نشریه نامه هنرهای تجسمی و کاربردی
پیاپی 38 (زمستان 1401)

By the 1960s, the eruption of diverse artistic expressions and methods challenged the modernist definitions of art, which were based on disciplinary compartmentalization such as painting, sculpture, architecture, photography, etc. The artistic media, especially in the field of visual arts, dramatically underwent changes in their definitions. Accordingly, the traditional meaning of drawing, which was the key principle in creating all types of art at least since the Renaissance, was inevitably questioned. Whether drawing has any footprint in contemporary art, including earth art, which seems to be free of any connection with traditional definitions and media, was a matter of controversy. However, in its expanded and contemporary sense, the process of drawing adapted itself to the new post-media and interdisciplinary conditions; the fact that can aptly be traced in earth art as one of the critical movements in the art scene of the 1960s and 1970s. The dependence of earth art to the natural elements and geographical locations on the one hand, and the strong connections between artist’s drawings and his or her culture, language, nationality, and social agency on the other, made the role of drawing in earth art practices significant and, therefore, necessary to study.In this article, the ways in which drawing as a medium takes an important role in the process of land art, specifically in Robert Smithson’s groundbreaking works, will be studied. In this context, the position of language and map with regard to the conception of drawing will be discussed. The allegory and the paradox as the two vital characteristics of language gave the artist such as Robert Smithson the opportunity to articulate his conceptual drawing style and create his earthworks. The localization character and the aesthetic aspect of the map also make this tool a part of the context-based drawing, turning it into a means of new aesthetic practice. Smithson’s innovative idea of Non-Site sites is directly related to the expanded sense of drawing and the utilization of language and map in his work, providing a ground for the later conceptual arts with environmental concerns. Smithson’s art and writing are both considered in this text, not only to show his awareness of the problem and answers in the visual art of his period, but also the ways he suggests to redefine the process of drawing. In other words, with reference to his theory and practice, one would be able to picture the critical position of art, its means and aims, in this historical momentum of contemporary Western art. This article shows how drawing, as an apparently obsolete and traditional medium, has played a highly important role in the development of conceptual art from the 1960s onward. It argues that the position of drawing in contemporary art has not been destabilized, but, rather has been essential in the development of diverse new media in contemporary art scene.

eaning in the contemporary world new performances by artists; It undergoes changes. The initial study of the works of the artists, Habib Moradi and Bassem Dahdouh, contains similarities in their apparent reading, and it seems that the frame or frame plays a key role in creating our apparent similarities between the artists' works. This element, as a small part of the image, does not imply any meaning by itself, but the way it is presented and present in a painting overshadows the overall meaning of the work and has the ability to change it. For this purpose, the selection of artists is occasional and the selection of works is purposeful and with the priority of having multiple frames in the paintings. The goal is to achieve the points of difference/commonality in the works introduced by the two artists from the perspective of Mikhebal's image ventricular approach. How and how to define frame and framework in the works of two artists and the interaction of frame/framework with the human body on meaning are the questions that were answered. This research is descriptive-analytical and comparative and the information is extracted in the form of a library with filing tools the mentioned artists have been interviewed in order to fill the study gap in this research. In the studies it was determined; Meaning in the works of two artists has a lot to do with how the frame is presented, and therefore the frame in the works of both artists is the center and the center of the work, with the difference that the pollinating property of meaning in art is layered and spiral, but in the works of Dahdouh The face is linear. According to Mieke Bal’s approach, the pollination of meaning in artists' works is as follows: In Moradi's works, the meaning of fluidity is in the form of a spiral, and in a nested and circular form, the meaning is transferred from one layer to another, but in the works of Dahduh, the meaning in the image travels and spreads along a horizontal line. In his art, Moradi uses the interference of frame within frame, and therefore the meaning in his works is multi-layered and is completed when passing from frame to frame. In both groups of artists' works, the reflective nature of the mirrors and the self-repetition of the frames according to the defined diagrams were observed. In all the introduced works, the human body is in the bond of a series of belongings and the frame and frame surround the body and give it a productive meaning. In one of the interpretations, the frame and frame in Moradi's works play the role of the power of reason as the heart of the image, and in the works of Dahduh, changing human thoughts is the way to her liberation.

In some theories of aesthetics, the function of art is to know the outside world so that it can find a status in line In some theories of aesthetics, the function of art is to know the outside world so that it can find a status in line with other sciences. One of these theories that considers cognitive function as a value for art is Nelson Goodman's symbolic theory.To create the cognitive function of art, Goodman turns to the symbolic system, which he has adapted from linguistic functions. Through linguistic approaches and especially the reference relationship in the symbolic system, he can consider works of art as a tool for cognition that transmits knowledge. In this regard, Monroe Beardsley, another art philosopher who disagrees with cognitive function. He believes that the function of art is defined as the capacity of the work to create an aesthetic experience that results from qualities such as the intensity, unity, and Complex and takes a stand against Goodman's theory. He believes that works of art, like sentences, cannot be a vehicle for propositions and find value in truth. They can only create a good interpretation in the form of art, regardless of the hypothesis and the conditions of truth. The disagreement between the two philosophers is analyzed them with case study in a selected Lewis Hine’s a photo that makes propositions based on reality. In this research, by analyzing these photographs based on the views of Goodman and Beardsley, it has been determined that the arts are not able to find cognitive function like other sciences, and as a result, it is better to go to the properties and capacities of art in order to create value for them.This can be a weakness for Goodman's theory, just as it can be a strength of Beardsley's theory. Perhaps we realize some of the values of truth within the work of art through conjecture, but there is no definite criterion; because works of art do not express anything explicitly. The conditions of truth in works of art are not decisive and strong and they are not considered original rulings. Propositions attributed to works of art are, rather than judgmental, mental states of aesthetic interpretations that are expressed. Thus, it contrary Goodman's theory, aesthetic interpretations lack the conditions for truth in meaning. It seems that in order to create value in a work of art, one must look for the value that exists within the work, and that is the aesthetic value. As Beardsley sees aesthetic value as an aesthetic experience that arises only from the qualities within the work. The purpose of this research is to investigate the efficiency or inefficiency of art in creating a knowledge of the world that most critics and audiences expect from the representation of art. In this research, data is collected through library study and Internet search, then describe and analyze them in accordance with Hine’s selected works as a case study.

The emergence and development of technology in human life has always been subject to change, and these changes require human information in order to be able to live in life; therefore, the need to use and understand information is felt for their greater prosperity and encourages them to use information more and more. The age of human information has been aggravated by the large volume and complexity of data, and the continuous and inclusive presence of information in today's world has made it difficult for humans to collect and extract data; therefore, humans are seeking a suitable way to simplify information; a large part of The data is transmitted through the image, meaning humans transmit a large part of the information through the image. The complexity and multidimensionality of information raises the need for more attention to how to present and publish it. In this age of technological progress, it has led to the development of cities and human lives and this necessity plays an important role in guiding people to their well-being; therefore, the need for visualization of information is felt to make data easier to understand, because the development of visual communication and creative technologies and the display of the image has made various and increasing possibilities in supplying and presenting information. Infographics come from combining information with the image and collecting complex information to illustrate them with images and tables that are readily understandable. Due to the dramatic growth of cities, every day, the frustration and disarray of cities increases, and the human need for information grows in line with the welfare of life; urban life is evolving, and the emergence of new technologies has brought new solutions to the provision of information. It can be said that urban infographics, which are part of the urban community with an informational approach, play an effective role in how people interact and fulfill their desires. Urban infographics, which are part of the urban community with an informational approach, play an effective role in how people interact and fulfill their desires. They can also contribute to raising the level of community culture. The present qualitative research, with the aim of understanding the nature and structure of information visualization, studies the effects of urban infographics. Infographics combine information with images to make complex information more clear and understandable with the help of charts, tables, maps, and other visualization tools. The purpose of this study is to identify and explain the ways of visualizing information with an infographic approach and emphasizing the progressive effects of contemporary urban graphics. The results of the theoretical discussion show that infographics in terms of the nature of content include three categories: quantitative, qualitative and compositional, and in terms of the displayed structure include spatial, temporal, phased, comparative and biographical types. Also, the results of the study of the samples indicate that the nature of the data in most of the studied infographics is mixed and the nature of communication in most of the works is static.

Considering that children up to the age of twelve are cognitively anthropomorphic, therefore, children's literature without personification is unbelievable to them. Zoltan Kovecses, a cognitive linguist, considers personification to be one of the types of conceptual metaphors. In children's stories, Speaking animals or objects who talk, think, or behave like humans are all anthropomorphic. In the other word, personification is a type of figurative language in which nonhuman things are given human qualities. The intensity of the projection of these human traits (or so-called degree of anthropomorphism) is not necessarily the same for all characters in the story. In picture books, images can objectify the degree of anthropomorphism of characters. Different degrees of anthropomorphism of characters can create potentially different readings for the text. The purpose of this study is to investigate the cognitive function of this plotter array in the characterization of children's illustrated stories. In this regard, the present study, by descriptive analytical method, seeks to the procedure for representing the interaction of characters, according to their degree of anthropomorphism. Because in children's stories, a large part of the personification is objectified in the form of images; Therefore, it is necessary to consider the interactive role of the image along with the bold role of words. The novelty of the present paper is that, first, it examines the personification as a scaled continuum (from the upgrading of an object or animal to a human to the metamorphosis of a human into an object or animal); Second, it studies this non-figures plot creator in the context of visual cryptography. The research questions are: 1- personification is formed in the context of what sign systems? 2- It is graded on which scales and in what way? 3- What is the difference between homogeneous and heterogeneous personification? 4. How do images alienate and depersonalize the characters in the story? The research shows that personification is a graded array, and its intensity can estrange each character in the community in which they play a role. In addition, images play a direct role, in increasing the degree of anthropomorphism and indirectly in the foreignization and domestication of characters. The author has not yet seen a study that examines the interaction of varying degrees of subjectivity in children's stories. The method of data collection is library and purposeful. The research method is inductive. In inductive research strategy, theory includes generalizations that are obtained by induction from data. Therefore, research is concerned with constructing and addressing a theory that begins with data collection and ends with abstract descriptions of the patterns in the data. In this regard, first, the media that are the conduit for the realization of the personification array are categorized; The mentioned array is then examined as a graduated continuum, in terms of intertextuality and intra-textuality, and its subsets are morphologized in each of the two mentioned levels.

Title: An Investigation in the Orders of Seeing in the Safavid era, whit Emphasis on the rules of Seeing in Naghsh-e-Jahan SquareabstractWE are Living in the age of Visual explosion, nd its important to develop our skills in seeing. According to critical approach in contemporary humanities, its obvious that seeing is historical. Although the new concerns on Orders of Seeing have been associated with modernity, visual engineering has always been a way of governing societies. What Can be seen in a certain society, at a certain time; places of seeing and the relations between the spectacle and the spectator, Are the revealing points of the characteristics of a scoopic regime in a particular position. Discovering the Orders of seeing in a particular Society is a way pf understanding why societies make images whit particular characteristics, to show and hide what may be seen. So By looking through the outstanding visual culture scholar’s opinions on visuality/visibility, I’m trying to suggest some methodological approach for analyzing the order of seeing in a given point. In this approach constructed sites are not just spaces to move in, but they are spaces for controlling inhabitant's behaviors. The main purpose of this study is to discover the most important characteristics of Safavid order of seeing through a profound investigation in the role of the square in premodern Iranian monarchy, by emphasis on Isfahan s Naghsh-e-Jahan square and its public and private sites. Naghsh-e-Jahan is the symbol of Safavid power relations and maintained its function through the years. It is the well known image of Safavid era and Safavid city.The literature review shows that the dominant visual order in premodern kingdoms is based on "Spectacle" and Safavid society is no exception to this rule. In the spectacular order, governments establish the pillars of their power and the foundations of their legitimacy by manipulating the spectacle and performing theatrical rituals, creating an image of monarchy that forces their subjects to surrender. Considering the Naghsh-e -Jahan square as one of the most important places of seeing in the Safavid era, showed that the Shah himself and the religious, military and economic foundations of the Safavid monarchy were the most important things to be seen. By the Way, the right to look in Safavid square is distributed in two dimensions which is in line whit the power relations in Safavid society and reproduce and strengthen Safavid legitimation pillars. These directions are, up to down(person to public), which is the supervision look, and emphasizes the superior position of the king and his courtiers; and down to up (public to private), which is the look of admiration, amazement and submission.Key words: order of seeing, visibility, visual culture, Safavid era, Spectacle, Naghsh-e-Jahan