von Gogh, surface and perspective in Surat's works, and aesthetics and personal impression of nature in Gauguin's works reach unity. Therefore one of the other reasons of using multiplicity of color in post-impressionism was filling the historical gap between artist and the universe in impressionism and the requirement of creating balance and unity between historical dualities of European's painting and the domains of its effects include the orders of form, color, aesthetics and surface and perspective. This research also concluded that extracting of figure from figurative order and rediscovery of portrait in paintings of Von Gogh and Gauguin and extraction of nature's figure in Cezanne's works are the results of multiplicity of color in the field of expression in post-impressionism. Finally we concluded that multiplicity of color in post-impressionism paintings is the result of utilizing the expression machines, such as dot-color machine in Surat's paintings, line-color in Von Gogh's paintings, stain-color in Cezanne's paintings and surface-color in Gauguin's paintings .These machines take the nature as the entrance and convert it to dot, line, stain and surface and the factor of their connections is the color modulation plan which the expression machine works on it and merge its functions with each other. The modulation plan is a non-transcendental field which based on it the machines can connect to each other by the multiple directions and create bigger machines and wider surfaces. The relations on modulation plan that lead to connecting machines together are the familiarity relationships, contradiction and complementary. The method of research is descriptive-analytical, the method of analysis is qualitative and method of data gathering is library research.

To keep their tradition alive, the people of Japan promote it popularly that In addition to the domestic audience, there are many audiences around the world from any age group. Anime covers a variety of subjects including science-fiction, romance, legend, and myth. Like the Tale of Princess Kaguya anime by Japanese director Isao Takahata, based on the Japanese ancient legend of the bamboo cutter. Legends include features that can be displayed through anime. In other words, the elements present in the legends are an effective tool for creating an anime. But to present and convey the concepts contained in the myths in different eras with today's audience, some elements will be transformed or changed. Based on the available tools, it can be said that animes with traditional themes become a part of cultural heritage and oral literature in the long run because to depict them, pictures are used that induce the presence of some traditional and indigenous elements."One way to convey such concepts through traditional elements to the audience is to use intertextual relations relying on traditional text to be used more intelligently, relying on such relations, the extent and type of presence and impact of the text in the present text can be more easily understood that which of the following is explicit or explicit, implicit and ironic". One of the tasks of an anime maker in producing animes with traditional and cultural content is to update some traditional elements for modern audiences, that in the field in question, all these interactions are performed on related pictures. Therefore, the purpose of writing this article is to examine some of the selected visual and Japanese traditional elements in the anime of Princess Kaguya that have changed and they found their way into the modern world of anime pictures. And also the question that this research tries to answer is as follows: In the Princess Kaguya anime, how are some Japanese traditional elements and concepts incorporated into the anime in the form of modern pictures? This research is of descriptive-analytical type, and Library and Internet resources have been used to collect information and data. According to the available findings, it can be said that: The Japanese director Isao Takahata used pictures related to some of the traditional elements in traditional paintings and illustrations, as well as popular beliefs in his native Japan, to make the Tale of Princess Kaguya anime. And uses them explicitly and implicitly as Gerard Genette puts it in his definition of intertextuality. And uses traditional concepts in the form of modern pictures in the field of anime To influence the domestic and foreign audiences and introduce the traditional concepts unique to their country to them. These concepts can be found in areas such as the type of clothing and makeup, the personality of Princess Kaguya, lifestyle, and the field of religion.

One of the works created by Sheikhzadeh is the painting "Revelation in the Mosque".. The painting of "revelation in the mosque" in this study has been studied and delivered as a sample of studies. The main issue of the present article, is to study the relationships governing the elements of this image and to prove the existence of some special structural principles governing the composition of the work.In order to analyze and study how the body parts of the personages are organized in the ''revelation in the mosque'', have been discussed the location of the head, feet and handwriting and the relationships between the location of these elements. For this purpose, analyzed how to place the obvious elements of the characters in The position of drawing the diameters and longitudinal and transverse axes of the drawing frame as well as the relations between Location of the above elements, The purpose of this study is to identify How the Iranian painter prepares to create the structure of the body parts of the characters in the painting. This article first introduces the painting "Revelation in the Mosque" from Hafez's Divan. Then it has discovered the painter's strategies for expressing the desired image and examining the relationships of the dominant elements in the above painting. then analyzed The relationship between the symbolic meaning of the numbers obtained from these relationships and the meaning of the image.According to the analysis made in the painting "Revelation in the mosque" by Sheikhzadeh, It can be said that the painter has observed these points and items to express his painting:Appropriate composition in terms of the selection of components and the location of each personage, Accuracy in the effective drawing of inscriptions in terms of correct placement and semantic connection, Emphasis on some more important figures in different ways, Provide appropriate solutions to guide and rotate the audience's eyes throughout the image and the relationship of the characters with each other. Also, the results of the analysis in this study indicate that the painter has achieved a regular structure by considering the calculated principles in the placement of the components and visual elements of the personages, including the hands, feet and head of the personages. From the analysis of this image, have been obtained the numbers 0, 2, 5, 10, 16, which have been used in a special sense in this painting. Also, these numbers are thematically related to the drawing and another reason for not improvising in the construction of the substructure of the work and the existence of a strong structure in it. In general, the above study shows that Iranian painting was obtained with a painter's calculator.. This research has been done by descriptive-analytical method and analysis with software and data collection using library resources.

 Lack of attention to environmental graphics and poor architectural layout of pediatric treatment spaces are among the important causes of incidence and exacerbation of anxiety and behavioral problems in hospitalized children, which can lead to difficulties in treatment process and adaptation and acceptance of treatment modalities and serious problems in communicating with medical staffs; so paying attention to the correct principles of environmental graphics elements and architectural layout parameters can reduce anxiety in hospitalized children and facilitate and accelerate the treatment process of hospitalized children in pediatric hospitals.

The most important goal of researchers is to change the perspective of architects and designers and graphists on environmental graphic parameters and architectural layout elements and provide scientific and practical solutions to improve the quality of medical spaces for children. In this way health care system can improve and present better care to costumers, especially children and this will lead to better and sooner treatment outcomes that finally reduces cost for patients and health ministry.

In this research, we have tried to see the needs of children in treatment spaces through the children’s point of view. For this purpose, 70 Children were selected by simple randomization method and then divided in 2 groups: first group had history of hospitalization and second group do not have any history of that. We asked children to draw their desired space and also using standard game to design their favorite hospital. Field of study were pediatric hospitals of Tehran and after implantation of excluding criteria, only Mofid hospital and Baqiyatallah hospital were selected. The research was done between

By analyzing the data obtained from drawings and standard game by a skilled child psychologist and Atlas.ti 9.1.3.0 software, it was found that children pay a lot of attention to the surrounding space and try to make this space a safe and secure environment that is familiar for them (such as home or school).

From this research, it can be concluded that in order to accelerate the process of treatment of hospitalized children, pediatric treatment spaces should be transformed into familiar and safe spaces through the use of environmental graphics and architectural layout.

The world is complex, and our tools have to adapt to that complexity, but things that seem very complex can seem very simple and things that seem simple can be very complex. We like products that are easy to use. But in addition to this feature, we expect it to be able to do what complex objects do. Therefore, the background of this research is from a design perspective and examines design thinking as a link between mind structures and complexity. The important issue here is the difference between complex and complicated. The word "complex" describes the state of the world, and the word "complicated" describes the state of mind. The challenge of design thinking is to mediate between complexity and the mind so that it is not complicated for the mind. A designer is faced with a complex situation; "Hence, the intricacies and movements of the designer, willingly or unwillingly, tend to results other than what was intended. Complexity is a quality or state that is complex and difficult to understand, do, or construct and has many interconnected parts or aspects. On the other hand, cognition is a practical and interactive activity. The whole cognitive system includes mind, action, and the world. Thinking and acting are in a physical environment. The designer's natural way of working involves that larger system by interacting with the temporary situational models he designs for it. The range of design thinking, including cognitive processes, strategic processes, and practical processes, enables the designer to "move toward the future of that particular use situation." These processes "make the world a part of cognition" and give the designer a set of "positioning strategies". Cognitive processes include attention and awareness, perception, memory and mental imagery, language, problem solving and creativity, decision making and Argument, intelligence. Strategic processes such as understanding everything, providing learning tools, grouping and organizing, meaningful communication, attractive conceptual model, signifiers, structure, modularization, automation, useful manipulation: forced operations, shaking and default, assistive devices Educational. And practical processes such as hand drawing, prototyping, scenario, model design, diagram, map, storyboard. These concepts make it clear that design thinking has certain positions and capabilities in the face of complexity.Accordingly, in this research, first by examining the research background on the concepts of complexity and mind from the perspective of science, management and then from the perspective of design, the basic concepts and structures related to complexity in four sections of simplicity, complicatedness, complexity and chaos are extracted.Then, the capabilities of design thinking in the face of these concepts and structures are examined.A comparison of the four concepts of complexity in design thinking with other sciences shows that solutions have been proposed in science and management to create simplicity, reduce complicatedness and deal with complexity. In the face of chaos, for example in the realm of management, it is that it accepts chaos or avoids it extensively.But design thinking has the ability to deal with confusion through abductive or productive reasoning.