نشریه مطالعات عالی هنر
سال سوم شماره 2 (پاییز 1402)

The following article studies the letterism movement and the impact of its intuitive approach on graphic works after 1960. In this regard, after examining the socio-political background of the formation of letterism, by studying examples of the works of graphic designers, it has been discussed how to use written letters in their works. This article aims to explain the intuitive approach in the letterism movement and along that the influence of this movement on the works of graphic designers after 1960, and the question is how to explain the influence of certain religious tendencies on the letterism movement? And what role has this movement played in the practical developments of writing in the works of graphic designers after 1960? The current research is of qualitative type and was formed by descriptive-analytical method. Data collection was done by using reliable library and internet sources and observation of the works, and the samples studied in this research were selected from the works of David Carson and Paula-Sher. The result of the research is that the visual rules and characteristics of the letterism movement, influenced by the intuitive and kabbalistic-Jewish tendencies of Isidore Isobani, its founder, lead to a special treatment with written letters, including the use of different materials, the use of letters And written signs in the coexistence of visual elements, creating a new philosophy of using letters to convey meaning and introducing hypergraphy to the visual world, which had a significant impact on the works of graphic designers after 1960.

Art in the last decades of the twentieth century has taken on a plural and multimedia nature; it has broken the boundaries of a particular media and gone beyond it, making it possible for multiple media to be present in the process of creating an artwork. This research, conducted in a descriptive-analytical manner through library methods, examines the interaction between the media of painting and the media of installation in contemporary art, based on 15 case studies of Iranian artists to answer the question of how painting interacts with installation art in Iran. The findings of this study indicate the following: 1. The presence of a painting next to an installation and presenting it as a collection, the direct use of painting on objects and presenting it as an installation work, and the use of objects on a painting and presenting it as a work in the form of a painting are among the interactive interactions of the two media of installation and painting in the works of Iranian artists. 2. The work is influenced by styles, themes, and famous paintings, the use of visual elements and the characteristics of painting (color, light, composition, and visual basics) as well as the way the installation is presented like a painting are among the effects of the media of painting on the media of installation in the works of Iranian artists. 3.Painting installations and the use of installation techniques in the presentation of works are among the effects of the media of installation on the media of painting in the works of Iranian artists.

Corona and its spread as a pandemic changed human life in the early months of 2020. Changing human lifestyles and being forced into new tasks were among the biggest consequences. Children and adolescents are one of the groups that faced fundamental changes in life. Living in quarantine and facing virtual spaces and platforms and online education changed the world of their thoughts and behaviors. The world's cultural custodians have taken activities in relation to children and adolescents and have taken steps to help them and reduce the pressures of the disease's consequences.CIFEJ (International Center of Films for Children and Young People), which has been active in children's and adolescent cinema for many years, presented a program entitled "CIFEJ DAYS" for quarantine and online during quarantine days. Cifej days is one of the programs that cifej has performed in many countries and festivals of children's and adolescent films by Iranian members. One of the most important goals of this event was to be conducted online in relation to Iranian children and adolescents. How to study the process of producing animations for children and adolescents in the days of cifej during and virtual education in Iran during which animation works with the theme of Corona was presented is the main question in this research: animation education, learning teamwork, producing works by children and adolescents, and talking about the works and showcasing them in the next cifej days is one of the most important goals of the CIFEJ Day program. The program was conducted online in March and April 2020 and short animations on the subject of Corona and based on the knowledge of the arts students were presented and shared on the official website, YouTube channel, etc. The research method in this article was done descriptive-statistical and the method of collecting data in field and library form, this article reviewed and processed six works produced from the total (number) The entire work has been dealt with in the days of this event, which deals with the experience of children and adolescents of Corona and the impact of online education among them and the production of their animations. And that children as well as teenagers were in more interaction with their families and educators.

The Tehran auction is one of the most important events related to Iran's art economy. In this research, in order to achieve a suitable and practical model for artists and art investors, the characteristics of the works and artists present in the 15th Tehran auction have been analyzed. This research is based on the purpose of the applied-practical type and the method is the descriptive-analytical type. By classifying the data, which included 72 works from 56 artists, ten main factors were investigated. These factors include the age of the artist, whether he is still alive, his signature, dimensions, shape, materials, context of the work, year of production and previous history of the work and its sale price based on the estimate of the auction organizers. The result is that the majority of the artists of the Tehran auction are veterans, and out of 56 artists, only 29 are alive and 27 have died. According to the statistics, 39 of the 72 works have had a brilliant previous history. The ideal dimensions of the works are 50 to 200 cm, and the predominant work field is fabric and rectangular canvases. The works of oil paint and mixed materials are the most numerous, and the works of multi-layers are limited. Also, all the works have signatures and 78% of the works were sold within the estimated price range from the Tehran auction and the remaining 22% of them were sold above the estimated auction price.

Sofonisba Anguissola, an Italian female painter from the Renaissance historical period, is actually best known for the many portrait and self-portrait paintings that she has painted during her artistic career. Six centuries later, a South African female contemporary painter named Marlene Dumas, has achieved a level of fame on par with Sofonisba Anguissola in painting portraits and self-portraits. Since the creation of self-portraits in any kind of art have always been viewed as an artist`s understanding and perception of her or his own personal identity and character, the main purpose of this study is to discover the perception of the mentioned Italian renaissance and the South African contemporary female artists of their own personalities and identities during their lives. And of course, this will happen through their artworks. To this end, a critical feminist approach is used, one that focuses on women's gender and their equal rights with men. In this regard, the following questions will be asked: 1. what differences have Sofonisba Anguissola and Marlene Dumas demonstrated in terms of their individual identities and personalities in Renaissance and Postmodernism periods? 2. What strategies have these painters employed to define themselves in the society of the time they were living through the artistic medium of painting? The research hypothesis is as follows: The easing of restrictions on women's lives throughout history must have had an effect on their self-perceptions. The author uses the comparative research method first. Then, the inductive method to come to the conclusion that in fact, in Sofonisba Anguissola's self-portrait paintings, personal identity equals with inner moral values. While in Marlene Dumas' self-portrait paintings, personal identity equals with external values. In addition, it is important to mention that the two named artists had their own different techniques and approaches to express their personalities through their self-portrait paintings.

There are two groups of thinkers in Islamic art who are Perennial Philosophers and Historians. These two opinions are also in Islamic Calligraphy so the purpose of this research is to compare these two aspects of view in Islamic Calligraphy from two famous thinkers: Annemarie Schimmel (Perennial philosopher) and Sheila Blair (Historian Philosopher). The most important question of this research is: what are Annemarie Schimmel’s and Sheila Blair’s opinions about Islamic Calligraphy since one of them is a Perennial philosopher and the other one is a Historian Philosopher. The main concentration of this research in based on Calligraphy and Islamic Culture book by Annemarie Schimmel and Islamic Calligraphy book by Sheila Blair. The research methos of this study is descriptive- analysis and the information has gathered with the help of library books. It is concluded that these two different studies are both useful and they don’t disturb each other and both has their own readers.