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سال بیستم شماره 128 (بهمن 1402)

Problem statement: 

There is a similarity between images of the sacrificing of the sacred bull in Mitra’s religion painted in the ancient era and the pictures of Rostam’s battle with the white demon in the images of coffee houses in visual and pictorial characteristics that can be recognized by studying them. This similarity and formal connection is a suitable case for matching and checking the type of composition and the visual and image characteristics of these paintings. Considering that the image of the battle between Rostam and the white demon has some similarities with the scene of the sacrificing bull by Mitra-Mehr, both battles took place in the cave, and in general, the cave was sacred and had an important place in different religions.

By achieving the type of relationships and effects in the elements used in the composition system, such as the type of sitting and standing of figures, guiding lines, and other visual elements, the comparison of works with a qualitative nature has been done.

The type of research is fundamental-theoretical and the research method is descriptive-analytical. Data including the author’s archive were collected the library research method.

The coffee house painters have drawn (the scene of the killing of the white demon by Rostam) according to the previous patterns in the past painters’ works. These effects are evident in the triangular composition system, the sitting position of the figures on the defeated creature (bull and white demon), and the presence of daggers in the hands of Mitra and Rostam. One of the common features of the paintings is the visual representation of the manpower of good and evil. Although the belief in the existence of light and darkness is rooted in the ancient beliefs of Iranians, it seems that the viewpoint of the painters and their attention to good and evil is taken from the Shahnameh.

Problem statement: 

Given the importance of the Iwan as a main element in the architecture of mosques, this research is an attempt to investigate the proportions used in the Iwans of these buildings as a tool to create a desirable and lasting architectural effect. This research compared the geometrical proportions of Iwans in seven mosques as targeted samples. The mosques of the Safavid period of Isfahan were chosen because the Iranian-Islamic architecture reached its peak in this period and Isfahan was the capital of these manifestations. The Safavid period in Isfahan is divided into three periods from the history and governance point of view. From each period, mosques were selected and analyzed based on the distribution of the time when they had the most geometric diversity in the Iwan.

Given the importance of mosques in the Safavid period, it seems that specific proportions were used in the design and construction of the Iwans of these mosques, and the present research was aimed at discovering the proportions of the Iwans of selected mosques.

The research method is inductive. The investigated samples were selected non-randomly, and the dimensions and sizes of mosque Iwans were analyzed and checked by examining the proportions in a quasi-experimental way. The data used in this research has been collected by reviewing library documents, map analysis and field survey.

Among the examples compared, as targeted samples of the Safavid era in Isfahan, the same proportions can be observed between the Iwans of each period, and in the view of all the examples, Iranian proportions are derived from regular hexagons. These ratios are closer to 1:1. 18 and 1:1. 3 in the first period, 1:1. 18 in the second period, and 1:1. 7 and 1:1. 14 in the third period.

Problem statement: 

Gates were created in cities for protective, military, and security reasons, and until the end of the Qajar period, they were an essential element of communication in the fences, towers, and ramparts of cities. Paying attention to the creation of privacy between the inside and outside of the city required a structural and architectural structure around the city. Over time, the gate appeared as a part of the city rampart in an architectural body along with its other components and elements according to the existing needs and conditions; these instances in every period were the factors that openly and secretly influenced the architectural body of the gates. These influences are shown in the form of features and different forms according to goals, specifications, usage, etc. For this purpose, the research questions are designed as follows, what are the influencing factors in the formation of Iranian gates? How have these factors affected the architectural features and components of Iran’s gates?

The purpose of the research is to identify these influencing factors and their manifestation in the form of the architectural features and components of urban gates of Iran.

This research is a type of theoretical and qualitative research that uses a descriptive-analytical method. The required data for research were obtained through library sources, documents, and field visits.

The results of the research show that culture, society, politics, economy, function, use, and body were mutually influenced by the architectural features of the gates. The mutual and close relation of the factors on the architecture of the gate has caused the body of the architecture to be a combination of several features. Considering that there are limitations in identifying factors affecting the formation and architectural features of gates, all the factors found in the formation and body of architecture of urban gates of Iran have been shown in continuance and combination with each other.

Problem statement: 

Assessing a desirable living environment hinges on the compatibility between human needs and the built environment, making it a crucial factor. Consequently, numerous studies have focused on the concept of compatibility. Despite extensive research, there is still no practical theoretical model for studying the compatibility process in the relationship between residents and their residences. Many studies have focused on the outcomes of compatibility and incompatibility between residents and housing, considering compatibility as both a consequence and a goal within the relationship. However, the compatibility process of residents to their residences is a topic that has received less attention in research.

The primary aim of this study is to investigate how Yazdi individuals are compatible with contemporary housing. The ultimate goal is to develop a theoretical, process-oriented model for studying the compatibility of residents with their residences.

The research primarily employs a qualitative approach, and data analysis is conducted using qualitative content analysis.

The research findings indicate that individuals in middle housing adopt more active approaches in order to establish compatibility between themselves and their residences. They engage with the housing or modify their behavior in the space. However, in new housing, residents are less engaged with their residences, and due to the unresponsiveness of the space, they become indifferent to it. In the absence of restrictions, some even choose to relocate from their residences. Despite three critical factors, including the physical environment, residents’ needs, and housing capabilities, data analysis in the study shows that residents’ age and generation, participation in the construction process, housing patterns, length of stay in housing, memories, and relationships with neighbors all have a significant impact on how compatible residents are with their residences.

Problem statement: 

The increasing use of artificial intelligence in the field of visual arts has led to the creation of innovative and diverse works of art. However, despite the widespread interest of artists in using this technology, its place and importance in creating an artwork has not been carefully evaluated. Among the central questions in this regard is the role of artificial intelligence in the formation of original works of art.

The purpose of this research is to investigate the role and importance of artificial intelligence in creating original works of art. For this purpose, the works of Harold Cohen, who is one of the pioneers of using artificial intelligence in the art of painting, will be evaluated. Therefore, in the first part, the concept of artificial intelligence is briefly stated. Then the Chinese room thought experiment, which is one of the most prominent tests related to artificial intelligence, will be used as a tool to check the performance of the machine "AARON", created by Harold Cohen. In this test, "creativity", "awareness" and "experience" will be evaluated as the main components of producing original works of art. In the following, problems related to the role of the mentioned components in the performance of AARON will be listed. Finally, an attempt is made to present a new formulation of these fundamental concepts, despite the flaws in the works produced by AARON, it has an undeniable role in the creation of the artwork.

In order to evaluate AARON's performance in the formation of the artwork, this research considers John Searle's approach and his Chinese room argument.

Artificial intelligence plays an important and undeniable role in the production of original, innovative and creative works of art.

Problem statement: 

Traditional arts have been approached differently in terms of theoretical aspects. On the one hand, traditionalists believe in specific components of traditional arts. On the other hand, one of the important topics for contemporary theorists and art researchers is the theory of reproducibility and mechanical reproduction of art. Among the concepts, Manifestation is explored, and expanded from the perspective of thinkers, leading to challenging discussions between two schools of thought.

The aim of this article is firstly to explore the concept of manifestation from the perspective of traditionalists and Walter Benjamin, and then to identify and explain how this concept is confronted with mechanical reproduction. Therefore, this research answers the question of “how the concept of manifestation in traditional arts and its confrontation with mechanical reproduction can be articulated?”

This article employs a descriptive-analytical approach and a comparative study, along with a library-based examination of data and qualitative analysis, to clarify the concept of manifestation in the face of mechanical reproduction.

Based on the coding and analysis of the perspectives of five traditionalist thinkers and Walter Benjamin’s famous article, the constitutive components of manifestation and mechanical reproduction have been identified. According to the performed categorizations, the categories of mechanical reproduction are comparable to the categories of manifestation’s concept, which are opposite to each other except for two components. Therefore, the similarities and differences between them have led to the identification of the components of manifestation in the face of mechanical reproduction. During this process, it became clear that the concept of manifestation has two dimensions and approaches; one is related to the traditionalist perspective and Benjamin’s view, and the other is related to mechanical reproduction. Consequently, considering the comparison between the main categories of these two concepts, it is possible to distinguish the manifestation of mechanical reproduction from the manifestation envisioned by traditionalists and Benjamin, which has taken on a new form and is unavoidable.