نشریه مطالعات تطبیقی هنر
پیاپی 26 (پاییز و زمستان 1402)

The architecture of traditional houses, in addition to having a space suitable for the climate and the spirit of its people, has conveyed more beauty and dynamism with artistic techniques on its walls. The architectural decorations on the walls of the courtyards of the Shiraz houses have given a different spirit to the space by having a lot of variety in the type and application of decoration. In this space, various techniques of plastering, tiling, wood and stone works and brickwork have been used according to the functional role of each component. The question raised here is, what are the similarities and differences between the architectural decorations of the courtyards of the houses of the Qajar period and the first Pahlavi of Shiraz? What was the style and type of decorations? In this article, by comparing the decorations of the courtyards of the houses of the Qajar period and the first Pahlavi period of Shiraz, he tries to find the similarities and differences of each part of the decorations, by means of which one can understand the way of changes during this time. By studying and researching about this and comparing decorative arrays one by one, in addition to knowing the motifs used in both periods and categorizing them, it also helps to determine the course of evolution. This research is of a descriptive-analytical and comparative-historical type, which was carried out by means of library studies, collection and field investigation and analysis through data comparison. Based on the study and comparison made in this article, the result is that each of the arrays used in these houses has undergone changes in terms of technique and its roles during the transition of these two periods. The amount of changes in each component of these arrays is not the same, and of course there are similarities in the components of both periods. However, magnificent houses have been built in both periods, which have a unique character and beauty.

Relying on comparative aesthetics this paper aims to show the perspective of two of the early theorists of cinema, in two separate writings of each of them, regarding the subject matter of medium specificity. One of these writings is Arnheim's "New Laocoon", which is final chapter of his book Film as Art and the other is the article "Style and Medium in Moving Pictures" the final version of which Panofsky published in the 1950s after several revisions. The focal question of this paper concerns the effect that  Lessing's Laocoon have had on Arnheim and Panofsky's approach to the discussion of media specificity to further see how each of these two thinkers reached different results by using the Laocoonian tradition of comparing arts. Arnheim's focus on the formal aspects of cinema as a modernist art leads him to consider silent cinema as the ultimate form of art cinema and to give importance to aspects that, ironically, are not so important in Panofsky's eyes. Due to his attention to the popular aspect of cinema, Panofsky focuses on the content and meaning instead of the formal features and therefore, despite Arnheim, while emphasizing the specificity of medium in cinema, tries to highlight other aspects of the cinema for his purpose. The final achievement of this paper would be to show the different results of two theoretical thoughts with a single concern about cinema. Both thinkers, while comparing cinema and theater in the framework of Lessing's thinking, reach contradictory conclusions. The approach of this research is comparative aesthetics and it is conducted in the framework of that ontology which governs the theories known as the theories of the classical period of cinema.

The culture-centered design approach emerged as a response to concerns about the standardization of product design due to globalization. This approach prioritizes localization and cultural sensitivity, with designers seeking to uncover the symbolic underpinnings of historical works and adapt them to contemporary user sensibilities. To aid in this endeavor, researchers have proposed practical processes and models geared toward identifying and translating cultural nuances for designers. Consequently, a pertinent query emerges: what are the shared attributes and discrepancies among these models, and how do they contribute to the comprehension and translation of cultural symbols in design objects? To address the aforementioned inquiry, a descriptive-analytical study utilizing a comparative approach was undertaken. The study involved the collection of information through document analysis, focusing on the examination of three culture-centered design models. These particular models were selected based on their emphasis on practical application and output within the design process. Subsequently, the study delved into an exploration of the symbolic motifs inherent in a cultural artifact, specifically the Iranian carpet, within the framework provided by the selected models. Notably, the Iranian carpet serves as a significant source imbued with profound cultural and identity-related significance for designers, as its motifs are rooted in the artistic philosophies and thought processes of Iranian Muslim artisans. The findings from the analysis of the chosen sample within the context of product culture-oriented design models reveal that, despite variations in the underlying philosophical frameworks of these models, all three are rooted in the essential processes of identification, translation, and implementation. In the identification phase, the accurate recognition of cultural product symbols is paramount; failure in this aspect hinders the designer’s ability to effectively translate these symbols into the contemporary language of the audience, thereby impeding their comprehension of audience desires and needs, and hindering the establishment of effective product-audience communication.

Identity is one of the topics of interest in contemporary art. Iranian artists have also tried to examine this issue in their works and reinterpret the identity in some way given the upcoming challenges. Therefore, this article aims to answer the question of the representation of identity in the works of contemporary Iranian artists and is aimed at expressing what purpose. The result obtained from the explanation of the works is that the representation of identity in the works of male and female artists has major differences. Among them, female artists have often tried to continuously address the cultural issues and identity problems faced in traditional society. This is even though male artists have examined this issue in a more general way regardless of gender. This study examines the works of contemporary male and female artists, photographers, and painters. The purpose of this research is to explain and analyze explicit and implicit signs in the works of artists and pay attention to obvious differences in the issue of identity representation. The approach of this research is qualitative and descriptive-analytical. The information related to the conceptual framework was collected using the library method and the photos and information related to the photographic works were collected from sources such as personal websites and in some cases personal archives of the artists. The findings of this study and the results of its investigation are detailed in a separate table at the end of the article before the conclusion (Table 1). Also, in another table (Table 2) the analytical model of the data of this research is drawn. The images of this article (photos and paintings) have been selected according to the research question and targeted sampling.

The history of Islamic philosophy shows that before psychologists, philosophers discussed human functions in a part of philosophical study called "Psychology". Psychology known as Elm al-Nafs was discussed for many centuries and few philosophers, who had not discussed the topics of emotion, Perception, thinking and mental abilities. In the discussion of perception, especially authorial perception, there is an idea in Ikhwan al-Safa, which is not that different from the modern Gestalt theory. Gestalt theory, which studies the perceptual processes of the brain, states that the main function of the mind is holism. meaning that in the perception of a set or a structure, it is the whole structure that is perceived not its individual components. That is to say, the basis of thinking in Gestalt theory is that the general motifs are superior to the components that make them up and have properties that are not inherent in those elements themselves. The Ikhwan also believed that in the sum of existences such as numbers, shapes, sounds, tones, melodies, etc., there are attributes that are not in their components. The purpose of this article is to analyze and compare the concept of authorial perception Ikhwan al-Safa’s view with Gestalt perception theory  in art.This article, which is written in descriptive-analytical method,is to familiarize with the formulation of the modern Gestalt theory in Islamic philosophy especially Ikhwan Al-Safa.The main question is how to explain the relationship between the whole and the parts in the Ikhwan al-Safa’s view and the theoretical foundations of Gestalt?The findings show that the two identical viewpoints are anthropological foundations, critical origin, holistic view, the relationship of the whole with parts and attention to abstract and invisible factors, and nonidentical viewpoints are the foundations of ontology.In terms of similarity,both consider perception to be the main function of the soul and mind, both consider the use of senses to be the necessary condition for perception, and both believe that in the perception of the whole, there is more understanding than the sum of the parts.The difference between these two, is that in Ikhwan al-Safa’s view, wholism is considered the result of God's destiny, the presence of the heart, God's care, and the influence of the heavens, but Gestaltists consider wholism to be the result of the mind's functioning and, in other words, natural, and ultimately the result of the training of the senses.

The alignment of art and society has always been a concern for artists. Among various forms of art, cinema has also found its place in alignment with society. This alignment, concerning cancer, can bring a practical aspect to the application of art. Therefore, the questions arise: How do Iranian cinema films portray cancer? What correlation do the findings from the analysis of these films have with Iranian society? To answer these questions, the method of content analysis has been employed, drawing on theories in the field of highlighting and medicalization. A total of 10 post-revolutionary Iranian cinema films were purposefully selected for sampling.The findings indicate that Iranian cinema depicts a frightening image of cancer, intertwined with death and despair. Individuals grappling with cancer are often from lower and traditional social classes, linking cancer and poverty. The preference in portraying cancer leans towards blood-related themes, with the most prominent symptom of the disease being depicted as a headache. The emphasis in the films is more on the psychological aspect, highlighting the importance of anxiety control and providing hope to patients.The films often showcase issues such as financial struggles, desirable treatments in other countries, resorting to divine intervention, and alluding to death and despair, serving as means to create dramatic scenes. This is while less attention is paid to concrete medical treatments such as chemotherapy. Overall, Iranian cinema has not made a concerted effort to explain and educate about cancer, and there is a felt need for greater alignment between this form of art and society. This research underscores the importance of proper cancer awareness and treatment education to the public through cinema.