نشریه مطالعات میان رشته ای هنر و علوم انسانی
پیاپی 12 (آبان 1402)

The line has been the main factor for presenting and reflecting the surrounding world, and from the very beginning, it has served as a reliable visual factor for transferring form. In this process, the painter draws a line on the canvas. With the design of the first line, the image inside him took the first step towards creation, and the design of the other lines gradually in different directions gives clarity to the fluid image inside him. The line is the most essential element in the design and indicates the direction and position of the surface and limits it. We have to use different lines when we want to convey different feelings. This research first explains the meaning of lines and their place in painting, and then the lines are analyzed thoroughly. Regarding the two paintings that are examined separately in the Shahnameh of Shah Tahmasab and Bostan Saadi, and the painters who wrote these two works, Kamaluddin Behzad, Herat school and Agha Mirek, Safavi school, are introduced. In the end, how much can the lines affect the subject in this Dongara? This research aims to recognize the concept of lines in the paintings “Hurmuzd I’s Last Testament to Prince Bahram I” and “Joseph’s Flight from Zuleykha” and how skillfully the artist uses the lines—coordinated with the topic. The main question in this research is, what is the meaning of the lines in these two paintings? The current study is of a fundamental type, and its nature is descriptive-analytical. The method of collecting materials was a library along with viewing images. The conclusion that can be drawn from this research is that lines play a significant role in the theme and concept of the work and how much the painters of that era followed the principles of designing and using lines for the idea of the theme. This feature expresses the peak and excellence of Iranian painting.

Grotesque is a style in art and literature that originated in Italy in the 16th century and developed throughout the 17th century. Grotesque combines horror and humor or a border between the two, relying on grim or disgusting themes. Many artists have followed this style. Francisco Goya and Pieter Bruegel have created outstanding and influential works in art history using grotesque elements. They used grotesque elements to express their era’s dark and bitter political and social aspects. This research identifies the components of hideous painting and analyzes two works by Francisco Goya. This research aims to familiarize oneself with the grotesque style and its components and explain them in two works: Saturn Devours His Son and The Witches’ Sabbath. In this article, the effort was to address these questions: What is grotesque? And what are its components? And which of them are there in Goya’s works? This research used the library method and qualitative analysis to collect data. This research shows that after discovering strange paintings in Prince Nero’s palace ruins in Rome, the word grotesque was assigned to everything ugly and obscene, unusual, mysterious, and disgusting. This style includes horror, humor, satire, madness, exaggeration and excess, irregularity, inconsistency, and metamorphosis. The combination of humans, animals, and plants and the creation of abnormal images to create conflicting emotions in the viewer are the characteristics of this style, which are studied in two illustrative works during this research.

From various viewpoints, you can go to the narration of the fictional film and analyze it. A critical outlook in this area is to address elements that may be effective in publishing. Mise-en-scène and editing are two crucial elements that influence the formation of the narrative. Each of these two elements contains components that can determine this element’s position in the edition. In this research, the position of mise-en-scène and editing in the narrative of a fictional film is investigated based on the components of the narrative type, story elements, plot, time, place, rhythm, fictional character, and representation. The goal is to determine how mise-en-scène and editing are placed in a fictional film’s narrative and compare them. On this basis, the main question is: what is the position of the production and montage in the narrative of a fiction film? Current research is of a fundamental kind, and its nature is descriptive-analytic. Information was collected using a library methodology. The analysis was done using a qualitative method. The analysis made in this article is based on aesthetics in the context of film studies. This research shows that the position of staging and editing differs regarding narrative type, historical elements, plot, and time. Despite this, they share the exact location, rhythm, fictional character, and representation. Editing in more components has a necessary and unconditional status, which is seen as more efficient in the narrative.

Pateh is a type of needlework in Kerman city. This art is a manifestation of the religious and cultural beliefs of the people of this region while preserving its artistic and symbolic values. With their skills, female artists of Kermani make the shawl a stage for manifesting their needs, ideals, pains, and desires, which are rooted in their beliefs. Baluchi embroidery is one of the oldest arts with a long history in different nations. For example, among the Baloch people in Iran, this art has been used beautifully in different ways; in addition to the various techniques, they have used other motifs in its design. These plans and roles have deep roots in their culture and way of life. Based on the hypothesis that motifs in the art of Baluchi embroidery are formed based on the culture and climate of the region’s people, this research studies and examines those motifs with a symbological approach and tries to find a meaningful relationship between the motifs. This research has analyzed and discovered their concepts by referring to the culture, beliefs, and shared beliefs of the people of Kerman and Baluchistan. Collecting the materials and data used by the library was done with a descriptive and analytical approach. Finally, the research findings show that most characters are derived from imaginations and imaginations; the characters and images are popular and usually do not have specific names.

The term outsider art was coined by Jean Dubuffet, a prominent French painter after World War II, which refers to art that originates from people who are somehow alienated from society. These people include people with mental health conditions, prisoners, fragile people who are suffering from severe trauma, people with an addiction living on the outskirts, and people like that. These people have not seen any teaching about this, and they create works of art against the rules and only based on their dreams and imaginations. The purpose of this research is to examine outsider art in the works of people with mental health conditions, and I will discuss how to consider the works of these patients as natural art. For this purpose, I investigated the works of people with a mental health condition in the art workshop in the Occupational Therapy Unit of Hejazi Mental Hospital of Mashhad. I examined the artworks of these patients from the point of view of outsider art. In this workshop, which received work from patients for three months, I found several people with a hidden talent in the field of art. In this research, we considered art therapy apart from this research Because the primary goal of art therapy is treatment, Not artistic creation. The works produced in this workshop by people with mental health conditions were created with the utmost freedom of action, without any previous training, and only to express their personal feelings at the moment. In the meantime, the works of some patients had an artistic value worthy of attention, which the patient created unconsciously and with inner enthusiasm. He was unaware of this and had no claim in this field, so this is the rawness of the works. It shows us these people, and we can consider them as raw and distant artists from society who need to be introduced and seen in the artistic society.

In the 15th and 16th centuries, it was customary to draw a large number of people skiing in snowy landscapes, and such landscapes without the presence of humans seemed strange, but Friedrich has drawn these landscapes without the presence of humans. Friedrich was one of the first artists who painted winter landscapes with dead and frozen lands full of stillness as if no human had ever stepped on them and they were deserted. His paintings are mainly dedicated to depicting natural landscapes and sad feelings and thoughts related to them. Still, in some of his works, you can understand the effects of sadness and thinking about oneness and the end of life. Using a combination of dark colors and natural scenes with heavy lighting and light effects, David Friedrich’s paintings often depict a sublime and melancholy serenity. This emotional transfer and creating a reflective state in the audience may have a look at the aspects of death and the underlying concept of life. It can be said that David Friedrich’s works refer not only to death but also to the idea of life and human existence. Therefore, by examining Freud’s theories in the form of death, I will analyze and examine some prominent works of Friedrich and his view of death. Still, the question is whether death is a natural representation in Friedrich’s works or is only a mental manifestation. ? And what is the cause of freezing and death in Friedrich’s works? How was this feeling transferred, and what effect did the essence of his life have on his paintings? This research was carried out in a library, and this article’s purpose is the manifestation of life and death in works of art.