پژوهشنامه فرهنگستان هنر
پیاپی 22 (زمستان 1402)

This article discusses the presence and absence of objects in museums, based on J. Fontanilla’s perspective. The study analyzes museums outside of Iran and examines recent projects or museum scenarios that have addressed the issue of missing elements or absence, aiming to reduce various forms of absence. The research findings suggest that the dichotomy between presence and absence in museums is diminishing, due to evolving object representation policies, redefined museum missions, and the integration of new technologies. The evidence indicates that expressions of absence in museums are becoming more Non-material and Visible, and absence is now acknowledged alongside presence in museum contexts.

Some book illustrator artists use the legendary works and schools of the past to build their visual storytelling in order to maximize impact on their audience and connect with the book's theme, a technique called as adaptation. Persian Painting, being one of the most beautiful aspects of Iranian-Islamic culture, has served as a rich source of inspiration for modern children's book illustrators. The current study seeks to understand the approach and method of adaptation by children's book illustrators from Persian miniatures, as well as to identify the intertextual relationship between the works and schools of Persian Painting, while taking into account the role of adaptation in the postmodern perspective. To this goal, 15 contemporary children's books with the Shahnameh themes were chosen, which have adapted from Persian Miniature in their illustrations. This article also seeks to answer the following questions: What has been the method of adaptation in these works? Which schools of Persian Miniature have the artists of these works adapted from?The research was carried out in a descriptive manner, with information gathered from library sources. The study of the examples revealed that the illustrators created their works by adaptation on and being influenced by prior paintings, changing previous works to match with the book's content and theme, and doing so in their own distinct artistic style. In this process, they used three collage techniques: designing by adaptation from a single work or the works of a specific school, and adapting from themes or general features of Persian Painting. The Artists in adapting from schools of miniature painting for the contemporary kids, the artists did not limit themselves to a certain period of art, including adaptations from Seljuk period paintings, the First School of Tabriz, Herat school, Shiraz school in the Turkmen period, the Second School of Tabriz, the School of Isfahan to lithographs and paintings of the Qajar period are observed.

The growth and development of sciences and academic disciplines and their trends are always changing and entering new directions. This process in academic fields can move quickly or slowly in the direction of growth and vice versa, their obsolescence. Despite the fact that the field of industrial design has started its path in the country's macro-planning in order to grow industrial production, but contrary to expectations in the process of managing affairs, a comprehensive evaluation in the field of Scientometrics has not been done so far. In order to evaluate the field of industrial design from the point of view of Scientometrics initially, a part of the academic community of industrial design was investigated and analyzed with the aim of understanding the evolution of this field of study based on available sources. Therefore, in the current research, the course of studies and scientific records of the faculty members of industrial design of the University College of Fine Arts in the University of Tehran were selected and evaluated. In fact, in addition to focusing on the articles published in scientific journals and conferences and the books authored by them in Persian and Latin, attention has been paid to their other scientific achievements since the beginning of this field of study in University of Tehran. In the stage of data acquisition and information processing, an effort was made to do it in a survey-descriptive method with reference to titles, keywords and topics. As a result, the current research was able to identify, analyze and finally present the scientific course of industrial design in different trends and fields for the target society. Among the other achievements of this research is the subject classification of scientific outputs and study trends by year. All that has been mentioned so far is a valuable opportunity for scholars, professors and students of industrial design to understand the subject. Finally, the conducted study is a referable reference in the field of management and educational planning, financial and human resources and evaluation of the position of universities and scientific centers in the field of industrial design for planners and executives.

Considering industrial growth and applying new scientific principles in the product development processes, the role of trained industrial designers is prominent. The history of the industrial sectors in Iran shows that in the 1340s, industrial developments were accompanied by the education that the industrialists had received from the world's advanced countries at that time. In different scales, they can benefit from the educational foundation of students, however, industrial development has a firm association with related educational developments. To achieve a sustainable progressive educational system in the industrial design discipline, the early years of education and training of students should be considered in all different levels of education, although not with a specialized view, but with the view of fostering creativity and solving problems in various aspects of people's lives. In this regard, the value of this concept is gradually recognized and taught in society so that in the future this field will be effective for the progress of the society and business and industries of the country. In this article, an attempt has been made to analyze the content of courses and their role in the professional activities of experts in this field.

Design and art education is one of the most laborious types of education, since on the one hand, these disciplines are complex concepts that are highly dependent on the socio-cultural context of their profession, and on the other hand, in these disciplines, there are no information packages or standard guidelines for students to follow, but more than anything, the mission of design education is to cultivate complex mental abilities, so-called intuition, to transfer professional-cultural insights and subtle mental-physical skills.Every training is based on a basic understanding of the desired activity or profession. If the basic knowledge is wrong, the training with very low efficiency will only lead to a waste of student’s time, his mental disturbance and the erosion of the teacher. This is the damage that has happened to the academic and modern education of design and art for almost a century, while in recent years, due to design methodology studies and especially the field of design cognition, a very different and flourishing understanding of design has been created, but this new understanding has not been the basis of education, therefore, the question of this research is, What is a cognitive model for design education? In order to find the answer, an exploratory systematic review has been conducted in the literature of design cognition, then focusing on two basic concepts, four focal categories have been identified and discussed in one axis.

Nowadays, learning design processes is a prerequisite in teaching design and an indispensable part of training industrial design students. Many distinguished universities around the world teach the design process using cooperative methods, but, despite the significance of the matter, there is a gap concerning the cooperative learning of the design process at Iranian universities. On this basis, the present study aimed to compare the effectiveness of the Jigsaw Cooperative Learning Strategy on the in-depth learning of the design process with traditional methods currently practiced at most Iranian universities. In the present case-control study, the population was made up of art students with no prior training in industrial design processes. The sample included 24 students selected using the cluster sampling technique. The sample was randomly divided into an experimental and control group, each comprising 12 members. The experimental group received four 120m instruction sessions according to the Jigsaw Cooperative Learning Strategy, while the control group was instructed according to commonplace methods of teaching industrial design. The groups were assessed on three occasions (pretest, posttest, and post-hoc analysis) using a researcher-made test so that the obtained information could be implemented to determine the effectiveness of the Jigsaw Cooperative Learning Strategy on learning and retaining the industrial design process. The results obtained through descriptive and inferential statistical procedures showed that there was a significant difference between the Jigsaw Cooperative Learning Strategy and the traditional methods of instruction in terms of learning and retaining the industrial design process. In other words, it was indicated that implementing the Jigsaw method had a significant impact on learning the course more in-depth.

In order to understand how a person belonging to the Islamic discursive tradition perceives the objects of Islamic art today, a survey was conducted in which participants were asked open-ended questions. More than 50 people took part in the survey, majority of them are Muslims residing in/originated from Muslim countries and those with significant portion of Muslim population. Our main goal was to identify and define what can be revealed and discovered from the process of the interaction of a person with Islamic art objects. A qualitative analysis of the data made it possible to conclude that when a person interacts with art and perceives its visual forms, processes are activated in the inner world that actualize deep meanings inherent in him or her and bring certain ideas and images to the surface of his consciousness. Based on the findings of the survey, the four levels were identified on which a (Muslim) person interacts with (Islamic) art.