نشریه مطالعات بین رشته ای هنرهای تجسمی
پیاپی 1 (بهار و تابستان 1401)

The innate artworks are created spontaneously and as a part of the daily life of local people, and by their very nature, they do not adhere to the pre-established norms of art. The native effigies are regarded as part of the innate art made based on the beliefs, customs, and symbols of a particular region's culture and do not resemble other effigies in appearance. The Teke effigy of Azerbaijan, which represents the arrival of spring, is an icon that has emerged in a particular region and is shown in rituals in line with the beliefs of its people.This study utilized a descriptive-analytical approach and library resources to investigate the historical and symbolic meanings of the Teke effigy. The study was based on iconological studies, a research approach pioneered by Erwin Panofsky at the turn of the 20th century. According to iconological presumptions, Teke has been investigated at three levels: pre-iconographic, iconographic, and iconological. The first and second levels are concerned with the innate and formal characteristics of an artwork, as well as its regulating emotions. The third and most crucial level examines the connections between the artwork and the cultural, literary, and social context. The iconological study of the aforementioned artworks helps determine the artwork's meanings, setting, ideological context, and worldview, which is a byproduct of society and culture. According to the case study’s findings, the Teke effigy, in addition to having a close bond with Azerbaijani literature, beliefs, ideologies, and identity, is compatible with the characteristics of innate art.

A grid system is a geometric structure that the artist uses to combine and arrange visual elements in a coherent, systematic and generally related form, in a way that contains artistic expression. Understanding this process is important in order to discover and receive the hidden intention of the creator and orderer of the work of art and the aesthetic pleasure resulting from viewing it; Today, recognizing the structure of the grid system, as one of the most important principles of this art is not hidden from anyone; but the purpose of the present article, besides examining the basic geometry and inner aesthetic arrangement among the visual elements in the painting of Muhammad Zaman, a famous painter of the Isfahan school in Safavid era, is to answer these questions: 1- How can one explain the proportionality between the geometric structure and the contention of the work in the " The servant girl Fitnah with an ox on her shoulders, against Bahram Gur" painting, using the grid system analysis? 2- Is this predetermined geometric structure formed?The results show that this illustration is based on the geometric structure and the principles of golden ratios, among the numbers Phi and Asm, and this matter indicates the artist's adherence to the classical style of Iranian painting; but her metaphorical expression is not based on the choice of the story scene, but on the hidden infrastructure of the work and its composition. This research has been written using the analytical method and descriptive-analytical approach of the case and its data collection has been done using library resources, documents and virtual databases of the British Museum.

One of the visual element of ancient Persian art is ‘love’. Love has important position in Persian art and medieval Islamic pottery. The motif on pottery with the content of love is generally derived from literary and historical stories and has been created in the format of national Persian stories. Taking into account the importance of pottery’s motifs, four potteries have been selected in current research and examined by using iconological approach, which would result in exploration of semantic layers in designs through investigation of the hidden goals beyond the motifs. In this study, in order to examination, adequate data have been collected based on essential goal and from the perspective of descriptive and analytical method and through library research and websites of reliable museums in abroad. The main goal of present research is analysis of motif of love on potteries of 4-7th century AH which would reveal the effects of ancestors on content of artwork through identifying visual aspects of motif and its symbolic values. The final results imply that whatever the artist has created in the format of motif and painting can include connotations and in some case adapt to love, which balance the physical instinct and spiritual tendencies and bring spiritual vitality to human soul, and the base of the motifs can be defined as Persian-Islamic. Natural elements which have been sanctified in ancient religions such as water and plants like cypress, are observed in some of the potteries, which can suggest similarity with love, and this kind of motif coupled with human in love can be the symbol of freshness and the balance between body and soul and the beauty of soul. The symbolic values in the potteries have been created by considering the origins of literature and emerging of inter-textual relationships. In some case, the structure of story has been changed based on verbal narratives. Tapping into the ancient patterns is observed in hidden semantic layers of love designs, and it seems that the use of motifs in the position of symbol has been done on purpose.

Augmented Reality (AR) is a developing technology that has revolutionized the communication of users and data in various fields with a diverse range of applications. For its dynamic user interactivity, AR has been attended to in Environmental Graphic Design, espicially in airport terminals. These terminals are comprehensively convoluted spaces representing a high range of facilities and services; therefore, implementing such technologies for understanding the environment and improving service quality for users and passengers is important. In this respect, the main objective is to explain the role of AR in Terminal Airports’ Wayfinding Graphic Design.This is a qualitative research and has a descriptive-analytical method. It introduces the airports where AR is applied, while analyzing AR functions in Gatwick in London and Copenhagen airports. The collected data is taken from published and written documents and online libraries. In some cases, the primary data stream is provided by directly corresponding with under-study airports’ administrations. The results demonstrate expeditious and facilitated wayfinding rate, improved user perception of the space, better service delivery, reduced anxiety, and increased user interaction with the environment where AR could be applied.

With the passage of time, ancient myths, as different manifestations of culture and art, have preserved their life and survival through various artistic forms such as painting, illustration, and sculpture. The illustrated version of Al-Bolhan, in addition to the original illustrations that the painter often used from his subconscious to depict the pictures, is a valuable source for re-reading and identifying the culture and art of Iranians in the second half of the 8th century of Hijri. The aim of this research is to introduce the valuable and abandoned version of Al-Balhan as a part of the common (Iranian-Islamic) written culture, and to analyze the mythological characters of the book of Al-Balhan, focusing on the image of "Al". In this research, in addition to identifying mythological characters in Al-Balhan book, the character "Al" is portrayed as a symbol of evil in myths and folk culture is also investigated. The results of the research show that the characters of Al-Balhan version can be separated into human, animal, natural, mythological, spell and magical groups. The mentality and unconsciousness of "Hassan Ibin Ali Ibn Isfahani", the illustrator of Al-Balhan book, including the "Repentance" patch, made him to express mythological thoughts in the form of paintings and images by considering a special type of composition, choosing colors, and creating the atmosphere of the pictures. This research is developmental in terms of purpose and also descriptive-analytical in terms of method.

With the establishment of the periodical world exhibitons in Europe by the mid-nineteenth century, and its impact on cultural organization and dynamics of image production, a new episteme emerged to dominate cultural and political discourses. According to Timothy Mitchell, a political theorist and a contributor to postcolonial theory, the methods of organization and classification used by world exhibitions have gradually encompassed the whole world and consequently have led to a new world order which Mitchell calls the exhibitionary order. Mitchell argues that world exhibitions not only institutionalized the representations of the world, but also organized and controlled them. This article elaborates on this theme by concentrating on illustrated copies of Rubaiyat of Omar Khayyam in an era dominated by the exhibionary order, sometimes between 1870s to 1940s. It also discusses the empistemological aspects of the new paradigm in forging originality for illustrated translation of Rubaiyat in English, where there is no clear affiliation with the original poetry in Persian and various historical schools of poetry illustration in Iran and the Persianate world. While there is a huge body of illustrated manuscripts of numerous Persian poets, there is not any considerable evidence of Illustrated Rubaiyat of Omar Khayyam before the twentieth century.While the orientalist pictorial approaches are prominant in the Euro-American tradition of illustrating the Rubaiyat, it seems that the revival movement of miniature painting of the early-twenteeieth century in Iran was highly influenced by such Western tradition. As an immediate impact some Iranian miniature painters of the revival movement began illustrating the Rubaiyat in Persian. A secondary tradition was formed that implicitly authenticated the primary Western tradition and furnished it with examples similar to old schools of Persian miniatrure painting.

One of the interesting and controversial arrays in mathematics is geometry, which is closely related to the geometry of motifs in Iranian art. The synchronicity of the use of geometry in the drawing of the widely used geometry motifs in Iranian architectural arrays is such that it seems that the foundation of traditional Iranian arts was based on it. Among the most important theorists in this field is Hakim Omar Khayyam Neyshaburi, a prominent philosopher and mathematician of the Seljuk period. One of his most important works can be considered a treatise on solving cubic equations and his studies on Euclid's fifth principle in the history of science.This research aims to solve the third degree equation obtained from Khayyam's geometrical theorem and by introducing the ruler (ruler), how to draw Chahartoranj motif. Toranj is one of the ancient Islamic and Iranian motifs used to decorate works. This pattern is usually rhombus or almond-shaped, and sometimes it is square or oval, and it is often placed in the middle of the background, and the inside is filled with leaves, flowers, slime designs, or images of animals and humans. When this pattern is repeated four times side by side, it becomes a Chahartoranj. For this purpose, the aim of the current research is to use the analytical descriptive method to study the use of Khayyam's calligraphy in drawing Chahartoranj and the importance of this motif in the history of visual and applied arts of Iran as well as the use of Chahartoranj images in architectural arrays, especially in Explain tiling.

Signs can be considered to include the expression of any message designed to shape, strengthen or change the cognitive or emotional and behavioral responses of others. In this way, its nature is organized in order to influence another or others. In the construction plasters of Dergz, what is presented during the communication of these motifs is organized information, which is defined as a message in the form of one of the forms of non-verbal communication. Understanding the meaning and purpose behind each role is very important in terms of recognizing any type of thinking, including political, religious, and social. The important issue of the research is to find the signs in the plaster motifs of Bandian; Also, these signs have emerged with the influence of which factors and with the aim of influencing what case? The purpose of this research is to recognize, examine and recount these signs. So, it is necessary to have an insight based on the foundations of plastering art and make a detailed analysis. This research has been compiled with a historical approach and a library method. With this definition, the result of the research shows that the purpose and process of the formation of Bandian's works in the profession of design is an attempt to describe to attract the attention of the viewer; And the action that the sender through the image, by sending a message, makes the receiver aware or ready to accept the belief and purpose of the events depicted. Bandian's stucco is a realistic art along with the observance of artistic originality and common beliefs of the Sassanid period.

Suprematism is one of the movements representing the link between the political and artistic revolution, invented by Malevich, whose basic form is a square, rectangular and straight line. In his view, the supreme reality of the world is pure emotion, which is independent of other things, and this thinking required new and unrepresentative forms. In his opinion, art has already entered human life in combination with other elements, but now, the time has come for its independence, and in this regard, he chose simple geometric shapes, squares, which are the most explicit form of expressing the human will and blackening its surface, the simplest act of sensitivity. A man thought. At one point, Malevich became interested in the works of Matisse, Lejeune, Picasso, Cezanne, and the Post-Impressionists, and this tendency influenced his art. His influence on Cezanne is evident in the formation of his works from geometric elements, as well as Ernst Mach's view of the environment as separate units in Malevich's work, and other factors similarly formed the basis for his work. He is also a prominent figure in the discussion of the revolutionary features of the Russian avant-garde. During the Civil War, the new Soviet government was concerned about the destruction of old Russian museums and collections, to which Malevich, by publishing a text, considered the art of the past as an obstacle to the new art and reacted to it. He added that the process of living and moving forward in time knows what it is doing and should not be hindered; So if he is moving after destruction, he must be allowed to continue on his way. The main question of the present study is how Malevich's works were formed under the influence of factors in his life. Codified geometric compositions in Malevich's works, when they are the focus of the work and when they are in the context and the direction of the components of the work, and the factors influencing the formation of the works are among the objectives of the research. The research method is descriptive-analytical and the collection of materials is a library. Distinctive features and characteristics are described in detail in each decade, and from each of the four decades between 1940 and 1900, the visual characteristics and structure, of the three works are briefly arranged in tabular form. Based on the results of this study, it can be said that the circumstances in which Malevich was present and his influence on the works of artists such as Cézanne, color theory in the nineteenth century, his efforts to invent a style to express pure emotions and other factors were effective in shaping his works. The marked four decades are noteworthy. He also used geometric compositions in all periods, which eventually found most of the codified geometric compositions in the fourth century of his works. Malevich seems to consider the origin of nature, the human figure, landscapes, and other things as geometric compositions and uses simple geometric forms to represent the elements in question.

The story of Iblis in the story of the creation of Adam begins when he disobeys God's order to prostrate to Adam and is rejected from God's door. It is believed that since that time, his presence in human life is the cause of all the evils and sins committed by humans. In the verses, narrations and interpretations, Iblis has an objective existence, based on this, his image has been depicted by artists.During the reign of Shah Tahmasab I Safavid in Qazvin, and by his order, a version titled "Tahmasbi's Falnameh" was painted, in which two stories of angels prostrating to Adam and Adam and Eve's exit from heaven, the cunning face of Satan, were depicted in its two illustrations. Tahmasabi's divination is one of the few versions in which the illustrations are not in the form of conventional book layout, but in the form of illustrations without literary text for divination. By looking into Tahmasabi's horoscope, the following questions are raised: Is the main source of the drawings for the image of Satan the painter's imagination or the main beliefs of the artist based on the stories narrated in the holy books of the prophets? If the basis of the paintings are the stories of creation in the divine books, how was this visual interpretation created and what are the visual and meaningful characteristics of the paintings? What is the importance of knowing the art of painting and semantic culture in the form of fortune-telling? The purpose of the paper is to understand the character and image of Satan in the art of painting in the context of book layout techniques so that it can explain the process of portraying literary thought and mentality.The research method of this article has a qualitative approach, and the method of collecting materials in that library is to study the character of the devil by visual reading of two pictures related to the image and character of the devil, out of the total of thirty pictures of the horoscope. The findings of the research indicate that the image and character of the devil in the version of Falnameh was created by Aghamirek, one of the prominent painters of the Safavid period, who was able to choose a human image for the devil with special codes, creative imagination and using painterly techniques. The important point is that, while using ancient texts and pre-Islamic ideas, the artist had an impression of interpretations of the Qur'an and the beliefs of Sufis and mystics.

The Shahnama of Firdausi and Rustam's seven labors, which is considered a manifestation of the ideal object effort to pass through various stages and Proof of personal abilities and spiritual and moral excellence of a young hero, is the most familiar manifestation of the epic rival of the mythical battle of good and evil in Iranian culture and history. The apparition of the Witch in the fourth stage and the representative of the evil behind the guise of deceptive beauty, aiming to entice Rustam and vanquish him, is one of the most intriguing stages. The study of this juxtaposition in the illustrated Shahnama of the injuid style during the Shiraz (first period) school in the eighth century shows a lot about the mindset of artists and the circumstances that determine how this demonic symbol manifests. This study aims to address the issue of what changes the kind of appearance the Witch has experienced in terms of ugliness and the painter's attention to the said anti-heroic character's descriptive text has undergone. Despite the short time between the two copies' production, there appear to have been changed in the representation of the Witch illustration, as well as the artist's lack of attention to the Shahnama's descriptive text for demonstrating this demonic symbol. The historical-comparative statement, whose information and claims are documents and electronic library resources, is the foundation of this theoretical research approach.

Salient points and regions in the Nastaliq SiahMashgh scriptBased on eye movement trakingSiahMashgh is one of the pure artistic manifestations in the Nastaliq script. Combination in SiahMashgh is one of the most significant explorations of calligraphers. Therefore, proper knowledge of the frame of the page is essential in this area of research. What are the most salient points and regions that the audience looks at the most? Also, what factors will attract more viewers? These are the two main questions of this study. We use a descriptive research method based on the experimental results and the analyses of the data we collected using an eye-tracking tool (OGAMA, an eye movement measuring software). The purpose of this research is to identify the most important places in Nastalig SiahMashgh piece. The results of this experiment, on the target group, showed that in a vertical black screen, the upper part of the board and the right side of it have the most attention. Changing the thrust angle of the pen and the tip of the pen are other factors that attract attention. Additionally, familiar phrases have also attracted the viewer's attention. Although this attention attraction could draw the target group to a salience point, it did not mean the participant stopped at one point, but there was eye-rolling throughout the painting, even the themes.KeyWords: SiahMashgh script. Salient points. movement traking. OGAMA