نشریه هنرهای زیبا - هنرهای تجسمی
سال هجدهم شماره 1 (پیاپی 53، بهار 1392)

In the first half ofthe20 century، when discussions focused on the Modern mind slipping، the mythology was seriously considered more and more. Mythologists and philosophers explain various definitions of myth where the domain of mythology was extended in criticism. As a matter of fact، different functional preferences، that emanating from these trends for art were appeared. Some of the members of «Frankfurt» school –like Theodor Adorno by the critical theory– have the approach of «rationalism» critic that had been emerged on Enlightenment period. On the other hand، Ernst Cassirer attempted to define a self-sufficient and independent position for myth through a «critical philosophy»، like other symbolic forms; language and art. Of course there are many differentiations in thinking of Ernst Cassirer، Walter Benjamin and Theodor Adorno on relationships between myth and art. These separations in theories about mythologies are from many causes. For example، Cassirer، who was from Marburg school، has a neo- Kantianism disposition and he decided to establish another Copernican revolution، while Adorno and Walter Benjamin were in different philosophical tendencies. Marxism was the main question in Frankfort school that was usually discussed between Adorno، Max Hurkhaymer، Benjamin and some other members of Frankfort school. Then dominated other mythologies emphasize in each of thought of these thinkers، and it can be so hard to compare and give an exact conclusion through these varieties. But at least، there are two main similarities to solve these diversities for start a useful research. The issue of this article seems can be justifiable by tow pretext for study: First one is the centralization of our thinkers and their purpose for identity and rein of myth that like an effective power. In the other words despite of their various manners to represent a whole aspect of myth especially in modern period، Cassirer، Adorno and Benjamin، have a synonym definition of myth that was so absolute. Second same source to survey these thinkers together is their similar situation in the world wars. They were influenced of every event that progressively made a specified aim. At finally appears throughout these collations an important confliction in definition of myth and art works. By mythology of Ernest Cassirer، there is no way to prevention of myth procreations، and also he believed that we can just with philosophy aware of its power on human’s mind. Then there is no advice for how making art works and relationships are clear. In the other hand، there is a mistake against myth. Frankfort school members continued their mythologies to making myth level and they inevitably perverse to aesthetic and beginning of art work. Although they have Marxism trends، but there were other interpretation of Marx in Frankfort school that began Adorno and Benjamin debate son myth، art and new art media. In fact، the primary source of Adorno and Benjamin on their discussions was in their different interpretation of Marxism. Identity of myth and art has many consequences that appeared in criticism and POP art.

Swastika designs applied for ornamenting in many different arts before Islamic period. These designs have important role in architecture ornaments at Islamic period. In this paper we study concepts، aesthetic and evolution of these designs in Islamic period architecture ornaments from beginning to end of Zand and Ghajar era. The thoughtful artists of Islamic periods comprehended from the beginning the importance of symbolism and aesthetic of the designs and based on whit usage of these motifs، they changed the designs to one of the main decorative elements of Islamic period. In this regard، the artists applied the decorative designs individually or whit compilation whit others numeral and inscription designs in various backgrounds of art. The other aspect of this paper is to study of beginning root، conditions and emergencies reasons of these designs in different monuments and their composition with other designs from the point of aesthetics. We can see this design in Sepulchral monuments in Islamic period and in its evaluation converted from simple ornamenting design in beginning of Islamic period to a beautiful and symbolic design middle period and in the late converted to decorative design again. Islam architecture has many decorative patterns that used with space coordination and compatible with the type of material in most eras of Islamic architecture. Some of these designs are not limited to a particular period or place runs on certain materials. But this decorative could be seen in many buildings on the Islamic period in different periods and with different materials. Some are important only in terms of aesthetics and in the building has been used as a decorative element; But some of them the in addition beauty have particular concept of religious، philosophical، social and political. The function of these motifs in Islamic art as a symbol or a hidden meaning is evidence from different worlds of Islamic artistes. Islamic Art at using all motifs defines the specific criteria and Muslim artist with a religious view of these concepts، create motifs in Islamic architecture. In this paper، why and how the use and evolution of swastika designs in Islamic architecture has been studied. This motif is one of the beautiful designs used in pre-Islamic and Islamic periods. Study of swastika motifs in architectural decorations showed special relationship between these motifs and Islamic religious shrines and tombs. Application of These motifs in these monument with a significant complexity combined with other geometric designs is seen. We have little information about the application of these motifs in the early Islamic architecture that probably is because of many architectural monuments of this period are not remains of the same basic shape. The quality of swastika motifs، either conceptually or decorative purposes in Seljuk and Safavid periods is better than other periods of Islamic art. It seems that the symbolism aspect of these motifs more important in these periods. It seems that how they combine with other patterns as well as how to use them to decorating the buildings were different than the other courses.

Sasanian dynasty، who governed as the last and the most glorious dynasty before Islam in Iran، has had an important role in enrichment of Sasanian silver works and we owe the majority of silver works to this era. Metalwork is one of the oldest arts inIranian civilization. The prominent metalwork crafts‚ left from different ages‚ acknowledge this fact. The art of this era has displayed the grandees'' life style and their great position. The kings of that era were interested in manifesting their power through making the artists to make the silver works. The designs which were on the plates worked as a kind of advertisement to show their greatness. Hence، the remained silver works of that era is related with the kings'' authority، their palace and hunting. These silver works have a variety of engraving and forms، including plates، bowls، grails، glasses and vases. Most of which، depict hunting scenes، the imperial court، banquet scenes، mythological stories، or animal/plant/human forms، and the majority of them which are left from this period are about Sassanian government''s court. Sassanian artists had to use their whole abilities and arts to display the glory of their king، in the other words، a Sasanian artist must have done his best to display such a splendor and magnificence، otherwise he might not have been be called a good artist. In this study، the researcher wanted to study the silver dishes and examine them from different points of view ‚like composition، design aspects and so on. The researcher has investigated the composition in Sasanian silver works (Research on Hunting Plates)، which lead her to gain new insights and discover that there must have been special rules beyond those patterns. Although such rules have not been told clearly and vividly anywhere، the researcher tried to conclude them from some signs and evidences which are acceptable by previous researchers. The results have revealed that there are the most common symmetrical patters in the composition of hunting plates. The symmetrical patterns which are widespread and are used in geometry، can define the patterns of silver works of Sassanian dynasty. So it was the artists'' responsibility to obey such integrity and at the same time depict the related facts about their king''s authority. This study may display that، although، hunting plates has had so many compositions and were varied in patterns and styles، there are four common patterns which are meaningfully accompanied in manufacturing of plates in the Sassanian palaces. So Sasanian hunting plates are designed in various compositions. In this article the best designs which were mentioned as the most common designs include vertical- horizontal composition، sparse composition، equilateral composition and crisscross composition. These four acceptable principles and patterns were only observed and found in the primary and original crafts which were in the higher level of Sassanian Palaces and Courts. Such principles were found in high level silver works which were special to the palaces'' workshops and were not found in any other low level crafts.

Art، architecture، literature of Iran and of the world is full of creations which serves to respect the nature and its elements with the aid of symbols and signs. Cup marks، Mithraic temples and temples to worship water and fire from the ancient world،recentTashtab and Saqakhaneh all of them are representing the respect to the major elements of nature، especially water. On the other hand، nature and death are linked closely together since both of them promise a renewed life and reproduction in every moment. Among the elements of the nature، water is both the symbol of life and the symbol of death and renewed life، and it is sometimes associated with the eternal life of which the manifestations are myths of water of life and sacred fountains. Also، the ceremonies to respect the dead، strewing water and flower on the tombs، putting various tools in the graves and sacrificing rituals are in the domain of the reality of death and originated in the human’s eagerness for immortality and eternal life. Meanwhile، the presence of the four elements (water، wind، earth and fire) in the area of ​​tombs and mausoleums is also very significant because by the presence of Tashtab and lighting candles on the graves، the four elements of nature find their true and sacred identity in a consistent and symbolic format. Based on this thinking، human''s grave is a sign of life rather than human’s death،and carvings on the graves are according to such thoughts. Tashtab with beautiful carvings and decorations are of other symbolic forms، although they have been carved on the graves and are associated with the concept of death and destruction، but they bear the element of life and are intertwined with the meaning of life and the divine hierarchy. Tashtab as its name indicates، is the place of accumulation of water and of decorative and semantic elements on the graves، which has been carved in the heart of tombstones in various forms with different patterns such as trees، fish and angels. Tashtab is not limited to Iran and the Islamic world، but they benefit from a globally shared thinking and attitude in different civilization، particularly in the Orient،so that regardless on Muslim tombs they are seen in a variety of designs in the cemetery of the Armenians and of the Jews in Isfahan، and even in the Far East. The presence of variety of Tashtab in the cemetery of Takhte Foulad and the Armenians’، which are considered as Iran''s most important shrines، is considerable and appreciable. The continuous relationship and interaction of these two nations from ancient time and the kinship of Monotheistic religions and the unity of human with the nature have resulted in many artistic and cultural commonalities، of which some are presented in the forms of carvings on the tombs and especially in the form of Tashtab. The purpose of this study is to examine the roots of the formation of Tashtab on the tombstones and its relevant meanings in both Iranian and Armenian culture.

Consideration to aesthetic sensation and to complying need for food، the first human had painted caves walls. Painting and interior decorative designs had become one of important part of home’s، although king’s palaces; step by step. Consideration between arts، cultures and customs; interior decorative designs of palaces are too difference. With politic relationship، these differences have been changed. Different architecture styles that were impression of center Europe baroque، France & Germany had pursuit with Russia in 18 & 19centaury; but yet all of them saved Russian native features in art works. All the time a grate empire wants show off the power of government to people. Palace constructing in Qajar era went on zenith by Nasereddinshah. After Nasereddinshah traveled to Europe for first time، Iran had noticed to these countries arts. Russia was one of countries that Iran kings wanted to have politic relationship. Nasereddinshah in 1881 had expanded Niavaran building and named Sahebgharanieh. There are many components in Sahebgharanieh palace such as interior composition، stucco & painting that are comparative with Russian’s architecture interior art designs and may be able to find unities between them. The goal of this research is finding if Russian’s architecture interior decorative arts had similarities and differences with Tehran’s Sahebgharanieh palace in Qajar era. About composition، there are similarities between Sahebgharanieh & Russian palaces. By impression of Achaemenian architecture، entered to Europe bilateral stairway; yet come in interior design of Qajar palaces. Stucco is one of important similar component in Sahebgharanieh decorative arts; especially Russian halls. Motives like coronet in Sahebgharanieh halls are similar to Russian army motives whole of Kremlin grate hall، especially Alexandrov & George halls. Korsikhaneh is one on rooms in Sahebgharanieh palace that the stuccoes are colored. In Russian decorative arts the stuccos had been colored especially with gold. One of the most important things that had influence on painting in Qajar era was portrait. There are many similarities between portrait in Qajar era and Russia. But there are differences between culture، habits & customs. Didn’t evident any mirror mosaic in Russian interior decorative arts; but we can count stone embossed and stone designs in differences and similarities. The motives of mirror mosaic in Sahebgharanieh palace are similar with stuccos motives. We can remember Sahebgharanieh’s grilled windows with the style of Katrina’s windows palace; there is one different that Sahebgharanieh’s windows had formed of many little color glass. In this research have done the descriptive and analytic methods in use assembling information of books، papers، dissertations، documents and field research of Sahebgharanieh palace; anybody didn’t write like this paper. Researches just have mentioned to Sahebgharanieh palace. We knew that Russian interior architecture decorative arts had impression by European countries. We achieved that the Sahebgharanieh palace had reconstruction by architect taste، virtue and inspiration of painting، composition & decorative arts of European & Russian palaces. So couldn’t disregarded the Russian art influence’s ashore European arts in sahebgharanieh palace.

Family photography is a genre of photography which is created in the context of everyday life and includes the photographs that families produce and gather through their lifetime and often keep them in their homes، workplaces and family albums، they documentsome moments in family life. These collections include the photographs which are taken by the professional photographer or by one of the members of the family، a friend or a relative. The photographs which are taken by professional photographers in photo studios، represent a picture of a family based on a pre-exist pattern and they merely show the internal issues of the family life، but the photos which are taken in special family events and in the context of family life، give us more information about the situations and conditions of family life، but all of these photos are supposed to represent a pleased picture of family life and also with materializing to pleasant moments emphasize the importance of that moments، Therefore unpleasant events such as failures and fatalities merely record in the photographs. Emotional value and collective horizon of life experiences are the main features of family photography. Recording and protecting of memories and validation of our social identity are the most important personal functions of family photography. Family photos and albums operate as archives of memories and prompt to recall people، places and events. The makers of family photographs consider photographs as an exact and authenticated representation of what has been existed truly. For them the reality of photographs is one of the reasons of taking pictures. Whereas family photographs present a selective view of life and documentation means to document what people choose to preserve for the future. Despite this، the importance of family photographs is to show the people`s way of thinking and living in the past. The content of family albums and family collections reflects the social and cultural values of the family and the ideology of the family which is revered in the photographs. As it mentionedbefore، family photographs are taken from everyday life، so they involve important social realities. The rules and agreements of the family correspond to the patterns and manners of a community which family is surrounded by. photos assist to memory and give us a powerful sense of re-experiencing and re-living the situations which have been existed through our lives and also they tend to tell stories from the past. Therefor family photographs apart of their role in making our memories، involve social and cultural meanings which can be applicable in other broad areas. Photographs and personal memories of people who live in the certain historical period in the common social and cultural environment، despite their differences، are shared with the collective memories and social history of that society. This inquiry within introducing the family photography and its concepts and features، try to represent a public reading of family photographs and also study the role of photographs and personal memories in genesis of collective and public memories of a society.

Family photography is a genre of photography which is created in the context of everyday life and includes the photographs that families produce and gather through their lifetime and often keep them in their homes، workplaces and family albums، they documentsome moments in family life. These collections include the photographs which are taken by the professional photographer or by one of the members of the family، a friend or a relative. The photographs which are taken by professional photographers in photo studios، represent a picture of a family based on a pre-exist pattern and they merely show the internal issues of the family life، but the photos which are taken in special family events and in the context of family life، give us more information about the situations and conditions of family life، but all of these photos are supposed to represent a pleased picture of family life and also with materializing to pleasant moments emphasize the importance of that moments، Therefore unpleasant events such as failures and fatalities merely record in the photographs. Emotional value and collective horizon of life experiences are the main features of family photography. Recording and protecting of memories and validation of our social identity are the most important personal functions of family photography. Family photos and albums operate as archives of memories and prompt to recall people، places and events. The makers of family photographs consider photographs as an exact and authenticated representation of what has been existed truly. For them the reality of photographs is one of the reasons of taking pictures. Whereas family photographs present a selective view of life and documentation means to document what people choose to preserve for the future. Despite this، the importance of family photographs is to show the people`s way of thinking and living in the past. The content of family albums and family collections reflects the social and cultural values of the family and the ideology of the family which is revered in the photographs. As it mentionedbefore، family photographs are taken from everyday life، so they involve important social realities. The rules and agreements of the family correspond to the patterns and manners of a community which family is surrounded by. photos assist to memory and give us a powerful sense of re-experiencing and re-living the situations which have been existed through our lives and also they tend to tell stories from the past. Therefor family photographs apart of their role in making our memories، involve social and cultural meanings which can be applicable in other broad areas. Photographs and personal memories of people who live in the certain historical period in the common social and cultural environment، despite their differences، are shared with the collective memories and social history of that society. This inquiry within introducing the family photography and its concepts and features، try to represent a public reading of family photographs and also study the role of photographs and personal memories in genesis of collective and public memories of a society.

In the past، medical device design always was performed with medical engineers، technicians and physicians in all design stages and the industrial design role was pale in this field. Today the industrial design responsibilities in designing of these devices are considered increasingly. The industrial design role in medical device design was investigated in two fields. First are aesthetic and its relation with user experience and second are interaction design and its relation with safety. Lack of aesthetical elements in medical devices can cause user to have uncomfortable experiences in sickness periods. Industrial design role becoming stronger by using interaction design trend due to its great influence on increasing the safety and user error decrease، and ignoring this field in medical device design process can cause problem in precise interaction with product. The user error is divided into two major fields: User error from the sight of individual deficiencies and user error from the sight of product design weaknesses. The individual deficiencies are in related with the age، the literacy rate، physical situation and anthropometry and the product design weaknesses are in related with the quality of interaction design in product، the level of used technology in the product، simple gestalt of product، degree of risk، etc. Thus the purpose of this research was investigation of the position of industrial design in medical device design and its authority boundaries. In this research after a brief introduction about the importance of the subject، two definitions about medical devices were described and then specialized responsibilities of industrial design were analyzed، considering the research history. This review was discussed about user experience and user interaction and all related issues were paid in these two key words. The future trends of medical device design were mentioned. there is an explicit trend leads the medical device design to home care medical devices that propels this product to being as much as possible smaller and lighter and being wireless. This trend is shaped due to increase in lifestyle quality especially in elder adults and the increasing need for being cured in their own homes. according to performed analyze on first section، 10 guidelines were presented for using in medical device design process and considering these guidelines a case study were performed about analyzing the design features of a new designed wrist blood pressure monitor and its comparison in some features with an old blood pressure measuring instrument. As a general conclusion of the paper، due to technical and medical complexities in medical device design and lack of industrial design considerations in design and manufacturing process of these types of products، there are deficiencies of aesthetical elements in most cases which it had bad effects on user experience when heshe is sick. These effects will be more when the user interacting in a bad mood because of hisher illness، in an environment that is full of these bad designed products. Increasing of using industrial design profession in medical device design process can improve the mass dominant sense of being far from clinical environments