نشریه هنرهای زیبا - هنرهای تجسمی
سال نوزدهم شماره 1 (پیاپی 57، بهار 1393)

The structural analysis of art criticism is the aim of this paper. The art criticism is a text، which is constitued of two elements: description and interpretation. The description is a foundemental part of art criticism، which translates the visuals signs into verbal signs. Without a precise visual description، it is impossible to interpret the work of art genuinely. My hypothesis is that a percise visual description is the basis for an authentic critical interpretation. Historicly، the description was the first step in the art criticism، incarnatetd in the «ekphrasis». I will show that the identity of a work of art is determined by the descriptions and interpretations، which are formed during its existence. I also show that the major art critiques formulate their criticisms in a four-part structure having description، visual analysis، clarification and explication as their foundamental elements. Interpretation is the fundamental part of all art criticism. Without interpretation، the meaning and the signification of artwork would be inaccessible to spectators. However، interpretation is not limitless. Through the interpretation، a work of art could be explacated but it is impossible to «translate» it into a text in order to clarifie all its ambiguous aspects. Morever، the interpretation is personal whereas the criticism must be subjective، i. e. universal. The interpreter can re appropriate the work in his social، historical and political situation. In other words، interpretation is open to the situation of interpret. In fact، the decription must be objective as much as possible. However، the interpretation is in itself subjectiv. The task of finding an equilibrium point betweent the objectivity of description and the subjectivity of interpretation would be achived in the art criticism. To achieve a relevant interpretation we need to consider the work of art in a special manner which is named since Kant «disinterestedness» i. e. contempaltion far from any interest. Thus an art critique is an evaluation of a work of art. While it is true that artistic taste is relative، there are certain characteristics of artwork that can be assessed as a means of measuring the artist’s success at conveying the intended message or meaning of the work in question. Art criticism is considered by some to be an art within itself، but، although each art critique may approach a work of art uniquely، there is a defined protocol for the discipline of analyzing a work of art. Briefly، the description of what we see is the objective portion of the art critique. It involves a technical description-nothing more. Next، analyzing the artwork: evolve the art criticism from a technical description to an in-depth examination of how the technical elements were utilized by the artist to create the overall impression conveyed by the artwork. Finally، the interpretation of the artwork. This part of an art critique is more subjective than the others; it is expected to use the analysis of the technical aspects of the piece of art to apply all supposition to the artist''s intended purpose for the artwork.

“Wisdom of Islamic art” is relatively a full of application، prevalent and concurrently ambiguous combination، that، despite the studies conducted on it، still no clear meaning of it is at hand. Due to the existence of this confusion in the meaning، sometimes the wisdom of Islamic art، despite the distinction that exists، is considered equal to “Philosophy of Islamic art.” As the application of these two combinations in place of each other، may be the origin of abundant mistakes in researches related to Islamic art area، clarifying the meaning of two mentioned combinations and expressing their relation to each other is of high significance. It is sought in this article that has been prepared in library and analytical form، the relation of two combinations of “wisdom of Islamic art” and “philosophy of Islamic art” be cleared and clarified up to some extent by analyzing and studying the meaning of wisdom as most confusing part of mentioned combination and expressing its relation with philosophy. It should be considered each art work which is based on Islamic fundamentals and is representative of the Islamic spirit، Emerged in the past or present، is Islamic art. It means what distinguishes Islamic art and others is just he principles of Islam. Wisdom is an inductive term that has been discussed many times in the verses of holy Quran and religious narratives. Because of the significant place of this term in Islamic cultures the cognition of actual meaning of it as well as specifying the limits and distinction among them، versus other cultures is of significance. Placing the word of wisdom in the beginning of Islamic arts combination، provides a novel combination that a number of researchers of art and philosophy area have written some topics on It. The philosophy contrary to the wisdom has human origin and innovated by human mind. Despite the considerable antiquity of philosophy، its combination is newly born where the disputes exist on its manner and essence. In general، when the philosophy of Islamic art is discussed، it means، the dispersed references that exist among the perspectives of Islamic philosophers in the area of art. Based on the researches carried out in the way of compilation of this article، the wisdom is a vaster and deeper concept of philosophy and superior to philosophy in terms of origin and certainty as compared with philosophy. Philosophy is the outcome of defective intellect of human being hence it is limited and mistakable. In addition to that، the wisdom has a deep connection with Islamic art whether in birth phase or during cognition stage which the philosophy lacks of. The wisdom has three ranks that could be the creator or producer of Islamic art. In general، it seems that the philosophy of Islamic art despite the similarity، is different from that of Islamic art’s wisdom from different dimensions، and cannot be parallel to the wisdom of Islamic art، whether in terms of origin and source of Islamic art or as the reference of its recognition.

The role of visual media and audience is one of major issues in the contemporary world. One of the most important approaches by which this can be achieved، the defamiliarization. Methods used in this approach disturbing visual habits and visual perception in the audience to make sense of wonder and amazement، and he is eager to see. This category of functional concepts is one of the artistic and literary theory. So research about this category can be creation and development of new concepts in visual communications. Defamiliarization undoubtedly owes to Victor Shklovsky، Roman Yakubson، Yury Tytanov and Zakaria Ghazvini. Beyond their opinions advertising illustration discovered another word as the most prominent evolution of new graphic design. Visual communication as the base of new advertising illustration had offered appropriate solution for collecting these rules to graphic designers wich necessity of attention to is irrefutable. This article tries to offer by the use of four of most dominant theorists (Victor Shklovsky، Roman Yakubson، Yury Tytanov and Zakaria Ghazvini) analytical theories. Visual communication from the first days of creation had only important communicative duty and it was communication with audiences. Graphic designers from the first time could have done this duty very well. They gave meaning to the visual language and basic values of visual communication and its acting style by effective usage of advertising illustration and improved this field of graphic design and its different aspects and defined it among global audience that each of theme belong to a different and researches، wich are related to Defamiliarization effective and aim full historical activity of these artists. This article explains the Defamiliarization concept among the contemporary advertising illustrations and the causes of its successful position. This article is a case study on the introduction defamiliarization and its role in the advertising illistration. The assumption is that the strategies of defamiliarization a scholarly look at the advertising illustration and through visual communication in the present world language. The article includes two chapter. The first of this article on the strength of different scientists، ideas، studies about the defamiliarization and the audience. In the second chapter different methods of defamilarization are all offered. In the chapter of conclusion by totaling all approaches، we prove that defamilarization is quite successful in advertising illustration، because the research findings reveal that the concept of defamilarization. The main issue in the present paper، relying on basic principles and knowledge visual communication، is، making advertising illustrations. Based on studies in this articlewhich has done in descriptive method، there are several kinds of defamilarization in advertising illustration which after surveying put in categories in this essay. The results of this research has shown the influence of defamilarization in advertising illustration and also has made a codified from in different kinds of defamilarization in advertising illustration which can underlie the new horizons in advertising illustration. Defamilarization can be reached the pattern language in visual communication and advertising illustrators could use this language.

Shigeo Fokuada is one of the geniuses of contemporary graphic designers of Japan. He was born in Tokyo in 1932. After finishing his studies in national university of fine arts & music (1956)، he worked in many fields of professional graphic design and his poster designs gained world reputation. He as a representative of avant-garde graphic design، with increasing international attendance of Japan from the 1960s، presented his works in many solo and group exhibitions all over the world. He was a member of AGI and from the late 1980s taught at Yale Newhaven as a guest professor. Fukuda’s fame is in his kind of thinking and different view. He as a great designer saw the world in a different way and manifested it in his works. In designing posters، for conveying ideas and his reception to the audience he have used many different methods، but one of them that is his special and distinguishes him from other designers is using of visual error. He deceives the vision ability of the audience with this method. In examination of some of his posters we will understand that the artist for the purpose of increasing the effect of his works on his audiences، has combined visual elements in such a way that to have complicated، unreal and unimaginable relations and engage mind of the audiences. Some of his posters have designed on the basis of visual error techniques. The technique of negative and positive spaces is the most important way for him to create visual error in the works; he does so through relations between image and context. Negative and positive spaces have harmonized relation، and changeably complete each other. Focuda as a designer always takes context into consideration، he consciously draws a design that its negative image has importance، and these two images (negative & positive) are inseparable. This artist in using equivocal images and textures، interference of image and context has considered this important issue. This article with comparative-analytic method’ principals considers the artist’s posters and propose this hypothesis that Fokuda with the aid of various visual error techniques (equivocal images and textures، equivocal 3D images، impossible images، interference of shape and context and mixed images) has created ambiguous and wandering images. In proving this hypothesis، at first، geometrical and visual errors are explained and then various visual errors will be introduced and compared with fokuda’s posters. In this comparison there are some similarities between techniques of visual error and some of Fokuda’s works، and he has been able to use this visual trick in various ways in his works.

A Title، in conveying the meaning of the entitled photo، can act from being a designator to an element which changes the meaning and its message is perceived in different levels of obtaining the photo’s final meaning. Therefore، ignoring its role in interpreting the content of work is the same as eliminating a part of photo. various studies have been done centering titling issue، but there hasn''t been any cohesive research in this field in Iran. This research for the first time in Iran and with the purpose of creating sensitivity in titling and its reading، examines the role and the place of title in conveying the photographic meaning and elucidate the validity of former definitions of title، to photos. Since any communicative act requires conveying of the meaning، when we speak of the expressive function of a photo، in fact we refer to transmission of the message by the photo. For acquiring an understanding of this function and the probable position of title in it، this research first examines our communicative background with image and text as representatives of photo and title and presents the discussions related to semiology. That’s because by combining the definition and generalizing them to photography arena، a practical and proved framework for knowing different kinds of titles can be obtained. For making this framework tangible، this research by studying the available statistical samples، categorizes the titles of the photos in galleries of Iran. In this research it has been concluded that not only title plays a role in expressive function of a photo as the photo، but introduces itself as an essential interpretive and communicative component in the expressive functions of a photo. Besides، a title is a designative name which discerns the work form the other works. Assigned by the artist and contributing to the final reading of work’s meaning، it does the designative task not by being unique in the art world، but by differentiating in the meaning which it creates in relation to the work. The researcher، reached to the final meaning of the photo in her statistical survey in terms of the referential function of message. Since this function consists of the messages of photo and title، reaching to the final meaning is in fact reaching to the sole meaning of the relation between the implicit and the explicit message of the photo. This means that through reading and defining the message of the title، in relation to the message of gallery photos and by utilizing this flowing mode between the two message and different categorizing for the given titles، the researcher divides titles to two category of expressive and signifier. The method of the present study is a combination of the descriptive and analytical methods. It is Descriptive because the theoretical basis of the research is established through discovering and expressing the relations of text and image and in a more careful look to the title and photo and presenting the viewpoint of different people. Wherever this basis is used in reading the titles of photos in galleries، the study takes an analytical frame.

Video embossed tiles، the tiles are fairly large group makes up period، the number of these tiles at Golestan Palace Museum''s main hall is used. The study of these works، illuminating many issues and matters relating to art is in period. The phenomenon is illustrated in Qajar embossed tiles، cultural factors، social and arts related courses. In this Article، the influence of culture and Hnrghrb Qajar art، the trend of realism in art and photographic print two phenomena emerged as important factors in the phenomenon of interest is illustrated in tiles. Tiles embossed image of the Golestan Palace Museum in the different groups with common themes such stories Ferdowsi، Nezami and Jami military، religious designs، hunting scenes، festive events، scenes of daily life، images of European and…The forms are painted. This Article reviews the risk factors and effective of Illustrations on the tiles،Based on what themes they used in their category introduced. Compilation and images، method of field and library And writing descriptive and analytical approach taken. In this study، we identify the image tiles embossed palace''s main hall Contrary to earlier traditions، pragmatic approach and the nature of the issue fee and is known as the embossed tiles Background factors and the incidence and prevalence of this phenomenon is also given. Embossed tile painting palace، the techniques used and issues، no restrictions are not accepted And in this parliament to mimic the way illustrators version of lithography، were busy، Sometimes even a piece of royal portraits of the album came out and was emulated by artists tiles. Probably tile contractors tile samples instead of key buildings left in Qajar periods before، during and experiences have influenced NasseriAlso from the production of such tiles have been such a mountain. For this reason، the methods of execution antechamber Hall of tiles designs، lots of tile، round frame work and body shape tiles The greatest diversity of themes and motifs in comparison with other parts of the Golestan Palace tiled، shall have. In general it can be stated that the subjects used in the tiles embossed including themes such as the stories of Shahnameh palace، military Khamse cup، religious motifs، images of historical kings of Persia، hunting scenes، festive celebrations، scenes of daily life، people، pictures of Europe and…Form different shapes with eight rectangular and square tiles are painted. Also according to the survey research and field study sample can be stated that the prominence of the Golestan Palace tiles themes، from the themes of this Ferdowsi''s Shahnameh and the story of images literary topics kings lyrical compared to the other topics of most interest was drawing and painting tiles. This historic area is related to the period of Nasseral-Din Shah and Muzaffaral-Din Shah، and total number of tiles embossed palace main hall is 765 pcs tiles. This Article reviews the risk factors and effective of Illustrations on the tiles،Based on what themes they used in their category introduced. Compilation and images، method of field and library And writing descriptive and analytical approach taken.

In the wake of Renaissance، not only then art and literature pieces but the resulting diverse expressions well reflected the turning revolts in science، philosophy، and politics، and their association which is tremendously clear even among a single artist’s works، e. g. Donatello’s sculptures، transparently echoing challenges between old traditions and then new reformations vastly influenced by the zeitgeist. Naturalistic theme toward physical human body based on early anatomical studies – rooted in then increasing rebellion against Roman Catholic Church’s theological teachings- enormous enthusiasm for being inspired by ancient Roman and Greek artworks in the wake of Humanism movement، finally Donatello’s indigenous genuineness، talent and introverted personality are among artistic features and versatile expression patterns of his sculptures. Donatello (Donato di Niccolo di Betto Bardi) was a 15th century early Renaissance Italian sculptor from Florence and the creator of first architecture-independent nude sculptures. During the career life، the forms، techniques and raw material steadily evolved in his artworks. While the primary pieces e. g. “the marble statue of David” and/ or “St. George Tabernacle” prove the Donatello’s special interest in Gothic mannerism، the sculptor explicitly resorted to realism as well as classicism in his later works such “St. Mark” and Donatello’s set of Prophets’ sculptures، particularly Habacuc and/ or Jeremiah which perfectly represented in Equestrian statue of Gattamelata afterward. Like certain primary works such as the prophets’ statues، the sculptor’s last pieces are، however، further emotionally expressive most likely due to the artist’s personality and believes. Alternatively، grounds of the transition of Donatello’s artworks lie in the most profounding renaissance developments of hot debate between theological ideas and secular theories as well as political confrontations among then autocratic powers represented as so called states. While early created “Bronze David” reflects the proudly self-aware zeitgeist which just comes to know its own potentials and looks to grasp a far wider range of choices and options، inquietude and discomfort due to then social values and norms challenges and gradual transformation are echoed by his late sculptures particularly “Penitent Magdalene“. Aside from Donatello’s talent and ingenuity، this particular type of artistic evolution is rooted in apparently contradictory presence of traditional and subversive social elements in renaissance era of which Petrarch provides a good instance where his thoughts and life drawn upon multiple seemingly inconsistent theories from monasticism and hermitage way of life to his poetic approach to romance and his attachment to fame. Present research reviews Renaissance artistic features and has a more detailed look at certain sculptures by Donatello to illuminate probable backgrounds of expressive variety of his works and further focuses on revealing Donatello’s expressive versatility، the methodological diversity among his artworks and shedding light into probable rationales of the observed variety based on the reviews of early Renaissance artistic features and a more detailed look at certain of sculptures by Donatello. The article moves on to addresses the debate over whether or not latest Donatello’s artworks favored the emergence of mannerism movement and conclusively disproves the hypothesis due to distinguished historical contexts of early and late Renaissance styles، and mannerism.

Childhood is a critical era of life which has the ability to significantly improve the behavioral، educational and social aspects of individuals. Identification of suitable environment of growing up along with a real insight into child''s needs، help researchers and designers to gradually step towards improving the personal and behavioral characteristics of the next generation. Seemingly the social environments play fundamental role in effectiveness of interactions of children with each other and the surrounding environments. The parks and children’s playgrounds are the most especial environments which have the ability to develop the children’s social behavior and their relationships with others. This paper aims to target the children’s behavior by means of designing a set of furniture for playgrounds. The selected approach is behavioral design in tandem with user centered design (UCD). Previous approaches while fruitful have focused partially on user’s behavior - especially children- and at the expense of an overall understanding. Yet this paper is to isolate recurring user’s behaviors such as supportive ones، desired ones، and unwanted ones and note their frequency in a certain period of time within the specific context of children’s playground. In order to influence user behavior، both product design and system design offer potential ways of improving performance and reducing user error. User behavior can be guided through design. It is not only important to focus on the user needs and characteristics، but also it is equally critical to focus on how products influence people. Interaction design talks about influencing user behavior. On the other hand، user-centered design tries to incorporate the user''s perspective into the design process in order to achieve a usable product. There are five essential steps defined for UCD; planning the user-centered design process، understanding the context of use، specification of user requirements، production of prototypes، and carrying out user-based assessments. This paper is based on a comprehensive study about the behavioral design which later faces up to user centered design methodology in the author''s master''s thesis. The study was to identify and define the user''s requirements، context of use، and design commitments. Afterwards the phase of designing the product started and the output got evaluated by the experts. According to the results of their evaluation، the weaknesses of the product were eliminated and the resulting output got evaluated again by the experts of Tehran beautification organization. This paper mainly tries to achieve the concept of affecting user’s behavior by means of persuading، enabling and encouraging people. At the first stage different strategies persuade people to perform special behaviors. Then، at the second stage they should become enabled enough to perform the intended behavior. Finally، at the third stage، people get encouraged to do the intended behavior repeatedly. The article is pursued by evaluations which support the concept of affecting the user behavior by means of the proposed behavioral model. Besides، some practical strategies are proposed on the final part to facilitate considering user behavior through the design process.