نشریه مطالعات هنرهای تجسمی
پیاپی 1 (بهار و تابستان 1402)

In ancient Iran, particularly during the Sassanid era, petroglyphs were one of the most effective methods of displaying the government's authority, aims, and ideals. Until the Qajar period, which coincided with the rule of Fath-Ali Shah, this artistic tradition was revived and used to demonstrate regal authority following the formalization of Islam. Sculpting prominent governmental motifs was part of Fath-Ali Shah Qajar's approach to archaism, which, while incorporating the art of the Sasanian Empire, reveals the Qajar monarchs' approach to Iran's ancient past and their reconstruction in a new manner. This article intends to analyze the petroglyphs of the Qajar period and how the prominent figures of the Qajar period were influenced by the Sasanian period and the archaism trend. This descriptive-analytical research based on library sources indicates that Fath Ali Shah, impressed by the grandeur and durability of the Sasanian petroglyphs that have demonstrated the authority of the Sasanian kings over the years, commissioned the construction of such works to ensure the political integration and survival of the Qajar dynasty. It is supported by similarities in role-playing and displaying the king's status.

Metalworl art, manufacturing and decoration of various types of metal works during Islamic era, is one of the most important achievements of art in the fifth, sixth and seventh century AH at the same time as the seljuki and Mogul. this art at this time was able to conquer much of the geography of Islam and in particular Iran, mousel, syria and egypt, with the genius and creativity of Iranian and Muslim artists, become one of the most prominent arts of the mentioned periods. mousel metalwork School during the Boom of Mousel city and during the rule of Badr al-Din Lolo, (1229-1259/ 637-611), one of the most active schools and poles of metal production at the time, which - according to the manner of making and decoration of works that were ineffective, had great beauty and great use - was able to achieve significant prominence. Now many of the works of this school are decorated with the museums and collections of the world. In this article, two metallic works of two metalworkers are examined and analyzed, basin of ahmad zaki alnaghash mouseli and flower pot of ali ibn hamoud mouseli.the present study is fundamentally objective from the perspective of the research method, it is descriptive-analytic.the method of collecting information is also a library and search in museums.

The museum is a cultural institution with different artistic and scientific objects, which is on the important pillars of education, demonstration and research, and its most important function is the transfer of perceptual and emotional knowledge, so that in this way it can contribute to the formation of personalities and access to aesthetic and moral values. Society should act.The purpose of this article; Recognizing empathy is a new approach in museum education, which tries to answer these questions based on Bloom's educational theory with a case study of a museum piece called Nad Ali Mir Emad's line piece:  What is the relationship between empathy and museum educational outcomes? How does empathy change visitor learning levels?  The research method is descriptive and analytical, and data collection is done through library sources, and the measurement tool is the empathy questionnaire with the museum and the data analysis is quantitative and qualitative.  Assuming that empathy is an important factor in strengthening the value and social aspects of museum learning, this article argues that learning is the most important result of museum education and is closely related to the components of empathy.  According to the statistical findings, the research results show that in museum education; Learning and empathy are the main factors in changing individual attitudes and values, and they are an important factor in changing social behaviors and strengthening human experiences.And they help the museum to realize the learning results through the space of the museum (transmitting moral and aesthetic messages) of artistic and historical works.

India, the land of diversity of culture and belief, has accepted immigrants from far and near countries for many years. Their peaceful coexistence has created significant achievements in various fields and have been expressed in works of art. The rich traditions embroidary of this land confirm this. Some of the immigrants living in the Sindh and Gujarat regions are Iranians who migrated to these regions during the Safavid era, especially from the east and south of the country, and traditional embroidery has been a part of their livelihood. Investigating this art is important in the field of development and dissemination of Iranian arts, and the purpose of this article is to introduce the art of this embroidery. The main question of this research is: What are the characteristics and sub-branches of Indian embroidery and which Iranian embroidery can it be compared to? This research is descriptive-analytical with a comparative approach and based on library and electronic resources. The results show the richness and diversity of Kouch embroidary art and its remarkable similarities with some Iranian embroidery, especially in the technique and pattern, which is not only similar to the embroidery of the nomadic tribes in the south and east of Iran, but also The traces of Iranian urban and court embroidery can also be seen in this art. Despite these similarities, the specific characteristics of the sub-branches of embroidery have been well formed over time and combined with Indian motifs and themes. Also, in the technique and material, in some cases under the influence of each other, combinations have been made in them and it has become an identity art in India.

Kamal al-Din Behzad, as one of the most prominent painters of the Timurid period, has been involved in illustrating many valuable books, including Saadi's Golestan and Bostan, and relying on his talent and genius, he has illustrated many of the literary and educational points of Saadi's poems; Therefore, the link between poetry and painting can be clearly seen in his works. The painting "A Beggar at the Mosque" which is one of Behzad's most famous paintings, was painted with regard to the poem "Love and Passion and Drunkenness" from the third chapter of Bostan Saadi, which, despite having educational points hidden in it, is still more aesthetic and visual. Is taken into consideration. In the following article, this painting has been examined with an educational approach. This research seeks to answer the question that to what extent Behzad was able to convey the educational points in the painting to the audience? The purpose of this research is to emphasize how to include significant educational and educational and psychological points in the mentioned painting and to present this method as an educational and educational method that can even be used to better understand the text of the poem. The research method in this article is a qualitative approach, the collection of materials was done by searching the library and scientific articles from reliable sources, as well as the visual study of the painting and reading the text of the poem. In terms of summarizing the findings, it can be said that Kamaluddin Behzad has depicted the concept used in Saadi's poetry, i.e. patience, well, so that the educational points discovered in the painting can be highlighted.

By removing objectivity, the concept of art was separated from the object of art; thus, massive changes occurred in the concept of art. However, the nihilism that existed in modern art also flowed into postmodern art. The present study aims to identify the roots and types of nihilism in postmodern art, especially Duchamp's readymades, compare it with the present nihilism at the height of modern art, i.e., formalism, and find its similarities and differences. The present study employed qualitative research, descriptive-analytical research method, and library and internet research. The research question is what variations have nihilism achieved in modern art, especially formalism, and in the art after it, especially Duchamp's readymades? The results show that, in formalism, there is a kind of passive nihilism based on political nihilism and a type of nihilism based on the nominalist approach to aesthetics. However, in Duchamp's readymades, in addition to the negation of political nihilism, there is a positive and active nihilism in his works, in which the artist realizes the meaninglessness of truth. But by using the process of creative action and transference methods and then creating hyper-irony, he passes the level of this senselessness and builds his art on this senselessness. Considering the spread of formalism and conceptual art in the world, especially in Iran, it seems necessary to study their hidden nihilistic influences.

All of the palaces in Takhte Jamshid citadel are decorated with special ornaments which each of them refers to a meaning and among these ornaments the column capitals can be grouped in four types; bull, lion, winged bull-man and bird with a lion's paw. This study with the help of allegorical mythology method of Georg Friedrich Creuzer showed that the meaning behind these forms are influenced by the mythological narratives of the Indo-Iranian peoples on the one hand, and on the other hand by astronomy and myth of the Mesopotamia. Therefore the column capital in the form of the lion in the east is connected with Mitra, and also with the sun that rises from the east, the column capitals in the form of the bull in the main halls are associated with blessing and life, and in the west with the bull in front of the lion as an astronomical phenomenon which indicates the beginning of spring, and, with the killing of the bull by the hands of Mitra, which is an allegory of creation and blessing, and finally, the winged bull-man is both indicative of the Indo-European tripartite actions and also protection of the blessing of life, and it can also be related to Mesopotamian Enki.

Berenice Abbott is an American photographer. She experimented many different styles and genres of photography, during her life. Portrait photography, urban documentary photography and scientific photography are among the most important ones. She is one of the few photographers who have experienced such diversity in photography. From 1929 to 1939, she documented New York City by her photos in a straight (pure) manner. This project was named "New York in change". The outcome of this ten-year project is more than 300 photos captured by a large format camera named “View Camera”, which have been published in a book with the same title. In this regard, this question is mentioned that, what effect did the social conditions of the US in that period of time, have on Berenice Abbott and how was it reflected in her photos? The purpose of this research is to study and analyze the photos of the "Changing New York" photo collection, from the social point of view and to comprehend the social-economic changes during the era that these photos were captured. The way of collecting the needed information has been the library method and the research manner of the current research is based on the descriptive-analytical method. At the beginning of this article, Berenice Abbott, her style and type of photography and the social-economic conditions of the years she photographed New York City, are mentioned. Next, the "Changing New York" photo project is explained thoroughly, and at the end, this photo collection is analyzed from a social perspective. The research discoveries show that Berenice Abbott was able to reflect her ideas through her photos in this specific photo collection. The ideas which were influenced by social conditions of that period of time. The audience can uptake the reflected social and economic conditions in the photos, very well. This is the ultimate goal of a photographerو communicating with the audience through their photos.

One category of art critic methods developed a lot in recent decades is mythological critic and this article has chosen cultural mythanalysis which is invented by Denis de Rougemont Swiss researcher whose most important intellectual concern was the cultural situation in Europe in the twentieth century; A situation which he called "the Western Cultural Night". In his view, the main reason for this cultural night was that Westerners were deprived of a romantic relationship in both its individual and social sense, and this was rooted in the archetype of lovemaking and myth-based mythological narratives in Western culture. Thus, by inventing cultural mythanalysis as a method of research, Rougemont sought to investigate this important issue in the narratives and their Consequences in the works of art. In this article, with the help of "Cultural mythanalysis", an animation which is called "Barbapapa Changes" is analyzed, and concludes that the psychomythological basis behind it is a constant metamorphosis, and this type of metamorphosis indicates an ancient cultural complex: in any society which Its cultural conditions consciously prevent people from doing their desired activities with their true identity, the subconscious of the people leads them to change their identity or at least pretend to it.

Native elements are one of the most important components of the formation of visual texture in culture. The texture of the image of Iranian culture is full of symbols and signs that have emerged from the heart of native elements. Symbolic anthropology deals with the understanding and interpretation of culture with the help of symbols and signs. Throughout history, symbols and signs have used media such as images and writing to express their values. Typography is one of the powerful image and writing branches in today's world, which has been able to communicate with the roots of image and writing and has achieved an independent function in this connection. The purpose of this article is to find the impact of native elements on Iranian typography from the perspective of symbolic anthropology and what consequences this impact had on Iranian typography. The method of examining the findings is descriptive-analytical and based on library study and case examples of Burjamaneh's works from Iranian civilization. From this, 7 cultural symbols of Iran have been examined as findings in this article. The findings show that native elements have played an essential role in shaping human constructions and his knowledge of his surroundings. Typography in its various forms is affected by these knowledge and constructions. In the most basic form of knowing the environment around him, the intelligent man has gone to the creation of symbols and signs. In the examination of symbols in Iranian art, traces of native elements can be searched. These elements are expressed in the form of symbols and signs in the image and text. The body of Iranian art is full of these signs, which in each period has adapted itself to a different thought of the time and has emerged as a unique Iranian art from the heart of the thought of each time. Native elements can be considered as the characteristic of every culture and civilization that forms the cultural context. Native elements have a significant impact on the shaping of ethnic aspirations, far and near. Desires that are mixed with life, death, creation, cosmology, totem, pilgrimage, rituals, marriage, the world after death, etc. Therefore, native elements should be considered a turning point in the formation of these concepts. Today we look at the image with a deep attitude. The image for us, whether written or in the form of a pure image, has many meanings that we can interpret through our knowledge and understanding of the image. Symbolic anthropology is the methodology of our interpretation of these signs. A bird in a stamp that looks up, a hexagonal captive ram, or the writing of Bab al-Hawaij, which has a hand association with science, all have a specific definition according to our bio-ecological understanding of the image. Typography is the art of designing a message (concept) in the form of an image or writing or both, which conveys a specific meaning according to the geographical location where the designer and the audience live.

Taziyeh is one of the relatively ancient religious traditions and national-religious customs and introduces a part of the long-standing religious identity of the Iranian people.  Undoubtedly, this phenomenon, like other cultural phenomena, has emerged under the influence of cultural contexts, conditions and capacities, and socio-historical needs and necessities, has grown and evolved, and has survived.  Is. Taziyeh as a ritual performance with a long history, the new method of which was formed from Safavid and became popular in Qajar, has always tried to interact with the general audience to convey concepts and be more effective.  The multiplicity of components, variety of forms, dense semantic layers, symbolic aspect and, as a result, the high interpretability of this ritual have made researchers inevitably use various study approaches to explore its various dimensions.  Accordingly, the main issue of the research is what the two-way relationship between the audience and the atmosphere of condolence.  Does the place of condolence have an effect on conveying its themes and its relation to the audience?  For this purpose, this research has been done by descriptive-comparative method and collection of documents by library method.

In the Seljuk period, the decorative motifs of metal works reached the peak of prosperity and innovation. Among the motifs , the combination of  " Man - calligraphy " as a new development in Islamic art and the Seljuk period considered . The nature of the relief only to create beautiful images and forms can not be , but the designer in the show themes difficulty trying to show the inner meaning by thinking and belief true in societies in those days, taking into account the effects of political , economic and cultural era have had The nature of these motifs cannot only be the creation of beautiful and decorative images, but the designer has tried to show an inner meaning based on the true thinking and beliefs in the societies of those days, taking into account the political, economic and cultural influences of each era . The question that is raised is : a mix designs " Man - calligraphy " on the metal works Seljuk What are the themes and meanings ? The initial assumption placed more emphasis on the decorativeness of most of these motifs, but with the research and investigation, it was realized that that the motifs in addition to the themes inscriptions include prayers, good wishes , advice and coded meanings and underlying belief in witchcraft to meet Bella and repel evil eye , friendship , support and desire to communicate and life products . also have their effect . Muslim artists based on their religious teachings us to understand the concepts and ideas of these people they lead and influence of religion in his art . The aim of this study the roots of the secret and inner meanings fine print "Man - calligraphy " is . This research is descriptive - analytic and data from literature , articles and websites are valid.