نشریه هنرهای کاربردی
سال دوم شماره 3 (پاییز 1401)

Among the unprecedented diversity of the use of different materials in contemporary art, fibers have been able to present themselves as a branch of postmodern art. Producing artwork with fibers is important and has a rich history in all world cultures. However, until the modern era, the use of this artistic material was only possible in the context of handicrafts and applied arts and was not considered a part of fine arts. At the beginning of the 20th century, with the formation of postmodern approaches, a group of female artists in America stood against this type of division, and their activities led to this artistic material being recognized as a part of fine arts and entering new art museums. Considering this paradigm shift, this paper intends to answer the question of what capabilities sewing and fibers offer in visual arts, including installation art. And how can these features reflect postmodern components? To reach the unique capabilities of fibers in contemporary art, this article analyzes the works of several famous female artists in this field and tries to read the postmodern elements in their works. This research is of a qualitative type and descriptive-analytical, and the collection of information in it is by library method and document study. The result of the research shows that by removing the predetermined frameworks, a new window of the capabilities of fibers has been made available to artists, which has led to the creation of diverse works that have no direct precedent in the past and artificial arts. The most important of these features is the unique expression, the possibility of presenting and arranging the works in the form of installation art, the ability to communicate by touch, the presence of the work without intermediaries for the general public, and the possibility of the audience entering the work and the direct perception of the work of art by the viewer.

The paradigm is used in philosophical and conceptual assumptions to accurately identify research positions, which defines a set of researcher's worldviews and beliefs and is consistent with meanings such as cultural thought pattern and framework. The importance of the paradigm in research is like a logical pillar that contains the research framework and supports the intellectual dimensions and design of the researcher's research to the end of the road. This research will analyze the main pillars of the paradigm in four dimensions: epistemology, ontology, methodology and originality, while similar studies use the three dimensions of the paradigm pillars. they do, , While similar studies use the three dimensions of the pillars of the paradigm, also in the subset of the main positions to the types of paradigms, which are: positivism, post-positivism, critical, interpretive. , Feminism, Post modern Chaos Theory, Pragmatism. This paper tries to introduce the paradigms in various qualitative and quantitative researches, to generalize the term paradigm in the field of art, and also to explain the paradigms that are most used in the field of art and have the best results. This research is a qualitative research in which the research work is applied-theoretical and its research method is thematic analysis.This paper tries to generalize the word paradigm about art as well. Art is an integral element of human existence that steps on the path of exaltation of human existence. It is a reflection in the imagination of the artist that leads to the creation of beauty with the power of knowledge. Art is a report and translation of the artist's soul and an invitation to happiness. In fact, it is pleasure and salvation that is objectified and is a kind of intuition of God in the emergence of beauty, so the paradigm used in art in addition to conventional paradigms in other qualitative research And a little, it must also dominate the artistic, psychological and metaphysical aspects. Also, data collection has been done by documentary method. The results of this research are the birth of a new paradigm about art and also the introduction of a short and practical model in various researches.

The opening of the first art college in Iran in 1940 decade and after that, the establishment of the Museum of Contemporary Art in Tehran in 1983 was the beginning of the presence and background of the activities of artists, especially Iranian painters in the world arena. Leading research intends to examine the position of Iranian painters in international art events in the last decade, taking into account the socio-cultural developments in Iran, and to compare this level of presence with artists from neighboring countries. The results show that in the most prestigious international art events between 2010 and 2020, the presence of male painters was more than women, while the average age of female painters was higher than men. The majority of Iranian painters participating in these events resided abroad and were mainly academically educated. The presence of painters is also more significant than that of artists working in various fields of visual arts. Finally, in the last decade, the growth of the participation of young Iranian artists and self-taught painters in the statistical results of world events is evident. The type of works presented in the selected events shows the presence of 52.7% of artists with paintings and 47.2% of artists with other visual works. The year 2015 shows the highest presence of artists with visual works and paintings compared to other periods, and on the other hand, the years 2016, 2018 and 2020 show a sharp decrease in the display of visual works and paintings. In most events, we see the presence of female artists with a higher average age than male artists. In total, the average age of women was 49 years and men 47 years. The youngest average age for women for the BP Prize event and for men belongs to the Berlin Biennale, and the oldest average age for women belongs to the Sharjah Biennale and for men to the Venice event. The highest average age of women in 2010 and men in 2013 can be seen The lowest average age of men belongs to 2018 and women to 2020. In general, the average age of artists has gradually decreased, which shows the trend of young artists and the new generation towards overseas activities. According to the obtained results, the total number of Iranian artists participating in international events in the mentioned time period is 170, Turkish artists 207 and Indian artists 176 that the artists of Turkey have had a stronger presence than those of Iran and India. The number of male artists from the two countries of Iran and India was more than that of women, but Turkish female artists with 63.28% were more active than men with 36.72%.

Handicrafts are related to wide areas such as identity, culture, climate, religion, economy, entrepreneurship, etc., and education is also one of the components that have been in the process of development and growth since the distant past. Crafts have been effective. Today, the higher education of Pigsham Handicrafts is the training of specialists in order to meet the needs of this field. In general, some injuries and needs and lack of focus on them have reduced the efficiency of some university courses. Especially in handicrafts, a specialized look at the discussion of "design" and its requirements, to prevent the stagnation of arts and development of handicrafts, is among the things that have been less investigated. Based on this, the present research, using the descriptive-analytical method and with a critical look at the higher education of handicrafts, seeks to answer the question of the absence of handicraft designers and such a trend in the higher education of this field. And has it caused damages in the field of handicrafts? In other words, the aim is to investigate and evaluate the importance of designing in handicrafts and the requirements of a specialist look at it, the necessity of training handicraft designers. As a result, based on the analysis and revealed needs, it can be said that the trend of "handicraft design" should be proposed as a solution to cover some of the harms of this field in the higher education of this field.In other words, the aim is to investigate and evaluate the importance of designing in handicrafts and the requirements of a specialist look at it, the necessity of training handicraft designers. As a result, based on the analysis and revealed needs, it can be said that the trend of "handicraft design" should be proposed as a solution to cover some of the harms of this field in the higher education of this field.

Oil lamps had a great diversity in form, ornaments, and production techniques during the Islamic era. They were widely used due to the "simplicity of light production", "availability of raw materials such as tallow, fat, and wicks", and "suitable dimensions and weight". The advancements in metalworking, especially during the middle Islamic centuries, made various kinds of metal oil lamps to be produced. Several metal oil lamps are kept in the Harandi Museum of Kerman, which have never been brought to the attention of researchers and have not been introduced despite their importance in terms of forms and ornaments. The purpose of this research is to study the typology, explain the manufacturing techniques, introduce the origin, and analyze the relationship of these oil lamps with samples from other lands. The questions are: What types of these oil lamps are included in terms of form, ornaments, and manufacturing technique? How is their influence with the examples of other lands? The samples were collected and studied in the field (in the Harandi museum) and some data were used in a documentary method (published studies). Typology and analysis have also been done based on the comparison of Harandi samples with published works. Based on the results, the oil lamps of the Harandi Museum are divided into spherical, teardrop, and hexagonal in terms of shapes and structure. Some of them have linear or circular ornaments, Kufic inscriptions, and additional decorations, generally the body parts of birds. In some oil lamps, the tank and the place of the wick are integrally cast, and in others, they are cast separately and in two pieces. Also, the shape and dimensions of the handle and the presence of the base have affected the ease of use of oil lamps. Based on comparative chronology, all samples belong to the middle Islamic centuries, especially the 6th century AH. This time coincides with the Seljuk rule of Kerman (Qawardians), one of the brilliant periods of Kerman's history. Also, among these works, two groups of "official and comprehensive" and "local and regional" works can be seen.

Coffee house painting is a style of Iranian painting that was created by unofficial and non-court artists after the reformation of the Nadideh school with martial, religious, and religious themes that emerged by the artists of the Nadideh school. These paintings have a completely folk style and they grew and flourished with other aspects and methods of folk culture. The functional culture of these paintings is such that together with other folk oral cultures such as reciting prayers and reciting prayers, it has accepted the transformation of the society and in the form of a metaphorical style that is rooted in the culture of the not-so-distant past in the period Islamic (Al-Buyeh period) had revealed itself. In this way, the painter is less in pursuit of beauty and tries more to show her religious thoughts in the form of the victory of good over evil and the victory of the saints over the hypocrites in the form of pictorial conventions. It seems that some illustrated narratives in religious curtains are rooted in popular and false beliefs that are depicted in these curtains just to create attraction for the common people. The main purpose of this article is to identify and decode some folk narratives in these paintings. The reason for drawing some unrealistic beliefs in describing the event of Ashura is the basic and central question of this research. The research method in this article is descriptive-analytical based on the paintings of four leading masters of this school. The results of the research show that the painters of this school were mostly illiterate people, and only in order to make the events of Karbala more popular and attractive, in order to express the oppression of the Ahl al-Bayt family, they tried to draw these narratives, which the truth and accuracy of some None of these narrations have been confirmed in any of the sources related to the events of Karbala and also by competent scholars.