نشریه هنرهای زیبا - هنرهای تجسمی
سال شانزدهم شماره 3 (پیاپی 47، پاییز 1390)

The analytical approach of this article is the study of self-portrait in painting and photography with a critical insight into the theory of Roland Barthe's "Death of the Author". In this research, as self-portrait is the representation of the author himself, this question is raised: "Does the theory of Roland Barthe's "Death of the Author" in the pictures of self-portrait, which is an individualized and author-oriented art, have the necessary efficiency in removing the author? In answering this question "first of all" the theory of Roland Barthes should have been analyzed and then certain self-portrait in the area of painting and photography should have been gathered and for final analysis, the art of photography should be merely examined among the statistical universe in order to avoid lengthy discussion. The methodology of critical analyze of self-portrait with an approach to the theory of "Death of the Author”; has been accomplished using library and internet resources as well as modeling from self-image photos in form of attributive, descriptive and comparative method. The statistical universe includes two self-portrait which are similarly selected both from painting and photography. The samples of photography were chosen in a way to suffice the verification of its generalization to the art of painting. Conclusion of this research show to us how generalized the theory of "Death of the Author”; Comparative studies have concluded that this theory could not be generalized to all art works, because in the works of self-portrait which embody the picture of the author, the author has become a part of the work and its omission is in fact the omission of a part or the whole work of art. This study showed that the theory of "Death of the Author" is not generalized at least in analyzing self-portrait because the presence of author with different features in the artistic work will leave an image or sign of the author's identity in the work and convey meaning. According to theory of Roland Barthe's "Death of the Author", the author of an artistic work is born as a result of author's death and plays the role of a re-creator of the work and the audience in various periods can reproduce the multiple meaning of the work. From the viewpoint of this research, the meaning regeneration is associated with all components of the artistic work. The result is that if the new criticism is looking for the diversity and multiplicity of artistic works interpretation, then according to the triangle of "artist, art work and audience", the process of meaning regeneration can reach much more multiple meanings with maximum insights. Thus, during meaning reproduction, the author's intention or the status of author's image in the composition of self-portrait can have definitely a similar or complementary role in approaching self-portrait and the omission of author will equal the omission of all or part of the art work, consequently removing part of interpretations. Moreover, the theory of "Death of the Author" cannot omit the author in all works with the same intensity.

Technological advances in computer science have been influencing many aspects of human life with an increasing pace. Multimedia has basically emerged from the advances in computer science and has become a very suitable framework for communications. It is evident that to address visual aspects of Multimedia, Graphics Science is required. Design for the multimedia is the most significant new area of design practice of the last 20 years, knowing to work in a new medium is both exciting and challenging, forces us to restate what design is. It is easy to be daunted by the challenge of this new medium. In fact, design for the multimedia shares with other disciplines a view of design as a way of thinking. While multimedia design has much in common with the approach to other areas of design there are also some important differences. Many of the challenges of multimedia design are about creating an effective interface between people and technology. To understand Multimedia design it is critical to understand design first and technology second. The word “design” is usually associated with a particular domain – graphic design, product design, industry design, web design – but it is important to appreciate that design is bigger than any individual domain in which it is applied. Design is a way of thinking. It is a way of situating and exploring an objective problem. It encapsulates approaches to creating possible solutions to that problem, and processes for communicating solutions and turning them into reality. To proceed, design also needs to have a firm grasp on technology, and also on the ways it is developing. An intimate understanding of technology gives designers more possible avenues for solving a problem. Technology is also one of the constraints on the design solution and this understanding will facilitate a more creative and effective implementation of the solution. Designers who succeed in this regard are often those who have extensively experimented with a technology, or are able to perceive its core dynamics. The present thesis studies the quality of visual communications in designing multimedia web pages, considering the limitations and technical problems that can affect the layout of multimedia web pages, it develops design principles that will be as relevant to future technological developments as they are today. While multimedia design is the most celebrated area of design it draws on many other areas, and by putting it in context the present thesis is in really hard quest to make this easier to understand. Furthermore, the lack of compiled graphical rules for this new framework, inapplicability of existing graphical rules, and lack of metrics for evaluating success or failure of a multimedia design in communicating with its audience have motivated this thesis to provide metrics to evaluate visualization of multimedia web pages and compile new rules which are according to the concepts and examples of contemporary graphics, to this end, first, after introduction of multimedia environment and the factors that affect a successful composition, limitation and technical problems of multimedia design are presented.

Color is an abstract phenomenon with an important role in the shaping of the world, the description of the world and in visual relationships. The science and knowledge of making color and the use of color in different ways, an endeavor that has been guided by nature, is rooted in very ancient times: seeing the light of the moon, the sun, the stars and the variety of color in flowers, animals and colored soils, caused early man to try to make use of natural and man-made pigments in order to be able to achieve color and light. The history of color in sculpture is also a long one... from the first jewel and colored-stone covered statues of gods and goddesses and the paintings that use natural colors that can be seen inside cave dwellings to contemporary sculpture. Color was first used only for decorating the bodies and dwellings of early man. With the passage of time and by looking upon nature as a guide, color became an important element in the shaping of what later became known as art. Early man used color as an effective, decorative and symbolic element in different contexts: tattooing the body and painting corpses, as a means for decorating or as a sign of respect toward religious beliefs and rites, and painting caves in order to reach a greater mastery over nature. Early man used color and decorative designs to make different utensils and objects as beautiful as he could on one hand and on the other hand, he found colored designs to be a good medium for the transfer of ideas. Among these usages, coloring figurines was the most important field in the use of color by early man; an activity that made use of various methods. Female figurines, usually found in a sitting position, are the most numerous figurines that are left from Neolithic times and are sometimes seen with color. In Iran, these colored figurines have mostly been found in areas such as the Haji Firouz hills, in Yanik-tepe and in the burnt city. These artifacts sometimes have similarities with the painted figurines that can be found in archeological sites in other parts of the world, for instance in sites such as Catalhoyuk in Turkey. This, to some extent, confirms the presence of shared beliefs and ideas in different cultures. In these figurines, color is usually used in different markings such as zigzagging lines, V-shaped waves or signs that are mostly symbolic in nature. Color in Neolithic figurines is considered to be a symbolic language that shows the special beliefs, ideas and concepts of each culture. The important place of color in the life, the beliefs, the ideas and finally in the art of Neolithic people, a role that is primarily symbolic, is the main concern of this article. Experts in archaeology have previously studied and analyzed colored figurines, but in this article the classification of these artifacts and finding an answer for the reasons that color is used in them from a sculptural point of view is addressed.

With the advent of Islam during the first half of the 7th century CE, pottery manufacture gradually started to change all over the Islamic world. At the beginning Iranian potters continued their pre-Islamic traditions, therefore; Nishapur potteries and their motifs can be seen as a link between two most flourishing eras in history of Persian art (pre and post Islamic period). The Samanids were probably one of the most important Persian dynasties in the eastern part of the Islamic world during the early Islamic period. Their realm included large centres like Samarkand (Afrasiab), Bukhara, Marv, Nishapur and Kerman. In ancient accounts of Nishapur was mentioned, it was one of the most important cities of Iran from ninth century to the thirteenth. There were some reasons for growing pottery duration of 3th - 4th century AH, one of them was patronage of Samani’s governors from art and artists. All calligraphic design, geometric and animate motifs in Nishapur pottery, have valuable background in history of Persian art, And Nishapur pottery show one of the most beautiful of human creativity: decoration with animal figures. These motifs have been matured in form, structure, aesthetics and theology basis, and they display people beliefs and faiths in that times. Since most of animal motifs in Nishapur pottery contain birds and their ornaments, in this paper we divided them in two categories: birds and non birds. There are some reasons for more attention to the representation of birds in Nishapur pottery: Diversity of species of birds in their environment, many birds such as Peacock, Phoenix, pigeons, parrots, and the Nightingale had symbolic meaning in pre and post Islamic period. The non bird motifs can be divided into four groups: _domestic animals that have a role in people's live; The animals was useful for people in those days and their existence was necessary; included horse, cattle, dog, goat, camel and fish. _some Animals are symbols of beauty and elegance such as horse, deer, goat. _Animals are symbols of ferocity and power like as leopard, cheetah and lion. And figures of fantastic animals have only a mytical role. Some signs of the mythical beasts like; tails with Palm leaf forms and plant forms, that are seen in birds, as well as non birds. In addition to structural analysis of every motifs, I described the symbolic meaning and direct impressibility from motifs of pre-Islamic period. Though past symbolism have been some what replaced by ornaments and rhetoric of Samani's style, but not only can we see repeat of symbols from pre-Islamic art, like as Sasani art, but also existence various symbolic meaning in animal motifs in the Nishapur pottery. The sources of the designs and decorations used in Nishapur, are from different religious symbols. Existence of anecdotes and moral-theology messages beside animals motifs were points that helped researcher to decode symbols of some motifs.

Qajar period is recognized as a time of significant changes in Persian arts. Perhaps the most obvious change was the influence of European arts especially on architecture, painting as well as pottery. However after Safavid period as to several inside and outside factors, amongst them vast importation of porcelain wares, Iran was faced with stagnation of pottery’s art but this doesn’t mean the annihilation of this art and product of several porcelains with different style of imported examples continued Iranian identity of this art. At early Qajar period, about first half of 12th after Hijrah yet some wares were produced in Safavid style but after that especially from mid Qajar period, some wares were produced in particular Style of Qajar till now are unknown. Unfortunatly the ceramic wares have not been completely classified or studied nor have their production centers been fully listed. Tehran, Shiraz, Isfahan, and Nāiin appear to have been the main centers. Apart from unglazed earthenware pottery, with their virtually unchanged functions and shapes, Qajar ceramics may tentatively be classified into three main groups. The first group includes Vessels made in a thin, textured white composite clay and frit paste with a thin alkaline glaze and rather sketchy floral designs in blue, purple, brown, and olive green, probably produced in the early 19th century. Related to them technically is a distinctive group made at Nāiin with designs painted in blue and black employing a repertoire of motifs such as sprigs of flowers and Chinese-style willow patterns, possibly influenced by contemporary Staffordshire imports, fish motifs and stepped lozenge bands. The seconde group includes Bowls, jars, and jugs were made in a buff earthenware decorated with overglaze enamels in a palette of bright pink, blue, yellow, green, and black. The crudely executed designs of butterflies, floral borders, and groups of pagodas inhabited by people in Chinese dress, are mainly of interest because they are derived from Chinese “famille-rose” porcelain. The third group includes More sophisticated underglaze-painted wares were made in Tehran from about 1880 onward. Using a body fabric of hard white composite clay and frit paste, and designs painted in muted color schemes, they resemble the underglaze-painted tilework that came into fashion at that time. The ware was shaped into elegant if somewhat contrived chalice- and shield-shaped vases and painted with fluent patterns based on floral and leaf scroll and peony blossoms—motifs used as background fillings to tile designs. This survey is a search in different dimensions of Qajar pottery based on several peculiar examples Qajar wares that we can name them as courtier wares. In this way, characteristics of several examples of wares often in some foreign museums as Victoria and Albert and Taregh Rajab in Kuwait have surveyed. Toward the results, in contrary of continuation of Safavid period’s pottery in Qajar period as well as effect of European countries, Qajar pottery have peculiar characteristics in form and decoration that convinced us revision to pottery of this period.

The potteries made by the artist painters and sculptors provide relations between their applications and the nature of the ceramic. We are confronting the feeling and the expressions rooting in different horizons, dependent on the history of artistic creations in the 20th century, dealing with the era of Gauguin to Nabi’s time, the Fauvists’ to Cobra’s era and Picasso’s time to Tàpies’s. Undoubtedly this article provides a situation for studying the superb creations of the great artist of 20th century, Picasso, as a painter and sculptor, with an old artistic technique that was exclusive to potters of the ancient periods to potters of the last quarter of the 19th century, and is an evidence for his developments in creation of this art. By the age of 65 i.e. 1947 that Picasso was in his last quarter of his age, he became a potter and has left over 4000 potteries that he created in France, in a village called Vallauris. His variable and exceptional works have been created through accurate studies of shapes and adding expressions and meanings to the potteries. These works ware produced by different methods and are prominently distinguished with the work done by ordinary potters. But in spite of this difference, it is rooted in the creations by ancient artists, which indicates the sensitivity and considerations of this artist for this ancient artistic work, as well as his initiative morale and mentality. The specific method of this artist in creating his ceramic work was with regards to his innovations towards revitalize this art, and despite the differences with traditional potteries, his technique was indeed originated from the traditional ceramic work. These semblances prove that in his later life, Picasso not only has new experiences and techniques on his side but also gives the emphasis to the culture, history and experiences of past generations and notices to them the things that inspire him to create masterpieces. He considers and observes in the origin of forms and materializes him thinking results. Hence, in adding to studying the trend of formation of this artist’s potteries, this research shows the relations of his work with the works remained from the past potters. Initiations and creativity of Picasso are observed in all his work. The mentioned work in this article indicate a short view towards the enrichment of the ceramic products, made by Picasso having common points with his other works such as paintings and sculptures for the freedom of creating them, that may have contradictions with the traditional rules of this thousands of years old technique. But Picasso never hesitated about discovering all the potentials of the art of pottery. More importantly, he shows that objects could freely be created by clay and one could have a different view about the art of pottery. Moreover, his work show that innovations could be made and developed by relying on past cultures and the experiences of past people could be applied by putting new look and considerations into them.

Following development of lithography during Gajar ages, the picture of Iranian books was common in a modern method. one of Iran's past Art is, short - lived one hundred years old, is painting Lithography books. In the Qajar period in the early twentieth century, was formed. lithograph drawings than other forms of Iranian art show real- life implications of the public to effectively so that they are document the material culture and folk concepts that age. With the arrival of the printing industry in Iran And the spread and development of independent print press court workshops, Publishing publication and access to the masses of people, especially children, will provide. Among all children's books that are printed in the Qajar period, “Khale Suskeh” have Special Position because several times, is illustrated and printed. So that the culture and customs of this period reflects. In previous years, this book forms the image has been published. The story “khale suskeh” (that was read in School Houses for children)“poetry written in the form of a Mathnawi. This book, originally from China to the country that after scribe translated and published. principal structure is the myth of love and kindness. The hero of the story are animals and creature. Framework of the tale of a journey to find a husband And the hero (Khale Suskeh) for the husband to be familiar with different people And finally, the mouse will select as their ideal. After falling his wife in the soup pot, black Khale Suskeh's life, symbolically underscores the depth of their love. This article aims at introduction and study (review) of specification of images of lithographic copy of Khale Suskeh, and with Approach Analytical and descriptive To seek technical and visual attributes and features that will. Recognizing these features comes to the conclusion that version of the illustration and fine calligraphy and images of Persian painting has its roots in the tradition of illustration And enjoying of coherence and better coordination than the similar prototypes. It is probably one of the first common book of children's folk in lithography whose visual aspects have been observed considerably, so that it has inspired other painters in this field. Properties and visual effects in this version, most follow the same structure So that its roots goes back to ancient times, dates. The layout of the book is based on the traditional book layout Iranian And how to use visual elements and Other principles follows of the Foundations of Art courses prior art, such as the use of the line, drawing table, scribe, and the picture and artists With help of folk arts, a new value in the visualization, the story offers. This research is examines the technical characteristics and the book layout and Style features and pictorial principles(Atmosphere, Characterization and image processing) and Aesthetic principles(Lineament, Lighting and Texture, Composition, Unity, Balance, Diversity and Coordination) and Finally to understand the position of the image, other versions Khale Suskeh, has been studied and So that the special Scores is indicated.

Researches explore that the backpacks are the most proper tool for carrying daily school equipment, because it can asymmetrically distribute the load. In the present circumstances, more than 80 percent of primary school students in Iran use backpack to carry their books and other means. School age children are in a critical musculoskeletal developmental stage, so using non-ergonomic backpack will result in serious physical injuries. Carrying heavy backpacks could cause a wide spectrum of pain related musculoskeletal disorders and postural dysfunctions. Weight is a controversial feature in backpack design. Based on investigations, the value of 10% to 15% body weight is a justified weight limit for backpacks. While a statistical assessment in Iran shows 57 percents of students carry backpack with more than 15 percents of their body weight. In spite of the fact that there are many studies about weight limitation and ergonomics features of backpack, just a few studies focused on designing backpack based on ergonomics features. User Centered Design has proven its efficiency to produce high efficient products which have the most adaptation with consumer demands. In this research, based on UCD approach, an initial backpack was designed after the recognition of students’ requirements and wishes, and then a prototype was manufactured. It was tried by considerable number of elementary students from difference point of view such as form, ergonomics and load sense. Standard data acquisition methods were conducted like Post-experience interview, assessing cognitive workload and thinking aloud. Based on the results of evaluations, changes were conducted in the initial backpack and final school backpack was designed. Final concept was named UCD backpack. Results of functional evaluation showed that girls’ satisfaction of backpack dimension were more than boys. So with keeping ergonomics features, the dimension of backpack became larger. Results also revealed the low rate of recognition of backpack’s performance in both girls and boys. So, the backpack must be simpler for use. According to behavior of students the inner shelves were eliminated due to complexity and the largest part of new backpack was placed in near the back with a zipper on top side. Results also showed that children have problems to finding shoulders straps. So shoulders straps of previous location were shifted to middle of the backpack, in front of heaviest and biggest part. UCD backpack is designed in division parts. Division parts are distributed loads better. In addition, they are caused to close the backpack’s center of gravity with the body’s center of gravity. These are important factors in reducing the effective load on shoulders, waist and neck. Results of this study showed that getting information from children with methods such as interviews, questionnaire and poll, have poor compliance with the reality and the results sometimes may mislead designers thus it is advised to use scientific method such as data capture, hidden video recording and psychology. As a conclusion, UCD is very effective approach to designing the user centered design approach is the most effective method to designing products for children.