نشریه مطالعات میان رشته ای هنر و علوم انسانی
پیاپی 7 (خرداد 1402)

Art is a multidimensional category and its subjects can be approached from various points of view. As a subject of art,women can be placed in various elements of art,depending on their position. In other words,in the study of the relationship between women and art,women are examined as the creators of the artwork,as the observers,audience,and evaluators of artistic products,or as the subjects and symbols in the paintings. This article criticizes the art of feminism and its place in surreal imagery,looking at women’s society and the amount of sexual and mental harassment by men,by observing the works and analyzing the content. Remedius Varro and Gertrude Abercrombie’s works are the focus of this research. The results of this research show that in terms of aesthetics and feminist art,women’s art has never been recognized and by suppressing feminist ideas,they have tried to ignore women’s artistic creativity.

Conceptual photography is a type of photography that is designed to attract more attention to a message. Although the message is not explicit and clear, it requires more attention from the viewer to help them understand the scene and have a significant effect on them. The current research is focused on defining the nature of conceptual photography and examining its applications in the world of trade and business. With the development of digital tools, the world of advertising has also become more complicated in parallel, and the competition for the impact of products and services on the audience has grown strangely. Using its language, conceptual photography has had and continues to have a significant impact on the audience. For researchers in the field of photography and advertising, knowing the world of conceptual photography and its trends is crucial. The purpose of the current research is to answer the question of what conceptual photography is, what its requirements are, and what its applications in the advertising world can encompass.

Thomas Aquinas is considered to be the standard bearer of aesthetics. Aquinas was a follower of Aristotelian philosophy, but he did not finish his work. Aquinas did not give particular attention and interest to the subject of beauty, but he did raise topics which somehow examined the most fundamental concepts of aesthetics in different aspects. The creation of the categories of ‘good’ and ‘beautiful’, which are distinct from each other, presents a challenge in discourse. Now, by defying the “good” in accordance with aesthetics, divine action in the form of seeing acts as a visual vision and considers beauty as an objective matter. He knew very well that beauty is a spectacular thing that has come to the fore from beyond the mind, and in the type of subjectivism of each person, the difference in its visual type leads to objectivism, but what was more important to him, theology as a condition of aesthetic pleasure. If we separate good theology from beauty, pleasure is added to the category, which is the third definition after good and beauty. One can ask how to see goodness in beauty, in pleasure? We will come to the answer that aesthetic pleasure can be said about things that make the mind full of defining beauty that raise the perception and after passing through the filter of “proportion” and “clarity” help us in knowing this matter. Pythagoras’ mathematical fit for clarity and representation of pleasure posed a challenge to Aquinas’s familiarity with beauty and prompted him to use consistent definitions of beauty for logical reasons. If we consider beauty from Aquinas’ point of view hidden in the proportions of the natural world in a visual work as a container, goodness and clarity form the envelope of Aquinas’s thoughts, that is, now it is the issue of goodness and clarity that criticizes the comprehensive meaning of beauty and The theme of the pleasure of beauty is allegorically pinned to the audience’s mind with a new definition. This research utilizes a library method to collect information and a qualitative method to analyze it. Aquinas’ concept of beauty is presented in this essay as the main elements.

Today, the diffusion of digital media and the use of information and its technologies, in particular in mobile applications, have enabled users to make the exchange of information very close and accessible. Since the success of a business set depends on the type of user interface and user satisfaction, the purpose of this study is to examine the structure of a standard, ideal and at the same time practical user interface, as well as appropriate to the Iranian culture. In this regard, to study what has happened in the world of developers and UI designers so far, it is necessary to monitor digital products and principles in the specific design of the application to explore to determine a suitable indicator to identify and find principled solutions. The graphic interface designer tries to combine art and technology and arrange the visual elements in a way that is both simple and beautiful, while also being eye-catching. The purpose of this study is to provide a general that can complete the policy and performance index of a graphic designer in the field of software design and show its strengths and weaknesses. What colors are more prevalent in social and cultural applications will be the topic of the question. The research method of this research is descriptive-analytical, through which the history of the research, the description of sources and cases and their analysis are examined. The method of collecting information is through libraries and observations.

Literature and poetry are forms of artistic creation, and like other forms of art, various research approaches and methods can be used to investigate and analyze their themes. By examining a problem through multiple methods, you can discover the hidden aspects of the problem and gain a more complete understanding, which could lead to various outcomes. Historicism and mysticism are two approaches in the methodology and research methods of researchers one of which examines the issue based on its roots and historical developments and it aims to investigate the historical factors of the emergence of a subject and the other with a mystical view of art from the aspect of truth, imagination, analogy, and expression of the concept of love which is the emergence and manifestation of goodness and beauty, it seeks to give meaning to the mysterious language of art and artist. This article explores the metaphorical concept of love in the poems of Ghada Al-Saman with the method of collecting documents and analyzing content from both historicism and mysticism perspectives. The essay is descriptive and comparative, and data analysis was done using an interpretive qualitative approach. The obtained results indicate that from a historicism point of view, relying on the consensus of art historians; The themes in Al-Saman’s poems are influenced by the time and place in which she lived and the worldview that she has found about the situation which is completely consistent with the historical voices of concern. What is perceived from a mystical perspective is that Al-saman’s poetic elements are derived from her special mystical worldview and conduct which has given it a special embodiment by creating metaphorical concepts. The love of man to man is the love of possibilities and it is permissible for mysticism and this metaphorical concept of love, which is the theme of many of her poems, is consistent with the opinions of mystics. According to the author’s analysis and perception; Al-saman mixed her romantic attachments with fantasy and symbolism so much that surrealism has given it a realistic appearance and her feelings, taste, and confusion are similar to the revelations of mystics and her earthly love is combined with the concept of true love; in this regard, the mystical approach offers a better interpretation.

Despite climatic, social, and governmental changes, Iranian women’s clothing has been supported by ethical, religious, and social contexts during the times. Unfortunately, regarding the change, transformation and the trend of the appearance of clothes in great dynasties such as the Samanids who ruled in this country after Islam, no research has been done as much as in ancient times, and less research can be found that is solely dependent on the clothing of women in this historical period. What was the trend of women’s clothing in great dynasties like the Samanids? This is the main question. The Samanids, as a powerful system, we’re able to create a special national and cultural unity among Iranians and rule in wise ways and create the biggest cultural and social renaissance in Iran after Islam. This article examines the evolution of women’s clothing during the Samani period and the effects of accepting Islam according to paintings, photographs, books and authentic sources, and it is a type of historical study that has been done in a descriptive, analytical and archival style. Finally, the results of the research show that with the introduction of Islam to Iran, the hijab did not enter this country, and Iranian women have worn various types of hijab since ancient times.