نشریه هنرهای کاربردی
سال یکم شماره 3 (پاییز 1400)

Due to the restriction of metal utensils throughout the Islamic period, pottery was a substitute, with many designs and inscriptions depicting religious and educational themes. Among the most notable potteries of Iran's Islamic period is the pottery of Nishapur from the Samanid dynasty. The designs and inscriptions on these potteries have passed on cultural and aesthetic knowledge from one generation to the next. According to intertextuality theory, no text is formed arbitrarily or without context but is dependent on previous texts or contents. The Islamic typographic technique has had a significant impact on contemporary Iranian typography. This research aims to examine contemporary Iranian logotypes through the lens of their Islamic connotations in Nishapur potteries. Another goal of this study is to look at the intertextuality types between these works (Travestissement and Pastiche). The research issue is the relationship between contemporary Iranian logotypes and Islamic typography. According to the studied works, the research hypothesis is based on the fact that due to the written form, there are many similarities between the two areas. This study is descriptive-analytical in terms of methodology. The data collection method is based on library review (i.e., note-taking and image analysis) and data analysis was done qualitatively. The findings indicate that, in terms of similarity between Persian and Arabic written forms, the effects of Islamic art can be seen in contemporary Iranian logotypes. In other words, Islamic calligraphy has influenced contemporary Iranian typography. In many cases, the use of shapes and forms used in the typography of Nishapur potteries, such as plant forms can be seen in contemporary Iranian logotypes. Selected specimens in Neishapur potteries are written in Kufic script and case specimens are inspired by Kufic script. According to Genette’s intertextuality theory, all logotypes fall into the category of Pastiche intertextuality due to features such as changes in form, content, and the addition of new text.

How to analyze the deconstruction component in clothing design with emphasis on the works of Maison Martin Margila is the main issue of this research. Deconstruction is one of the components of the postmodern era. Postmodernism refers to a philosophical, cultural, and artistic school that lacks a central hierarchy with distinct structured principles and is fundamentally at odds with modern philosophy and aesthetics. Many artists have performed in the field of deconstruction, including Belgian designer Maison Martin Margila, a leading figure in the wave of contemporary fashion designers; The term deconstructionist fashion was first used to describe her collections. This article, with a qualitative approach and descriptive-analytical nature, intends to introduce and identify the deconstruction component in the costume design works of this artist. This artist as one of the initiators of postmodernism in clothing design. The emergence of a deconstructive component in the works of Maison Martin Margila has not only established his position as one of the pioneers of postmodernism in costume design, but also in the creation of outstanding works to express other ideas and concepts of this current such as carnival. Grotesque helps glamor, time and other deconstructive components. Other results of this research show that in Margila's works, one can see an enthusiasm for a certain path and determination and rethinking in traditional fashion techniques. Margila shows that she has changed her design direction and is following her own rules, and this has been the idea behind the deconstruction in her work. Margila has been in the past for a long time, while deconstructing and denying common concepts, and shows that Derrida's concepts can be seen in the work of this Belgian designer. The concept that is deconstructed from his philosophical texts is also that Martin Margila's works do not speak only of a simple and meaningless subject and try to interpret the concept of beauty, and he exaggerates the usual sizes and shapes, compares and proportions and with The use of different materials in other fields, but in the case of clothing, created an opportunity to go beyond the fixed framework of clothing in the fashion world.

Typographic posters after the Islamic Revolution were considered as the most important visual approach in graphic design in Iran due to their expressive capacities in adaptation and ductility in multiple structures. The process of formation of this movement, regardless of its aesthetic values, is subject to cultural and social conditions and developments, in the context of which typography emerged and continued beyond the category of graphic design as a form of contemporary art.After the seventies, with the modernization of society and macro-environmental changes, it led to extensive changes in various aspects of society. In addition to influencing the formation and activity of many cultural and artistic currents, it has created new and deconstructive dimensions in Iranian graphic design, the most obvious aspect of which is the emergence of typographic posters.In this regard, this study intends to examine the factors of Iranian graphic design tendency to design typographic posters after the Islamic Revolution. The purpose of this study is to study the role of environmental factors as a basis for the formation of typographic posters and to identify the factors within the union in the development and expansion of this trend. The research method is based on historical explanation and practical goals, and the study of the process of forming typographic posters is focused on historical milestones. In this method, past documents are studied and the evaluation of analysis units is emphasized as research indicators. Studies show that the environmental context and cultural changes paved the way for the emergence of Persian typography in the design of the cover of political and religious books in the mid-seventies. And in the eighties, the graphic designers community formed the necessary conditions for the graphic design of Iran to design typographic posters by forming art groups, setting up exhibitions, publishing books, training workshops, lectures and winning awards, as well as institutional support in holding exhibitions.

Inspired by Freud's notion of the unconscious, the surrealist movement was founded by André Breton after World War I in 1924. Since the surrealists put particular emphasis on the dominance of visual faculty over other human senses, they had high regard for photography as an invaluable means of expression that could help reveal the visual unconscious as well as the reflective nature of human thoughts. In view of the fact that disintegration of prevalent norms and presentation of an extraordinary image of the perceived reality is one of the fundamental principles of surrealism, this paper seeks to analyze the visual dimension of the works of Bill Brandt, a well-known photographer of the 20th century, whose surrealist concerns are clearly visible in his close inspection of human body as well as in his attempts at obtaining a reality that is above purely visual elements. Apart from selecting the proper location and time, Brandt proves his thorough understanding of 'the art of seeing' by a full command of surrealist techniques of photography such as the effects of different exposures, unusual distance between the camera and the subject, representation of visible reflections, and iconoclastic framings. Reflecting on the visual structure and extracting the inner themes of this photographer's works and, consequently, deciphering their profound impact on the audience, has forced the researcher to search for a much more original perspective with an implicit reference to his works. this research, the equivalence and contemplative similarity of his works with the thoughts of the Surrealism movement and their dominant action and definite theme have been examined. Although a tangible and close relationship with the original work is a conventional and necessary approach to establish an efficient flow of thought and organize the interpretations, but the lack of access to this possibility and the limitation of referable sources, has caused the scope of analysis and substantive effects of this artist. The result of personal thoughts and based on internal menus, continuous periodic studies and mental archives to be written. Also, there has been a lot of effort to synchronize images with adjacent documentary theories.The proposed interpretations will be better and deeper understood and the scope of the mentioned references and references will be clearly revealed.The conclusion of the paper is evidence of the fact that Brandt's works result from deep self-examinations of the mind and the unconscious which make possible strange, sophisticated, and heterogeneous readings of reality and simple visual conventions. .this is the ultimate goal of surrealism in perceiving the surrounding environment.

About two centuries after the rise of Islam, the production of pottery in Iran gradually underwent dramatic changes. The pottery decorations, which were initially without patterns and simple, gradually expanded and human motifs became one of the most important decorative elements of the Lustre pottery of the Seljuk and Ilkhanid eras. The most important contribution of the artists of these centuries is in the construction, invention and evolution of Lustre pottery, in which human motifs can be seen many times on this type of pottery. Human motifs (male and female) are of great importance in the medieval Lustre pottery, which is reflected on these pottery based on the culture and civilization of its time. Therefore, this research began with the focus on studying and examining the Lustre pottery of the Glassaware and Ceramic's Museum of Iran's. and introducing it. Therefore, the purpose of this article is to get acquainted with and reflect on the types of human motifs in the studied Lustre pottery. Finally, to classify these types of motifs. In this regard, an attempt has been made to the question of what kind of scenes do the human motifs of the studied pottery contain? To be answered. The study method in the present study is descriptive-historical method and library resources and field collection have been used to explain the subject. The results indicate that human motifs as the most important ornaments of Lustre pottery in six groups, mainly used in the text of bowls and plates. Also, despite the fact that they have a variety of different decorations, the main image of the decoration is the responsibility of human motifs.

Discourse analysis of postal stamps with cultural theme in two periods ofPahlavi and the Islamic Republic of IranThe postal stamp is a visual element, in which the pictures express the official views of each government on various matters and easily showcase the discourses of power in society in both covert and overt layers of these visual elements. This visual element uses image language to accurately represent the culture of society.Discourse analysis reveals the relationship between society, authority and ideology by revealing discourse-oriented indicators, emphasizes that society is nothing but a composition of different discourses; Therefore, in order to distinguish itself from others, each country has highlighted the symbols that express the ideology of its society. This research asks the question of what discourse basis are in the cultural themed postal stamps of the Pahlavi period and the Islamic Republic of Iran? And also what discourse could hegemonicize itself in these stamps and exclude or marginalize other discourses? By using descriptive, analytical, comparative and qualitative methods with the aim of identifying the common discourse basis in the cultural themed stamps of these two periods and the mechanisms of power discourse in them, the theory of Laclau and Mouffe discourse analysis in studying this stamps has been used. The result also indicates that In cultural stamps, discourse factors have a direct relationship with ideology and authority. By examining these structures, it can be said in the cultural stamps of the Pahlavi era, the dominant discourses are the discourse of antiquarian values, the power of the King and the rebranding of cultural and national identities in a new format; And dominant discourses in the period of the Islamic Republic are, the discourse of Islam, martyrdom and preservation of Islamic and revolutionary values.And dominant discourses in the period of the Islamic Republic are, the discourse of Islam, martyrdom and preservation of Islamic and revolutionary values.