پژوهشنامه گرافیک و نقاشی
پیاپی 6 (بهار و تابستان 1400)

Decoration in Islamic art and architecture has been one of the main pillars in archiecture and has always been one of the most importan aspects of art throughout history. These decorations in mosques and religious places are glorious, beautiful and exaggerated. One of these examples is the tomb of Khajeh Abdullah Ansari in Herat and belongs to the Timurid period. The decorations of this building include tiling, brickwork, bedding, stonework and caving. In this articale, the authors try to introduce the design, colors and tiles of the northern house of prayer and the mirror house of the tomb of Khaje Abdullah ansari are mentioned and the characteristics of this place are mentioned, and apply the decorations of the prayer house and the mirror house and answer these questions: What are the similarities and difference between the designs and designs of the house mirror in terms of colors and decorations and the prayer house of the Khajeh Abdullah Ansari? The research is historical – comparative and the method of collection information is library and preparing images in the field. At the end of this study, it is found that these two places in the tomb of Khajeh Abdulla Ansari in Herat, Afghanistan, have similarities nd differennces in terms of color scheme of decoration, shape of geometric and motifs.

During different periods of the contemporary history of Tehran, the volumes and urban sculptures of the squares have always had features that discovering what and why they are present in the urban space, can help the aesthetic reading of the works. .In the present study, the relationship between Islamic components and the relationship between them with sculpture and design of urban elements for practical purposes has been explained. The main purpose of this study is to investigate the effects and occurrence of Islamic components in urban elements of Tehran in the 80s and 90s. And this work has been done through the content classification of sculptures in Tehran, visual reading of selected works by hand (or species) and analysis of the function and function of sculpture in Tehran (80s and 90s) according to the components of Islamic art. Is.The statistical population in this study includes sculptures and urban elements of Tehran during the 80s and 90s (219 sculptures introduced by the Tehran Municipality Beautification Organization: Tehran Sculptures Book). The number of samples in the present study is 20 samples (for each decade, 10 samples were selected based on classes). Sampling method was also the method of choice.A study of the sculptures of the 80s and 90s in Tehran based on 5 selected components in the research model indicates that most of the sculptures have benefited from the history and geography of Iran and have been formed based on constructive beliefs.The main functions of these urban sculptures include raising the level of public awareness (transmitting cultural and religious concepts and values), creating visual beauty, identifying the place and creating a sense of belonging and peace.

Roland Barthes, the French structuralist theorist, proposes three theories based on the interactive relationship between the textual component and the image component: "descriptive" communication, "matched" communication, and "reference" communication. Barthes claims that these three patterns apply to all existing books and manuscripts. In this study, three theories mentioned in the illustrated manuscripts of Golchin Eskandar Sultan, Shahnameh of Baysanghari and Shahnameh of Mohammad Jouki from the Timurid period are studied. The purpose of this study, in addition to explaining and discovering the page layout pattern of this version, is to recognize the relationship between text and image based on Roland Barthes theory, to answer the question of how the connection between text and image based on Roland Barthes theory in this Three versions defined? And it is inferred that in all cases of research, the text box and the image box are present and the failure in the box is clearly visible in half of the cases. The title exists in half of the research cases and is included in the text, which is closely related to the text. The dominant element on the page is the "image", and in most cases of research, the title is placed in the text, and in half of the cases of research, failure is seen in the box. Although in all cases the image is centered on the page, in half of the cases there is a "reference" connection based on Barthes's theory, but in the other half the case, the connection is "identical". This research has been done by descriptive-analytical method and library collection method.

Attractive and effective advertising of products or services is a relatively old method. But among the most influential contemporary media, there are print urban billboards that change the face of metropolises every day. One of the effective methods which has special importance is the use of attractive colors that are appropriate to the desired content to maintain the urban beauty and effectiveness of advertising; which ultimately leads to citizen satisfaction. The purpose of this study is to investigate the role of effective components on the effectiveness of colors used in urban billboards and deck of bridges in Tehran during the period 2015 to 2017. This research seeks to answer the question that what are the effective qualities on the effectiveness of color in billboards and decks of Bridges in Tehran (2015-2017)? And is there a trend of change in these three years? The method of this research is descriptive- analytical cross-sectional survey. The results show that the statistical population of the study, although sometimes explicit and easy to communicate with the audience, but they mainly use colors consistent with the season are in dark colors, they have used arbitrary colors at a rate of 68% and finally have not benefited significantly from other qualities that affect the effectiveness of color, which violates their effect and goes through the process of attraction, discovery, and persuasion of the audience. Also, during the period of this research, the process of using colors has not changed significantly.

By recognizing the features of modern painting, Bita Vakili has presented significant works to contemporary Iranian art. But the important point in his works is the different application of one of the seven principles of Iranian decorative arts, namely the cloud principle. The evolution of the cloud motif in this principle includes showing the reality of the cloud, the role of the dragon and the Simorgh in the fourth century AH, the halo around the heads of the prophets and saints in the seventh and eighth centuries AH, the mythical motifs in the eighth century and also in the form of "Batarmeh" , Has been an abstract role and representation of the polished surface of marble, which with the advent of the Isfahan school, the application of this principle declined and became impossible in Islam. Now the question is how the origin of the cloud appeared in the works of Bita Vakili? In the works of this artist, the principle of the cloud has undergone a new transformation, so that in the contemporary era, we are faced with the eighth evolution of the cloud theme with a different function in these works. The cloud motif represents geographical maps and satellite imagery with an emphasis on the modernist scientistic approach. Also, the revival and different function of the cloud principle in the first period of this artist's paintings based on the change in production method, change in materials, and change in the degree of dignity of the cloud motif, and also in the second period, by replacing the visual metaphor of metal materials. The visual element of words (calligraphy) has been replaced as the main element of expression.

Architecture in the Islamic era is like a museum of diverse lines and patterns in religious and non-religious monuments. The present study scrutinizes the patterns used in the Jame'a Mosque of Isfahan due to its historical value and diversity of patterns, especially in the Safavid era, since it is a proper place to re-read the Islamic-Iranian patterns. It seeks to answer how the symmetry in these patterns is compatible with graphic symmetry and what are the potentials of these patterns. The research methodology is descriptive-analytical and data is collected through photography and pattern drawing by the author which is eventually analyzed graphically. In doing so, all patterns used in this mosque, including geometric, arabesque, and Khatai (floral), are studied in the light of the fundamentals of visual arts (spots, lines, surface, symmetry, composition, and size), and the energy governing them. The present article endeavors to demonstrate that Jame’a Mosque of Isfahan’s patterns and motifs can be considered as a foundation for decorative arts in Iran’s contemporary graphics and can create a unified and coherent order in these works. These patterns, which are underpinned by Moslem artists observing the fundamentals of visual arts, have a logical criterion accompanied by their creator’s innovation and mental creativity. It is supposed that using these patterns, which are compatible with the present culture and situation, can exhibit a part of Iran’s culture and civilization and in turn, satisfy a part of today’s graphical demands.

One of the methods of visual expression that presents a story and narrative by relying on a visual language called comic book and in part includes the two main categories of comic strip and manga Each of which is a collection of sequential paintings that in their way tell a story to the audience. Comic strips in the modern sense originated in the United States, and in contrast to them, manga originated in the East, especially in Japan. Among these, Japanese manga has a large audience in Iran today, especially among young people, which has led the country's artists to create comics with Iranian features, including the comic "Marz"., it seems that the Japanese manga, willingly or unwillingly, as a source of inspiration for the Iranian artist, creates effects that manifestations are reflected in the final Artwork by the Picture with some changes and transformations desired by the artist. Therefore, the question that arises in this article is: Based on what backgrounds have the visual elements of Japanese manga been used in the Pictures of the Iranian comic, and have they been transformed? And the purpose of this article is to trace the effects that the visual elements of the Japanese manga have created on the picture of the Iranian comics. This research is of descriptive-analytical type and has been done through library tools as well as a study on the collection of Japanese manga and Iranian comics. As a result, some manga features appear, such as the type of characterization, the inspiration for the Takarazuka Theater, the use of the Kiga style the Marz has been influential in the creation of the comic, and finally, the coexistence of the mentioned elements with the pictorial elements in Miniatur, has tried to create a native work.

Graffiti is the art of conveying a message by drawing letters and pictures on the walls of a city. Early humans painted images and drawings on cave walls for hunting and as magic, but today these images are used by artists to express political, social, and cultural issues. Graffiti art has a long history in many American and European countries, but in Iran it is not very old and is not considered a legal art. This study examines the text in some of the graffiti in Tehran to determine its relationship with the art of calligraphy. This descriptive-analytical research, and by collecting information in a field method, tries to examine the position and relationship of writing in graffiti with common lines to determine whether they have an aesthetic or semantic aspect that is the purpose of this research. The present article examines the impact of calligraphy, calligraphy and western calligraphy on writing in Iranian graffiti art as the question of this article. The result of this research shows that these writings are an arrangement of letters that has an aesthetic aspect, while some have a text that reflects the conditions of society. Therefore, writing in graffiti has aesthetic and semantic aspects. Graffiti writing is also associated with lines in traditional calligraphy, calligraphy, and Western calligraphy. These works are similar to traditional calligraphy in appearance, but due to the non-observance of their basic rules by graffiti writers, they have made changes in these lines and have invented new lines.

The place in mythology has sacred aspects and is separate from the usual dimensions, therefore understanding the cryptography of a place depends more than anything on understanding its religious valuation and knowing the structure and function of the holy place. The museum seems to be a customary place and relation to modern society, but it accepts sacred aspects and can be seen the evidence of the manifestation of the concept of "sacred" of the place in it, which is Visible among the reflections of Eliade. The aim was to analyze the mythological model of the sanctity of place in the museum according to Eliade's opinion. The main question is: what are the sacred features of the museum related to the sanctity-oriented model of place in the mythology of Eliade. The research method is descriptive-analytical. The results show that, as Eliade emphasizes the sanctity of the place, depends on the characteristics of the manifestation of the sacred, the connecting center, the repetition of the cosmological archetype, the experience of the beginning time and having boundaries and passages, the general patterns of the museum also have these values and characteristics and can revive the "holy place" experience even for a non-religious person.

The present study is a review of illustration methods in works of four top illustrators in Czechoslovakia. This article examines the effects that these illustrators had on the contemporary illustration community in Czechoslovakia. In order to understand how the four illustrators were successful and to recognize the characteristics of their successful works, depicting personal ideas and thoughts, communication with the audience, the most important methods of illustration in works of these illustrators are discussed. The purpose of examining the sample works of these illustrators is to answer the following research question: What expression methods and executive techniques have the four top illustrators in this country used to display their personal ideas and feelings?This research is a fundamental descriptive-analytical type of research; the method of data collection is library based. In the process of this research, we find that the study of the work characteristics of each of these artists rely on the collective history of people of his land and his attitude toward his birthplace, which becomes internal and external, Personal and social stimulant. No illustrator can present ingenious works regardless of the culture and customs of his hometown, and he actually expresses his culture in visual language. Each illustrator, despite having skills in work, has his own style and technique that distinguishes him from others and gives him individual originality.Having strong power in designing, they started by drawing and painting, and in order to achieve more mature and strong handiwork in design, they have practiced and drilled a lot. These artists cannot work deeply and compassionately if they are not sensitive to children and their perceptions of life, art, culture and the future, and most of them are authors of children's books or specialized in children in other fields but illustration.

Identity is a multidimensional issue which its origin should be sought in the desire of human beings to explore their intrinsic affiliations, with the aim of satisfaction of needs and the sense of social belonging, and also identifying personality traits that will distinguish one person from another. As one of the most challenging areas in the theoretical sciences, identity has become one of the concerns of contemporary artists. In this research, firstly a definition of identity will be obtained, then the life of the Pakistani artist, Shahzia Sikander will be investigated. Maturing in turbulent political and cultural environment in Lahore, Pakistan, Shahzia achieved the artistic ingenuity after immigration. she found her role in researching and tracing the origins of the Islamic visual traditions. combining the visual elements of miniature and allegories of the two cultures of India and Islam, she Explores her personal life, politics and especially the role of Muslim women in the contemporary world. The absence of women in social and artistic societies is one of her concerns that she utilizes modern media to express the elements of Indu-Persian miniature in a new language. This research study the works of this artist in a descriptive-analytical method and its purpose is to analyze the works of the artist in discovering the complexities of identity and recognizing the capabilities of tradition in the context of contemporary art requirements. The following questions are also answered in this regard: What are the components of identity in Sikander’s works? Has the artist been able to answer questions about her identity? What elements has she found to express her ideas?

New art is advancing very rapidly in a new era of history. This art includes various branches such as interactive art. What is interactive art and how art history is involved in shaping this new event; the main necessity of this research is. History is a set of events that take place in the context of time and reflects environmental, social and specific human realities, and interactive art is art based on the audience's participation and interaction with the work. The research method of the present article is descriptive-analytical and using library resources and works taken from Internet sources have been studied. The theoretical framework of this research is from the perspective of Arthur Coleman Danto, an American art critic and philosopher who uses the phrase "death of art in the face of postmodern art". The aim is to analyze Danto's theories on modern art, in which several works of interactive art have been selected to achieve the goal. Regarding the philosophy of history, he considers art as a sociological category and concludes that new art needs an interpretation of the experience of history in order to understand it.