نشریه پژوهش هنر
پیاپی 25 (بهار و تابستان 1402)

Furnishings, in the general sense of the word rather than its modern usage, had a crucial role in bringing comfort to people during the Qajar period in Iran. Considering the remarkably extensive use of textiles in furnishings, this study aimed to analyze the designs and motifs of textiles used in Qajar furnishings. To this end, first, the use of textiles in Qajar furnishings had to be studied in historical documents. Accordingly, the research question was posed as follows: How could we define different furnishing items used in the living room during the Qajar period and how could we categorize the design and motifs of functional textiles used in their making, finishing, and decoration? The in-depth analytical-historical study of historical documents including travel writings and the textile samples and images such as paintings and photos remaining from the Qajar period indicated that dynamic shapes were used in the majority of furnishings with textiles in this era. Moreover, the items were categorized into three types: soft-surfaced items (rakht-e-khab pich (a kind of mattress and bedclothes covering or bag), cushions, bolsters, pillows, mattresses, quilts, and blankets)., hard-surfaced items (tables, chairs, korsi), and floor covering (rū-farshī (a type of flat-weave used to protect rugs) and sofreh (a cloth on which food is served)). The textiles used in soft-surfaced furnishings, except items without any design or motif, had vagireh (tangled), muharramat (striped), framed, and afshan (scattered). motifs. In hard-surfaced items, medallion (toranj-dar) and vagireh motifs were dominant even though afshan and muharramat were observed in tablecloths. Finally, muharramat and medallion motifs were the most common in rū-farshī and sofreh. In all these items, floral motifs were the most prevalent. However, muharramat and motif-less framed designs were also found and geometric forms were observed in some cases according to the applied technique of embroidery (cheshmeh-duzi). Overall, the results revealed that some of the nine traditional textile designs were not used in the making of Qajar furnishings and some others including afshan, medallion, vagireh, muhrammat, and framed motifs were used to a large extent.

Handwoven carpet as an ancient Iranian art-craft and also as a home business has always been of interest and is a source of income for many families. Most carpet weavers live in villages and the carpet industry, as one of the small industries, can play a key role in the development of villages. The purpose of this research is to answer the question of what is the condition of handwoven carpets in Chatroud sector and how economic, cultural, social and managerial variables have affected the situation of the carpet weaving industry in Chatroud sector from the point of view of carpet weavers. This research is an applied research using a descriptive-analytical field method. The statistical population of the research were 380 people from the residents of Chatroud district, who used the purposeful cluster sampling method to study the sample size and distributed two standard questionnaires with a reliability of 0.86. The results of the research show that the most important factors of the recession of the carpet weaving industry in Chatroud are: Inappropriate growth of the price of hand-woven carpets in comparison with the lower productivity of carpet-weaving in comparison with other goods, the tendency of families with other economic activities, the tendency of rural people to the style, way and culture of urban life, the problems of marketing hand-woven carpets on a micro and macro scale, and the migration of villagers to the city. Handwoven carpet marketers on a micro and macro scale is the diminution of women’s contribution to providing household income.  Therefore, the establishment and support of small native-local industries such as carpet weaving in rural areas can reverse the migration process and increase the employment rate among the people by creating numerous job opportunities and wage levels that can compete with the urban wage level.

Society is an extensive field formed by social structures. The social structures utilize well-ordered and purposeful instruments in order to incorporate and develop the principles ruling the social interactions. The Institute for Intellectual Development of Children and Adolescents is a trend making organization in the field of art and culture. This organization has contributed significantly to development of visual and performing arts for children and adolescents, besides its main objective, which is promoting the children’s intellectual development by reading books. By establishing a sublime circle, the institute contributed to productivity of the graphic arts, and provided a dynamic environment to increase the Iranian graphic designer’s assets. Paying attention to the field of children and adolescents was one of the important challenges of the forties and fifties, and many firsts in the field of science related to children were made in this period. The important parts of the center were as follows: Libraries, Publishing Unit, Cinema Unit, Animation Unit, Music Unit, Theater Center, Visual Arts Center, and Public Relations.The field of graphics was used in two ways in different departments of the center:1) in cultural and artistic productions and 2) in advertisements of the products of different departments of the center. The present study investigates the role of this institute in the development of graphic arts in Pahlavi Era. The main objective of this study is to show the significance of a powerful organization, with realistic and accurate productivity measures, in development of culture and arts (here graphic arts), besides highlighting achievements of the institute in the field of graphic arts in 1960s and 1970s. The main research question is about performance of the institute in development of graphic arts in Iran. The question is answered by the study of the increased social, cultural, and economic assets. This is a descriptive-analytic study based on the information collected using documentary research methods. The results show that in spite of not having a direct plan for development of graphic arts, the strategic management of this institute provided the graphic arts practitioners the chance of increasing their assets in this institute and make a chapter of Iran’s graphic arts history.

Advertising billboards are one of the building elements of urban landscape and the body of the cities, which have an impact on quality of space and urban landscape, and if the regulations and standards are not followed, it makes it possible for the urban landscape and texture to disappear. In the present research, based on the importance of Shiraz district one, an attempt was made to identify the effective components in the advertising billboards of Shiraz district one and its effect on urban landscape of this district with the method of field observations and interviews, SWOT strategic analysis technique, in order to be able to find an optimal strategy, in order to improve the urban landscape and optimize the advertising of billboards in Shiraz district one to be used. The findings showed that the total score of internal strength factors of advertising billboards is equal to 5.493, internal weakness factors 2.732, external opportunity factors 3.203 and external threat factors 3.583. The results showed that aesthetic, functional, technical, space and social stability, safety and skeletal components play a significant role in the effectiveness of advertising billboards on the urban landscape. The technical components have the highest effectiveness. Social-safety, skeletal and spatial components seem to be threats in spite of compliance with most of the standards and regulations, due to installation in an inappropriate place such as on the left side of the road, sidewalk or in the visual triangle, non-compliance with the standard of skeletal characteristics such as advertising skeletal dimensions or distance from ground. Non-compliance with privacy standard of advertising billboards and the lack of proper lighting and attention to the cultural and historical context do not have the necessary visual desirability. It is necessary to apply revisions and reforms in this field. Compilation of general quantitative and qualitative standards and providing optimal models and examples to encourage and guide public taste were seen as appropriate.

Kant’s views on beauty are given in his book, The Critique of Judgment. In this book, instead of focusing directly on the aesthetic experience, Kant relied on the aesthetic judgments of beauty. He considers the sentences he dealt with as propositions attributing beauty to things. He divides his discussion about them into four moments: quantity, quality, relation, and modality, which means clarifying their essential nature under distinct aspects. The problem of the present article is to examine Kantian’s four moments of the beauty and the possibility of using them to enrich the concepts raised by the aesthetics of everyday life. As such, in this article, these four moments and the relationship between these four moments and the aesthetics of everyday life have been discussed. In fact, the current research, using the descriptive-analytical method, intends to answer the question that what is the relationship between the sentences regarding beauty in Kant’s view and the concepts raised in the aesthetics of everyday life? In Kant’s view, aesthetic judgments do not refer to a specific object or a property of it, but to the state of the mind itself, which is caused by the free play of imagination and understanding powers and subjective awareness of it. This reaction as a subjective feeling can be related to one of the most important missions of the aesthetics of everyday life, that is, to discover the hidden potentials behind the ordinary facade of daily life. Cultivating the capacity and sensitivity to illuminate very familiar things, the ability to gain a new aesthetic experience and enrich one’s life in this way is one of the important roles of everyday life aesthetics. Another feature that makes Kant interesting is that, unlike many later writers, he did not limit aesthetics to nature and art. Furthermore, in Kant’s views, the aesthetic experience is the result of the pain that comes from judging that the objective is ugly. This can also be related to the negative aesthetics that are raised in the discussions related to the aesthetics of everyday life.

In today’s world, museums are recognized as significant indicators of a country’s development. However, issues such as the lack of creativity in presenting and displaying collections, underdevelopment, low-quality visitors’ experiences, and a dearth of innovative services have hindered their effective integration with society. Consequently, many museums are grappling with declining audiences and stagnant spaces. It is imperative for museum managers to provide a model to use entrepreneurial strategies to create an entrepreneurial ecosystem and a new attitude towards museum and entrepreneurship audiences; and also establish a practical interaction between the community museum and the visitors in order to address these challenges and enhance the current state of affairs, as well as to foster growth and development in museums. The present research is qualitative with a developmental-applicative purpose and has been carried out using a qualitative method. Data was gathered from both library research and fieldwork. The target community includes experts from cultural and artistic organizations, including museums, which have been conducted with the purposeful sampling method, in-depth interviews with twelve museum experts and cultural activists and entrepreneurs. The findings revealed that fostering a cultural entrepreneurial mindset is pivotal for creating a museum that embraces entrepreneurship. This mindset is influenced by factors such as an entrepreneurial attitude, innovative management, self-confidence, and a willingness to embrace change. Moreover, background conditions include government incentives, supportive and facilitating laws, improvement of international communications, and the support of cultural and media centers. In addition, awareness at the micro and macro levels, education, empowerment of human resources, entrepreneurial spirit, smooth and agile work processes, and networking with top museums are crucial intervening factors.