نشریه هنرهای زیبا - هنرهای تجسمی
سال پانزدهم شماره 3 (پیاپی 43، پاییز 1389)

Art critique, the analysis of artworks in formal procedure, is the path which connects the public to the art productions; and although its main aim is to judge the piece, right or wrong, delightful or ugly, the main benefit of this effort is to make the subject comprehensible. To achieve this goal, the art critic should interpret the subject thoroughly, relying on the art production as the main source of research, rather than looking into the texts dealing with the subjects such as artist’s biography or the social condition of the time which the artist was living in. The tools for this important task is the “keen eye” and the “pure feeling” of the art critic. Exploring “relativity”, developed by the attitude mentioned above, isbased upon a known artwork of the famous Dutch artist: MauritsCornelisEscher (1898-1972). “Relativity” which was created in 1953 in two versions, is a black and white miniature with small size (72.2*29.3cm), in which three forces of gravity are working perpendicularly to one another. These earth-planes cut across each other at right angles; and human beings and other objects are living on each of them. As a matter of fact it is impossible for the inhabitants of different world to walk, sit or stand on the same floor, because they have differing conceptions of what is horizontal and what is vertical;yet they may well share the use of the same staircases. “Relativity” is one of the five pieces which was named “relativities” by the artist himself. The other four pieces are: “Another World”, “High and Low”, “Curl Up” and “House of Stairs”. The first two were created in 1947 and the last two in 1951; all of them before the production of “Relativity”. With a search in the artist’s other productions, one can find other art works, in other categories, which share strong similarities with “Relativities”. “Belvedere” (1958), “Ascending and Descending” (1960) and “Water Fall” (1961) are good examples for this purpose. In this Article, after a brief introduction, the authors give a general statement above the whole composition, describing its most important characteristics. Then the figures of the play, which are defined by numbers to be recognizable, are introduced; describing their qualities, with looking to their details: the number of things, the locations, the shapes, cloths, gestures and features; the genders, the materials, the angle of shades and so forth. Followings this inspection, the authors state the conclusion, and demonstrate the key figures of the play which were purposefully neglected. The final part of the article is specified to the M.C.Escher’s main ideas, since the interpretation of “Relativity” reveals the artist’s general intentions. In this final statement authors claim that Escher was a quite different artist comparing to Modern movement’s icons such as Publo Picasso, Piet Mondrian or Jackson Pollock;Since while these artists were devoted to the idea of “Abstraction” Escher’s art is explicitly meaningful and narrator. It is interesting to know that Escher was very eager to see the observers searching in the meaning of hisproductions; and that is what this article is all about.

What we learned in modern hermeneutics philosophy, implies the interpretation and wide open to the horizons among the addressee and the text. The text - what a literary work or artistic effect - that is interpreted by their addressee, will be exist in front of addressee; and the text grants life to its addressee to. Being Exist will appear between text and audience, and the dialogue is its foundation. Dialog that occurs between these opens the text for the audience and give him intellect about himself. Photo interpretation depends on its prominent situation among other artistic texts. From one point, photo, is like an artistic work and manages its own interpretation by using hermeneutic rules. From another point, as Roland Barthes emphasized in his last book about photography (Camera Lucida) photo that is remnant of the past time, shows what is related to a inexistence time but certainly has a source in past time. Also, addressee find the photo as a past remnant which lived next to it and his life is reflected by it in a particular manner. Images, are remnants of long past now which can never exist now, but in human memory. For this reason, pictures, the existence of the last, are talking about a world that was an "exist" beside us in the past, but not now, for sure, in the same manner. This lack of what the picture shows by persistence, and understanding of such suddenly bitter matter, will make the audience confused and sometimes bewildered. The important of the issue will be apparent when we face to the family photo album. These images will be in a close communication with their audience, and obviously, trace the element of love and affection – to the same person that the photo is showing and the audience should mines its existence just in the photograph- in them. Because such images are built in the life that he live it and have subscription with the emotional reserve of the past. So special viewer of these photos, in face of observational reviewing of them, suffers a perplexity and sorrow, too. However, audience layers of understanding, based on the teachings of modern philosophical hermeneutics itself had risen of before achievements, pre assumptions, and pre understandings that the audience with all of those go to face with all their photos, and so much and over it involved with love and affection. A love that audience inherits from his lived past with those who lived with them. picture interpreting, still yet in his world, is sometimes based on form, shape, or photographer comments and intentions or in its most optimistic modern case according to the understanding of the audience whose whole cultural knowledge and whole cultural prominence is applied for delivering a good interpretation of photograph and presenting it to the photography world. Private and family photos show the clearness of this fact and arouse the most amounts of internal reactions and this is a sign of different understanding of photos hermeneutic

Miniature "The Caliph Harun in Bath-House" from Khamsah, is one of the most important artworks attributed to Kamaleddin Bihzad, the famous miniaturist of Timurid and Safavid era. In this article I have tried to answer two questions in connection with this artwork; first, what is the hidden Ideology of artist? and Second, This worldview is related to what social class In the ninth and tenth AH? This study is similar to Iconological and Social Structuralist method in Art critisism. Iconology is interpretation of hidden meanings in artworks associated with the national and religious specifications, ritual symbols and philosophical marks. Social structuralist method reflects about the style elements in connection with "social class" and its role in the formation of artworks. In my opinion, mark of a social class named Fattis (Fottovat followers) is hidden in this visual masterpiece. Islamic history shows a close relationship between art and "Fottovat" cult. "Fottovat nameh"s or handbooks of Fattis were the most important sources about castes and guilds of artisans. Fottovat was divided into three groups: “Seifi”, “Ghouli” and “Shorbi”. Most likely Bihzad was an artisan belonging to “Ghouli” Fottovat circle or in contact with them; their symbols are more or less seen through this work. Infact they were pious tradesmen in different guilds. Such as painters, masons, carpenters, barbers, caligraphers and so on.There was no difference between them in that time. Bihzad is showing us the visual atmosphere of one of that guilds; Barbers. At first glance, the viewer's eye is led upward Bath where the Towels (Tanooreh, Loung, Serval) are hanging. Little boy in the right corner of the bath-house with his long stick is leading viewer's eye towards towels. What do the towels mean? Bath towel (Loung) was considered as a specific sign and motto for Fattis and this is not a mere visual happening. In "Fottovat Nameh"s, barber guilds have been praised more than any other guild. In an interesting "Fottovat Nameh", belonging to barbers, we can read familiar names and acts in contact with this miniature. The tools like Barber razor, Bath bowl, towel (Loung), Serval and... as if they are verbal equivalents of the tools in this miniature. Interpretation of image and refering to the epistles of Fatti barbers, shows more secret marks. Although subject is taken of Makhzan-Al Asrar, but Bihzad has changed that story to favourit visual forms to announce his Ideology and Fattis motto. If subject or structure of this miniature is taken of the former paintings, then we can consider Bihzad as a Fatti follower in choise and execution of such an artistic work. The works that have been signs of Fattis in history. In fact, this Bihzad’s miniature could be seen as a "Fottovat Negareh" or illustrative “Fottovat Nameh” for barbers. There is no doubt that this is not the only possible approach to the subject. There will be other complementary results by other methods.

The process that forms during writing is under an Important principle and according to abstract form of alphabet and their composition. This principle is called writing system. Therefore, writing is accounted an artistic work. Cognitive it is important in different dimension view, because of man abstract view point that has led emergence of communication system. This paper for cognitive analysis of written communications in area of artistic expression, tries to explore theories of scientist in field of visual communication and interaction between visual infrastructure of writing and script. Noting to this point that constructive elements of written work don’t have the principle that are dominant on symbols, the most suitable analysis method is Semiotic. The first chapter of this article on the strength of different scientists, ideas, studies about the written communications. In the second and third chapters, different methods of recognizing of written the communications in area of artistic expression are all offered. Finding of this project shows that, there is different style and structure that in studying written communication led to analysis based on artistic standards. Therefore, in the fourth chapter of this article, we analysis case study of one writing system of Cursive Nastaliq calligraphy and method of comparing the measure dominant on structure of Cursive Nastaliq. It means we studied the principles and style in out standing manuscript of Cursive Nastaliq. For cohesive classification and summing up the information and analysis of artcle the outcomes are presented in form of tables and charts. Data and common aspects and different basic measure and typical measure in this penmanship are known and compared. According to this tables that are provided base on statistical principles, we can say that the degree of using common principle in calligraphy of known style in manuscript of Cursive Nastaliq is between eighty – eighty four. Therfore, written of communications in Cursive Nastaliq should be outcome of interaction of principle dominant on persian calligraphy and visual communication. We have used one approach of semiotic for for cognition of effective factors on formation of written the communications. To do so, we have studied many sources and of consistency is down by fined internal method and for commonness assessment we studied internal conformity between common material. We aim by introducing characteristics of Cursive Nastaliq and comparing them, explore the interaction between principles and styles of artistic expression. This article tries to offer the rules as a system in the field of visual communication and explaning one of the authors methods wich has based on this research and has been performed. The analysis of written the communications in area of artistic expression not only facilities the identification and development of artistic schools, but also it identifies the unknown hidden aspects of the arena. The important of this issue will lead to expansion of written literature in field of visual arts, calligraphy, especially visual communication.

One of the ways of recognizing the human culture and knowledge is survey of arts in civilizations. Clay and pottery are old handicrafts, and they have ancient placed in Iranian's cultural research& cognation. This craft is various handwork of mortality and has with deep denotation. This is the best reason that this craft is the primer thing for figurative culture. In this regard, ever locality and civilization get the different experiment for presentation of values such as line, color, shape and content. The engraved goblets that found from SUSA (shoosh)area are the patterns of art and culture of this land at the 2th quarter of 4th millennium, and they are not only the potable goblets, but also they are Transmuted to suitable litter for use the special method in presentation and conduction of deep denotation statement in form and figure. So, to take cognizance of Iran in traditional civilization, cognizances of pictorial potteries with motives from SUSA are very important and the best is that jar has been kept in Louver museum in Paris. In this essay, we research the world's approach to these potteries by analytical descriptive manner, especially Susa's jar that is in mug's group. The first factor that makes sensuous pleasure in viewer, is outside beauty.this factor is possiblebyharmony between patterns and shape of jars, logical proportion, precise divisions, positive and negative area and unique design. it is considered by calculation of dimentional and perception of proportions, we know that gotten numbers are between 1.7 until1.9 that are close to golden numbers mean 1.6. the second factor is meaning of patterns that used as special symbols that makes relationships between motives and patterns, according to special tends and by emphasis on previous human opinions and tendencies. In this pattern,the goat is symbol of moon and earth and his horns are showing of productivity. The continuity of birds is symbol of flight and prayer and wanting rain, because Iranian believed if the constellation of goat and bird had been seen together,come rain in special seasons.the wheat is symbol of vegetate and is as goat's tail.the form of square and circle that is in goat's horns, means earth and sky are counterpart together for raining for growing and birth until primery human received felicity. So, the Susa's jar is the mug for drinking and the talisman of wanting rain and wanting felicity, too. Here we argue to priority of Susa's potteries as compared with other pottery of other culture such as: Egypt and India and didnt see breakdown of suitable areas and proportion of patterns with form of clay vessel.in the another argue the goat pattern that is the main pattern in Susa's jar, has been campare with same pattern in another areas in Iran at the same age, and seems that the best animal patterns of animal were drown in Susa. This comparation shows Iranian's genious in creative works with symbolistic desires.

The aim of this study was initially to investigate the performance of culture and design as well as to explain the interaction of them and to establish the cultural qualities of design products. The author’s background in studying and designing in the specified field of this research (product design) was also one of the implications for culturally focusing it. Meanwhile, one of the main consequences of such study is also to inform about the recent literature published in culture-design area. On the basis of the aims of the study, the following essential research questions could be developed: -What is culture and how it can be defined within design context?, -How does culture-design interaction work? There was a need to review the culture-design domain to see how it related to the specific product design context. Recent attempts in design research, education and practice support this idea. Therefore, to thoroughly comprehend the research area and fully achieve the aims of the study, a base study on the definition, extent and application of culture and design was undertaken. Therefore, within the context of this study, design was considered as a medium for exchange of meaning and communication on a socio-cultural basis in products, services and processes. This suggests that design could play an intermediary role across a range of disciplines. Culture was perceived in a way that dealt with different social layers of societies. Culture runs and guides members of societies and brings about effective communication and interaction amongst them. The definitions would help in analysing the culture-design interaction in more detail. It seems the mentioned definitions for culture and design could provide the link needed for interaction. Symbolic values of products, which are highly associated with social and cultural issues, were seen as the foundation for the said interaction. The interaction between culture and design could be developed within the mind (e.g. the idea of subjectivity and latency) or outside the mind (e.g. the objective form of culture). However, as far as the literature review was concerned, whatever the existence of culture was, it could be reflected through cultural products, souvenirs or creative industries. Based on one of the models (Four-Paradigms model) a tendency to move from the subjective-latent side of culture towards the objective-explicit side of it was revealed within the study. A product is an object that on its own does not have meaning, so cannot fulfil expectations, but it can pull together our experiences and analogies to give meaning and catalyse change. One of the main roles of the designer is therefore to relate them together and address the issues that generate a collective representation. From this point of view, a cultural artefact can be considered as a product that has become a meaningful object in its own right. Furthermore, cultural products, could find a new symbolic meaning within a course of time in certain societies. This paper was distilled from a PhD thesis in design submitted to the University of Brighton in 2008 by the author.

Today, the importance of "playing" in childhood has been proved by a large number of researches. There is a consensus that playing is the natural method of learning. In fact, games encourage children to undergo more difficult tasks, facilitating the process of transforming to higher levels and changing drastically. Without doubt, psychologists emphasize the role of playing in children's growth; but most often, in designing proper games for children the relationship between these games and learning and growth is being ignored, and often these games are designed improperly and without considering the social and cultural needs of children, partly due to a lack of proper relationship with the "users". This article is intended to explain how to gather basic information from the users, who are little children, in order to design suitable games. Because of the fact that the main approach towards designing these games is user-oriented, the process of gathering information and also the method of designing and even the final process of its completion depends on the ideas of users (children aged five to seven) in their own real environment. The reason of selecting the target group between five and seven years of age is that, at this spectrum of age, children's imaginations have been evolved and they tend to play more roles, to create relationships and to combine learning and targeted activities. The use of this user-oriented method and the related designing in this project, forced us to gather information directly from children. This article will help to improve the prior knowledge in this regard and about children. Firstly, a new method of gathering first hand information through children themselves is introduced and explained. Then, it will evaluate the acquired information and takes advantage of them to create a new family of games (free games). In this regard, applying Mars Interview method to properties of Iranian kindergartens and combining it with already-tested methods, after discussing it with the entire operating group including trainers and designers, invaluable information about the favourite games of kindergarten children aged five to seven was acquired. These are as follows: The majority of their favourite games were games involving bodily activities like running, playing catch and so forth. A lot of children enjoy the excitement and the suspense in their games, like the excitement of waiting or seeking in hide-and-seek or even the excitement of winning and jumping in hopscotch. Role-playing and pretending were one of the things which roused boy's interests. One of the children confessed that once pretending to be someone else, they are free to act foolishly. In the other hand, watching plays or puppet shows or even attending in the play itself were quite interesting to children, so much that they were excited even about describing or talking about them. Children like to be present in the games continuously and they only enjoy themselves when constantly present in the games. During the course of this research, merely one study group was targeted, about whom we will discuss in the investigation part.

The distinction between artistic subjects in the west and the east, particularly in the realm of visual arts, has been quite obvious and noticeable from early times and connoisseurs and art critics have written and talked much about it. But today it seems that these distances and differences have replaced their positions with artistic interactions and have come closer to each other (in the fields of themes, materials, and even instruments) due to the expansion and development of communications. This article, in fact, includes the similarities and differences, based upon comparative studies, between the works of the contemporary English sculptor, Antony Gormley, and the background of Chinese ancient civilization.it is important to know that Comparative Arts, studies the relations between one or several media of arts in different or the same period of time and it could lead us to valuable achievements. In addition, with comparative analysis between the modes of visual, literary, and aura representation, different aspects of artistic theories are investigated. The concentration analyzes the principal forms and genres of the visual, literary, and aural elements in various cultural disciplines, providing and understanding for human creativity and expression. Comparative Arts explores the dynamic interaction between literature, visual art, music, theater, film, and digital art. A wide-ranging field of inquiry open to all literary and artistic traditions, comparative arts is limited neither by national boundaries nor by class_ indeed, popular art is as welcome as the “unpopular,” loftier sort. Through comparison of different forms of creative expressions, the field asks the most fundamental questions about the arts, ranging from theories of specific forms of media to the Zeitgeist of an entire culture or period. According to this aim, we tried to have a comparative look on Gormley’s two works: “Asian Field” and “Human Cube”, and a type of ancient Chinese sculpture (including The Terracotta Army of Emperor Qin and the Burial Suit of Hun Emperor). The Terracotta Army or the "Terra Cotta Warriors and Horses", is a collection of terracotta sculptures depicting the armies of Shi Huangdi, the First Emperor of China. The figures, dating from 210 BC, were discovered in 1974 by some local farmers in Lintong District, Xian, Shaanxi province, near the Mausoleum of the First Qin Emperor. A Jade burial suit, is a ceremonial suit made of pieces of jade in which royal members in Han Dynasty China were buried, as the Chinese believed that jade had magical properties and would prevent the decay of the body. Antony Mark David Gormley (born 30 August 1950) is an English sculptor. His best known works include the Angel of the North, a public sculpture in the North of England, commissioned in 1995 and erected in February 1998, Another Place on Crosby Beach near Liverpool, and Event Horizon, a multi-part site installation which premiered in London in 2007, and in 2010 around Madison Square in New York City. After studying and examining these two works and their visual relations, backgrounds and other criteria, in the end it seems as if Gormley has been inspired by far-east culture especially ancient Chinese civilization, which this writing explains it more.