نشریه پژوهش هنر
پیاپی 27 (بهار و تابستان 1403)

The literary elements in Iranian visual arts have had a complex and alluring history from ancient times to the present. The aim of this paper, however, is to draw attention to aspects of this history shaped by elements on the fields of discursively, which have led to the emergence of different types of literary elements in contemporary visual arts.  Even a cursory review indicates that the use of letters in visual arts has undergone such transformations that it challenges the fixed beliefs and deterministic propositions of traditional approaches such as calligraphy in the cultural discourse since Iran’s’ revolution in 1979. This research, relying on the discourse analysis method of Laclau and Mouffe, intends to analyze artistic flows to show the conflicts over the definition and stabilization of meaning in this field. Conflicts whose social effects lead to different formulations of the presence of written elements in visual arts. The special prominence of the upcoming research is to reveal the marginalized elements that appear in the moments of unrest and instability of the discourse and challenge the hegemony of the central discourse. The discourse analysis provides us with the opportunity of examining the differing positions of actors within a discursive space and to explore the contexts of text production. Such artworks meaningfully diverge from collective identities such as religion, revolution, war, and social contradictions and discuss them in a personal and critical manner. Before sending any messages, such artworks include a kind of over-connotation that could be summarized in this phrase: The subject’s effort to position signs within a new chain of equivalence for creating a novel semantic system. These artists play the role of agents in the reproduction and transformation of the power circumstances, with their distinctive creativity. This research endeavors to reflect on how and under what discursive conditions the artist, by creating a new semantic system, emphasizes the agency of the subject in such a way that it generates a new discourse. The methodology of investigation in the present research is discourse analysis, and the method of information collection is library-based, including the review of archival documents and observational

Paying attention to the research conducted in the field of handwoven carpets and their commercialization is an issue that should be a priority for educational planners. The future research approach can be the foundation of this important issue. This study intends to identify the favorable future that will arise as a result of the commercialization of research at the community level for the university and the handwoven carpet industry in the target markets. In order to achieve this goal, the main question is raised, what is the ideal future for the commercialization and implementation of research conducted by graduate students in the field of carpet at the Art University of Isfahan, and how can it help the handwoven carpet industry in the target markets? The current research is developmental in terms of its purpose and in terms of prediction, it follows trend analysis and scenario writing, and the uncertainty method was used in the selection of the main factors. The sample under investigation in this research were experts, students, and graduates at the Art University of Isfahan between 2014 and 2018. This research follows a mixed-method design in which the selected samples for the quantitative section were calculated probabilistically based on the Karjesi and Morgan’s table which were 40 people. As for the sampling method in the qualitative section, targeted case-based sample was adopted and based on the theoretical saturation,15 experts in carpet from the higher education were selected. The information and data required for this research were collected using questionnaires and unstructured interviews. The results of this research led to the identification of four important and key factors. Cultivating an expert force in the field of commercialization, employing a professional team in the university for commercialization, creating scientific cores in the direction of commercialization of researches, promoting the technical knowledge of academic institutions in the field of commercialization of researches and presenting an ideal scenario in connection with commercialization and application of commercial research written in this field, at the community level, so that productive and easy ways and methods for the commercialization of these research were suggested. As such, with their implementation, a favorable future for this art-industry will be established.

Mural painting is one of the prominent and noble arts of the Qajar period, which was formed in the form of painting on surfaces such as tiles, plaster and wood. Attention to antiquarianism and religious issues in this period led to the creation of works in which the role of Ahriman and Demon drew most of the attention of artists and rulers of the time. Patterns that can be investigated not only in regards to their narrative aspect but also in terms of morphology. The purpose of this research is to investigate the shape and anatomy of the images of demons in the public art of wall paintings of the Qajar period. By examining 14 selected samples from Qajar wall paintings through documentaries and field data in a qualitative manner, based on a descriptive-analytical approach and visual sources, the authors intend to answer the following question: What kind of thoughts and beliefs is the cast and body of the demon in the general art of the Qajar period based on? The findings show that the motifs that adorned public buildings such as shrines, baths, and religious buildings in the Qajar era did not have a scary and dark image. In other words, the idea of a demon in people’s minds being imagined as a formidable, terrifying and scary creature, suddenly changed and it was seen as a gentle, harmless, compassionate, humorous, smiling creature, sometimes with female erotic organs and even being well-dressed beings who were decorated with beautiful colors and even hung ornaments on themselves. This was an expression of traditionalism in women’s social life in this period. The findings of the research show that the four concepts of women, nature, primitive and alien transcendental beliefs underwent deep changes in the mind and thought of Iranians during the Qajar period.

Baluch are one of the ancient and well-known Iranian ethnic groups, whose social structure is often tribal and familial. They live in the eastern and south-eastern regions of Iran. Carpets are one of the most important traditional products among some Baluch tribes and is mostly woven by women. Inspired by their environment and in accordance with the social and cultural conditions of the society, female carpet weavers leave an impact on the carpets. Social researchers believe that art always shows signs of culture and traditions of the producers, and by studying and analyzing these signs, much information about the society can be obtained. The main concern of the current research is the uncertainty of women’s portrayal in the thematic and visual structure of Baluchi carpets. Therefore, the main question of the research is: How does women’s role reflect in the visual and thematic structure of Baluchi carpets? The purpose of the research is to identify the role of women as the main creators of Baluchi carpets, in forming technical and visual elements and themes revolving around the carpets. To achieve this, the research was carried out using data from library sources and field interviews with 3 Baluch carpet experts under a descriptive and analytical method. Regarding how the data was analyzed, the research is of a qualitative type and was carried out by analyzing 22 samples of Baluchi carpets that were selected using a targeted sampling method. The results indicate that the role and presence of women in thematic and visual structures of Baluchi carpets can be classified and studied in three distinct areas: A: Naming the carpets by female names, B: Naming patterns by female names, and C: Representation of women in the form of female patterns in the carpets.

Derrida’s main strategy is the fundamental analysis of the discourse of thinkers like Plato, whose metaphysics of presence was the main foundation of their theories, or thinkers like Husserl, who tried to go beyond the metaphysics of presence. In this research, a part of Husserl’s advanced phenomenology, which was the focus of Derrida’s deconstruction program, is presented. First, Derrida’s critical viewpoints of the concepts of consciousness and meaning in Husserl’s thought is evaluated, and then, in the second part, based on Derrida’s deconstruction of the concepts of consciousness and meaning in phenomenology and the application of concepts like the trace and postponement of two selected works of painting from the works of Alireza Espahbod and Nikzad Nodjoomi are analyzed. The aim of this research is to evaluate the distinction between the two approaches of phenomenology and deconstruction in order to achieve new meanings and in general a new critical method for analyzing text/visual arts. The method of collecting information is derived from library research and internet data, and the writing method is qualitative and descriptive-analytical based on the use of deconstruction strategy. Here, the connection of philosophical theories with the analysis of visual works brings up a new encounter. By deconstructing the two concepts of consciousness and meaning in the phenomenological approach and analyzing two selected works of contemporary Iranian painters, we find out that the meaning of the elements in the work of art is not based on the general and inclusive awareness and definite implications that reach the essences and essences in the phenomena, but based on new meanings that are obtained from the transformation of certain hierarchies into indeterminate meanings in the form of chain traces in the repeated reading of a visual work with postponement, and through this passage a new window becomes available for the review of visual arts.                         .

Museum as a multi-faceted and multi-functional institution, has a social and cultural concept at the community level, which is related to power, ideology and dominant discourses. Meanwhile, nationalism is one of the main discourses that can fully encompass the museum institution and show how museums are used to serve it. Based on this, the establishment and transformation of museums can be examined according to the ideology of the Pahlavi government in the construction of national identity and as a representation of political-cultural changes at a critical stage of Iranian society. Therefore, in the current study, in order to analyze the relationship between the museum institution and the discourse of nationalism in the Pahlavi period, three museums including: “Museum of Ancient Iran, Carpet Museum of Iran, and Tehran Museum of Contemporary Art” have been studied. The main question is: What effect did the evolution of nationalism discourse have on museum as an institution in Iran during the Pahlavi period? The qualitative research approach and discourse analysis method have been used with an emphasis on the theory of Laclau and Mouffe. The data was collected qualitatively through library research. Sampling was conducted purposefully and with a “type” strategy (in the case of Iranian museums). The purpose of case sampling is to select obvious examples and average cases of the subject and phenomenon to provide a detailed description of it. As a result, different articulations of nationalism discourse in the first Pahlavi period under the central sign of archaism and the second Pahlavi period with the central sign of originalism, back to yourself can be seen in various dimensions and discourse acts such as naming, architecture, urban location, and the collections exhibited in the museums. The museum institution, as a government symbol, was involved in the discourse, which has deeply determined its details; Therefore, museums have had a discourse function and a special relationship with discourse.