نشریه پیکره
پیاپی 30 (زمستان 1401)

Problem Definition: 

The media power of the residential architecture of Shiraz is obvious to everyone due to the historical seniority, the character of the rulers, and the people of this land. The two houses namely «Mohtasham» and «Salehi» are authentic representatives for understanding the architecture of the Zand and Qajar periods of Shiraz because of the richness of their decorations. Therefore, the fundamental question of the current research is based on the decorative arrays of these two buildings.

This study aims at recognizing the decorative arrays of Mohtasham and Salehi houses. Research

The approach of the current research is qualitative and, regarding the aim, it is fundamental, having a descriptive-analytical nature. The data collection method includes library and field research and documents, such as photography.

The results show the motifs are based on ancient, traditional, and western concepts. The European-oriented style is more prominent in Qajar period arrays than that of Zand era, so that traditional concepts are depicted in a new transformation relying on naturalistic and luxurious aspects. In the Zand period, more attention was paid to common mythological and traditional themes, while the themes of Qajar artists' illustrations, especially in the painted tile decorations, are a suitable platform for the simultaneous distribution and promotion of new and ancient cultures. The Qajar artist has taken a step with the immortality of the kings' position in line with the consolidation of the old Iranian traditions. Also, by illustrating emerging objects such as cars, telephones, and photography cameras, it represents and promotes the modern Iranian lifestyle. In religious illustrations, it reflects religious culture and in lyrical plays; it is a storyteller of literary themes. The colored plasters, embellished paintings, the image of birds, flower rings and the presence of joyful and lively colors such as red, yellow, and pink in these periods are influenced by Western art.

Statement of the Problem:

 The research in Zand rugs has faced questions and missing links. During the historiography of the art of this period, the lack of resources had convinced the researchers that it is not possible to extract a text related to the rugs in this era. Although the author started to find rugs, over time, the repetition of the images of weavings and rugs with a "Latticework (Band-Lozenge)" design created a more important question: Can the "Latticework (Band-Lozenge)" design be introduced as a common design of the second half of the 12th century? If this is the case, then a more basic question is raised: What components played a role in the formation and prosperity of the Latticework pattern in the Zand period? What are the theoretical and formative foundations in Latticework design as a common structure?

The aim of this research is to shed light on the dark part of Iran's rug history, deal with the Latticework (Band-Lozenge) design as a frequent pattern in the Zand period, and discover the factors influencing the prosperity of the mentioned pattern.

This research is qualitative and, based on this purpose, it falls into the category of basic theoretical research. The primary information and analysis materials were collected using a library-based method and virtual observation of samples in national and international museums, and then conclusions were drawn using descriptive and analytical methods.

The achievement of this research, in the first step, was to identify the Latticework (Band-Lozenge) design at the first place of the patterns used in the weavings of the Zand era. Then, following the four elements of history, mythology, mysticism, and post-Sadraei philosophy and popular culture, the discovery of five components of Indian and Kashmiri motifs in Afsharid art, the ancient pattern of the garden pattern, the flower school of the second half of the 12th century, and ethnic and decorative art as the foundations that form the Band-Lozenge design, were identified.

Problem Definition:

 The paintings of «Iran Darroudi» and the plays of «Heiner Muller» apply contradictory viewpoints and literary imageries to discuss the concept of power as an artistic force independent from any political ideology, while affected by the audience's internal and social understanding. Darudi uses indefinite colors and shapes, while Muller violates conventional acts and theatrical scenes in order to make challenge for the audience as a subject who is supposed to perform an active role in the discourse of power. These works do not make any judgment and do not give any definite message in order to put stereotypes under question and suspend the association of binary oppositions such as woman/inactivity, power/domination, past/present. The audience faces the challenge between existence and nothingness, which alters the frameworks of ideological domination and redefines the concept of power. Now, the major problem is that how different layers of meaning and which elements in form signify the concept of power.

The primary aim of this article is to compare and study the common aspects of power in the plays of Heiner Muller and the paintings of Iran Darudi.

This essay is based on a library research which collected data about "the concept of power" in the selected works to make a comparative study through a descriptive-analytic method. Two sample works are randomly selected and analyzed for each outstanding artist including: Muller's «Hamletmachine and Medea Material» and Darudi's «The Earth's Veins» and «The Revolt of Desert».

The comparison between the paintings of Iran Darudi and the plays of Heiner Muller signifies a common mechanism called subject-object permutation that develops the absolute meaning of «power» to a dynamic concept. The subversion of subject transposes the status of audience from a mere observer or an object to an inevitable subject who starts participating in the artistic discourse. Deconstruction of form leads to blending different styles in a way that they are not bound to any definite ideology. The selected works give a different interpretation of contradictory concepts such as woman/man, ontology/patriotism, development/originality and subject/object so that they reverse the dominant viewpoint.

Problem Definition:

 In the contemporary world, human artifacts are more than simple tools of convenience in our daily lives. They actively shape, although indirectly, human actions and experiences, individuality, quality of life, decisions and values, and affect the way we adhere to ethics. Therefore, considering the important role of these artifacts in the moral dimension of our social life, and also the slow progress of society's ethics compared to technological advances, a designer can materialize moral values as interactive performative artifacts with an emotion-driven design approach, and present them to society aiming at arousing and encouraging the actants to act morally and also help improve social moral values. But "what are the characteristics of these moral artifacts and how can they help moralize life and society more effectively"?

The goal of the research is first and foremost, to investigate the features and functions of interactive value driven artifacts by studying existing examples. Second, to explain the principles of designing such artifacts; and finally, to realize these principles as design concepts.

The research adapts the «descriptive-analytical» method. Using this method, it first investigates interactive value-driven artifacts (based on theoretical studies), and discusses the existing examples of these artifacts with an emotion-driven approach.

By examining and analyzing interactive value-driven artifacts (economic, emotional, and moral) which have been purposefully selected under the research, it can be claimed that interactive value-driven artifacts with an emotion-driven approach, and also performative artifacts, can be effective in creating awareness and encouraging reflection because of their ability in creating admiration, guilt, encouragement and reproach (during the process of interaction or as a consequence of interacting with them). As a result, they can change the behavior of their users and ultimately result in the promotion of ethics in society.

Problem Definition:

 In 330 A.H., at the same time as the Buyid domination, Amir Hossein Kurd founded the Bani Hasanwayh reign in the west of Iran. The stone inscriptions obtained from this period, besides providing reliable and important historical information, show the inscription style and represent the form of the letters of this writing art of the 4th century A.H. In the current research, focusing on the stone inscriptions of Bani Hasanwayh, an attempt is made to study script in this period, which is a part of the history of the Buyid dynasty. Also, to better understand and recognize the form and clearly identify the changes and transformations of the letter form in the stone inscriptions of Bani Hasanwayh, the letters of these inscriptions will be compared with the letter form of the two wooden tablets of Adud al-Dawla period (363 A.H.). Accordingly, this research attempts to answer the following question: What are the most important features of the written forms of Bani Hasanwayh inscriptions?

The aim of this research is to identify and introduce the form of letters and decorative elements of Bani Hasanwayh stone inscriptions.

The nature of the current research is fundamental, and it was conducted using a descriptive-analytical method based on documentary and visual studies. The sampling method is purposive and five stone inscriptions from Bani Hasanwayh are the focus of this study. These stone inscriptions were made from 374 to 404 A.H.

The script used in the studied stone inscriptions is a decorative Kufic script (Movaragh). Two-lobe forms are the most important decorative elements in combination with the letter form in these inscriptions.

Problem Definition: 

The Art of Court Portrait Painting is one of the Main arts of the Qajar Period, Which Continued Until the Period of Muzaffar al-Din Shah. The Focus of the Current Research is the Study of the Art of Court Portrait Painting during the Period of Muzaffar al-Din Shah and the Examination of Various half-length and full-length examples presented by him. Based on this, in this Research, the Main Question of the Current Research is as follows: What are the Structural and Content Characteristics of the Portrait Paintings of Mozaffar al-Din Shah Qajar period?

Knowing the Paintings of the Qajar Period as a Part of Iranian art is one of the Goals of this Research. Research

The Present research is Descriptive-Analytical and has been Carried out Using library Sources and Museum Image Samples.

The Current Research Shows that the Integration of Art and Politics in the Paintings of Mozaffaruddin Shah Qajar period Through the use of Symbols of Power in the Images is a Continuation of the Pictorial Traditions of the Previous periods. The Extensive use of Portrait Painting Throughout the Qajar Period can be Seen as an Attempt to legitimize the Monarchy, Some of These Paintings are Half-Length and Some are Full-Length Portraits, and the Influence of Western Realistic Photography and Nature Can be Seen in the Paintings.