نشریه نامه هنرهای تجسمی و کاربردی
پیاپی 44 (تابستان 1403)

 The subject of the present article is to take seriously the popular and folk art as an important source in the invisible aspects of social life and cultural policy decisions in the first Pahlavi period. This issue has been one of the main concerns of cultural policymakers from the very beginning in the implementation of the great political stream called modernization, and in the following years, it gradually led to the establishment of an intellectual consensus between intellectuals and artists with the government. In the field of "cultural studies" focusing on "art politics", this study intends to examine the confrontation of popular culture with the political culture of that period and to answer the question that how and to what extent the "public feelings" had been subjected to the policy of cultural policy makers in the first Pahlavi era? The analysis of the semantic and thematic signs of the two "royal postcards" gives us clear examples from the discussion of this research. These two postcards - apart from the visual structure similar to coffee house paintings (fantasy) and their aesthetic qualities - have been chosen because they exhibit a mixture of dominant and opposing cultural values and have national-patriotic themes mixed with religion. Due to the nature of the under studied data which is based on cultural studies and sociological perspective, this research is in the category of basic and interdisciplinary research. The research method is descriptive-analytical in a qualitative way. The data collection is also done in a documentary-library manner. The findings of this study show that the actors of the first Pahlavi cultural policy making, under the banner of a centralized and authoritarian system, in order to formalize the system of power, succeeded in creating a legitimate taste in the public. Using the idea of popularization of culture or the ideology of " the common sense training" , the ruling power has been able to make the system of power more popular and reasonable than ever, as the pictures of the two postcards tell us. this research is in the category of basic and interdisciplinary research. The research method is descriptive-analytical in a qualitative way. The data collection is also done in a documentary-library manner. The findings of this study show that the actors of the first Pahlavi cultural policy making, under the banner of a centralized and authoritarian system, in order to formalize the system of power, succeeded in creating a legitimate taste in the public. Using the idea of popularization of culture or the ideology of " the common sense training" , the ruling power has been able to make the system of power more popular and reasonable than ever, as the pictures of the two postcards tell us..

About six pieces of cloth from the Safavid period are left, which show the effects of Lily and Majnoon's love poem. Although this poem is known to Nezami and many illustrations have been done following her poems, but in the context of the meeting of two lovers in these pieces, there are some different of Nezami's narration; Therefore, this study aims to explain the scene of the meeting of Lily and Majnoon in the narration of post-Nezami poets and reflects them on the fabrics of the Safavid period. And it seeks to answer the question that what was the main reference of textile artists in the creation and production of these fabrics and the reasons for choosing these scenes? For this purpose, by carefully examining the narration of Jami and the poets who followed him in the Safavid period, as well as poetic mystical texts such as Hafez, which emphasize the scene of the meeting of two lovers, one can find a close affinity with the role of fabrics. Despite the drawings of their poems, it becomes more powerful. Accordingly, the present study, with a comparative and analytical approach, examines the commonalities between the role of textiles with the sample of poems and drawings. And the result shows that the fabric designers with a complete familiarity with the relevant narrations, especially the Jami narration, and also with painting samples and based on the intentions of the Safavid Sufi supporters to design these fabrics to They paid special attention to clothing, which often brings an epistemological journey with the approach of finding identities with the characters engraved on it, especially the insane. In general, the fabric designers with a complete familiarity with the relevant narrations, especially the Jami narration, and also with painting samples and based on the intentions of the Safavid Sufi supporters to design these fabrics to They paid special attention to clothing, which often brings an epistemological journey with the approach of finding identities with the characters engraved on it, especially the insane. sothe fabric designers with a complete familiarity with the relevant narrations, especially the Jami narration, and also with painting samples and based on the intentions of the Safavid Sufi supporters to design these fabrics to They paid special attention to clothing, which often brings an epistemological journey with the approach of finding identities with the characters engraved on it, especially the insane. the fabric designers with a complete familiarity with the relevant narrations, especially the Jami narration, and also with painting samples and based on the intentions of the Safavid Sufi supporters to design these fabrics to They paid special attention to clothing, which often brings an epistemological journey with the approach of finding identities with the characters engraved on it, especially the insane

his research is based on Dehumanization of art as one of the basic approaches in modern era, and related activities that leads to this new approach. This attitude that contains a new regard to our surrounding, also is connected to the new definition of art works and is followed by many artists nowadays. This approach is concentrated to margins of our lives, the parts or people that are ignored by us either intentionally or unintentionally. Dehumanization of art as a postmodern theory presents a new ontology that is not human homocentric and is based on other creatures and entities as an important subjects deserving of attention in biosphere. This concept is descripted in this research as the main part and different examples of arts especially cinema are mentioned to clarify the subject-matter.Atrophy is the specialized word in this paper that is considered as one specialized word, pointing to eliminating some integrations such as music, narration, story from the main structure of film to investigate stating the film as a pure art and redefining it as a form of art that is self reliant. Explanation and expanding of this theory is the main part of this article and then its accordance to different fields of art besides related samples are also mentioned in the next parts of this writing. The goal of this research is mainly pointing to this matter that it is not just human being who dominates the world and other creatures even objects exist around us, they have their roles in nature and must be considered even more than humans in some situations, so modern and postmodern artists are the ones who refer to these subjects and show then in their artworks. In the final part of the paper, this approach is reviewed in cinema and A few of the filmmakers that have turned to this approach are introduced and their films is regarded as some of the most important cases of this new approach in filmmaking. This approach is used in order to introduce cinema as a unique kind of art that has its special characteristics that make this art to be realized and praised as an independent art in relation to other art forms.Explanation and expanding of this theory is the main part of this article and then its accordance to different fields of art besides related samples are also mentioned in the next parts of this writing. The goal of this research is mainly pointing to this matter that it is not just human being who dominates the world and other creatures even objects exist around us, they have their roles in nature and must be considered even more than humans in some situations, so modern and postmodern artists are the ones who refer to these subjects and show then in their artworks.

The unconscious is influential in creating works of art. Dream is also the unconscious language and in most cases it has visual aspects. Most critics and theorists believe that meaning is born of both awareness and ignorance, and this is the secret of the difficulty of the work. Sigmund Freud, who is at the head of these theorists, stated three basic structures in the field of personality, which are: the entity, the ego, and the ego, which works unconsciously according to the entity of the lower part of our mind and psyche, but the ego and the ego are each to some extent in They have a combination of consciousness and unconsciousness that there are different ways to be aware of them. In this regard, the works of surrealists are one of the most important documents in expressing the efficiency of the unconscious; From their point of view, the purest awareness and perceptions belong to the realm of the unconscious mind. For this purpose, surrealists and photographers following this style, emphasizing imagination as the source of vision and experience, used measures such as photomontage to create astonishing and confusing images. Photomontage is the method by which photographers like Tommy Ingberg realize their dreams and by preparing works in this field, they show their talent and genius in giving identity to their thoughts. This juxtaposition of real elements alongside imaginary elements is a hallmark of surrealist photography. Any ordinary useless or usable object in everyday life can become one of the key elements in surrealism photography. Surrealism photographers take the artist's intuitive and dreamlike experience seriously and are sensitive to any phenomenon and can turn photographic subjects into works of art and create images that are a pure, poetic and dreamy representation of the artist's mind.The current research is fundamental in terms of its purpose and tries to express the common symbols between the works of the two artists by reviewing the works of Tommy Ingeberg and René Magritte and analyze the content of surrealist images and how the unconscious, dreams and imagination affect their works, in this direction to achieve A better result has been used from Freud's theories. The present research has been carried out in a comparative-comparative way and gathering information using written sources and library method. The results of the research show that in the works of Ingberg and Magritte, the principle of reality is mixed with the principle of passion and dream, and the intellectual foundations have been expanded in wide dimensions. Two artists raise their mental issues and concerns through the people and objects in their works; Symbolic images that depict a real world for the audience. Ingeberg and Magritte always affect the audience's mind with a kind of frightening silence; The distinctive feature of their works is giving life to the dead. They intend to hide the unconscious and show it in a disguised show.

One of the most important examples related to the representation of death in art is a genre in the history of photography called "Postmortem photography". In this type of photograph, deceased people realistically return to their families, as if they are alive and close to other family members. The preparation of these photos was a time-consuming and expensive process, during which the deceased person was put on makeup and prepared to be photographed in a staged place. The peak and decline of this genre is parallel to one of the most important British political and cultural eras, which is known as the "Victorian Era" and was especially popular in the second half of the 19th century in England and some other countries, including America. In this genre, photography of the dead had become widespread and became a custom in the mourning of this era. Now the issue here is how this genre was formed and in what artistic tendencies was it rooted?Historically, the recording of the face and body of the dead has an ancient background in which the mummy tradition of the ancient Egyptians is undeniable, which, due to the connection with the Roman Empire, played an important role in transferring the image of the afterlife to Christian Europe. Among the most important of them were the decorated plaster death masks. A tradition that continued until BC; But the transfer of the tradition of the death mask to Europe was not only through Egypt, and in some regions of Greece, the death mask was also one of the ceremonial requirements of funeral and religious ceremonies. After the Greeks, the Romans also depicted death abundantly and in various ways, a tradition that can be identified in connection with the Egyptian death mask tradition in the Fayum portraits. In the Middle Ages, a new form of the image of death became popular, which was the result of the widespread plague in Europe known as the "Black Death". Further, with the weakening of the church and the power of religion, a new era of scientism and humanism was formed, which also affected the representation of death in art. Once again, death masks appeared in 15th century Florence, and gradually a new form of the image of death became popular in Europe, including England. In the 18th century, the post-mortem image became increasingly popular in England, and English privileged families used the image of their ancestors, including post-death or mourning portraits. In the 19th century, the theory of phrenology greatly influenced the genre of photography of the dead. Proponents of phrenology theory believe that death masks reveal the external characteristics and inner truth of a person. As a result, it can be said that there is a significant connection between the photography of the dead and the pictorial tradition of mummies, death masks, death dance and Renaissance mourning portraits in Europe and after. This shows how beliefs persist in the form of artistic media over time.

Reading is a complex process that causes the transfer of information and content and, as a result, human growth. In fact, reading can be considered a condition for success in work and social life. The process of reading involves understanding, understanding and thinking. It is an active process through which the reader understands the message written inside. The starting point of the reading process is the communication between the eyes and typeface. Typefaces are practical media that play an effective role in human growth and awareness because their main purpose is to express and convey messages in the fastest and most legible way. This is where readability of the text becomes very important and the speed of recognizing and cleaning the form of linguistic elements; letters, words, sentences, from each other and then understanding the semantic relationships between them and understanding the content and receiving the message causes more interaction of the audience with the text and finally becomes the main factor of people's growth and awareness. Therefore, in this article, the factors affecting the fluent reading of the text of a book have been investigated by relying on the principles of readability in Naskh script and Persian fonts. To achieve this goal, considering the main mission of type, which is to transfer information in the fastest and most readable way, the question "What factors can be considered as influential factors in the readability of text font?" As the main question, in order to answer this question, other questions such as: Why are only a limited number of Persian fonts used in the text of books? What are those fonts and what are their features and why publishers don't use fonts designed by designers in recent years? will also be answered. The qualitative research method has an exploratory-fundamental nature that used the systematic version of the fundamental theory to present its final theory. The necessary information was obtained through reference to library resources and digital documents, as well as interviews with experts, and sampling was done in a targeted manner. The most important interview tool has been in-depth and semi-structured interviews. The interviewees were among the designers whose fonts have recently been used by publishers. And publishers and editors who had sufficient knowledge of the variety of fonts and their importance in interacting with the audience. With this method, the data were coded and analyzed. The results show that the principles of reading in the Naskh script form the habit of the Persian speaking audience in the process of reading, and the type designers have defined the principles and basics of reading based on the basics of the Naskh script and the habit of the audience. On the other hand, publishers also tend to use fonts designed based on this script. As a result, the principles of readability include:principles, ratio, baselines and composition and the technical performance of the font in the software.