جستجوی مقالات مرتبط با کلیدواژه « نظریه گشتالت » در نشریات گروه « هنر و معماری »

 The mausoleum of twelve imams of Yazd is a thousand-year-old building with a valuable inscription in decorative Kufic script under the dome, which is very important in terms of visual richness and worthy of study. Gestalt is one of the theories of the visual perception process in psychology, and the principles of this theory can be useful in the recognition of works of art. The most important principles of Gestalt are the principle of similarity, symmetry, proximity, layering, integration, continuity, relationships between form and context, superimposition and common destiny. The inscription should be placed. In this way, the amount of use of these principles in its design will be determined and the quality of the resulting performance will be revealed.This research seeks to answer the question that to what extent and how the principles of similarity, contiguity, symmetry, completion and overlap were used in the design of the inscription of the tomb of the twelve Imams of Yazd, and what is the degree of significance resulting from the use of each of these principles?This research was carried out in a descriptive-analytical way and the data were collected through library studies and field surveys.The results showed that the principles of similarity and overlap are used to a large extent, the principle of proximity and completion to a large extent, and the principle of symmetry to a moderate extent are used in this inscription. The result of the application of these principles is the realization of propaganda to a large extent, and as a result, the better organization of the components, the easier reception of the work and the active communication of the audience with the inscription.Key words: Tomb of twelve Imams of Yazd, inscription, visual perception, Gestalt theory, pregnancy.

The design of the user interface of the website does not have a registered and specific standard, but it has an order and a method that arose from the experiences gained since the creation of the websites until today, and in a way it has become a standard and model. Optimum experiences by combining technology with psychological and aesthetic approaches. Considering that there has been no research in this field in the past, this article tries to discover an effective model and method for designing the user interface of art websites, especially the websites of graphic designers. It also tries to design the user interface of the website in order to study and understand Gestalt theory. Although the main purpose of this research is not to teach the construction and operation of the website and the design and implementation of the user interface, and these trainings can be obtained through various classes and textbooks, but an attempt has been made to discover a suitable site. a practical model for improving and optimizing the user interface of graphic designer websites. A pattern that can create the most positive impact in the mind of the audience by following it and also has the most harmony with the artistic style of the graphic designer of the website owner. In order to better understand the concept and purpose of this research, it has been tried to fully and comprehensively explain the things that are needed to create and launch a website and can be used in the analysis and review of the website and user interface. Obviously, in this research, the factors that are related to graphic art in the process of creating a website and have a role in creating the user interface of the website have been further analyzed and investigated. Browsing and searching in different sources in the field of the subject of study shows that in Iran, no research has been done in the field of analyzing and reviewing the design of the user interface of graphic designer websites. Communication with features and principles of user interface design for online stores, news and entertainment websites and government bodies with a general audience or comparing the characteristics of visual elements and user interface in order to attract the audience, between two or more websites. There are many theories from the past to the present that can be used to optimize the user interface design of a website or any other application. But in this research, with emphasis on Gestalt theory, the factors affecting the optimization of user interface design have been analyzed and investigated. Obviously, for a better understanding, one must first understand Gestalt theory. In the same way, the effective factors in the success of a website centered on art and graphic design have been investigated, which are optimized based on Gestalt theory. Nowadays, due to the advancement of technology and the digital world, people's connection with the Internet, especially websites, has increased. There are few people who do not turn to the Internet to watch movies, listen to new music or even read and act in traditional ways. All these facilities can be used with minimal cost and time loss. But it should be noted that the use of websites is not limited to these few cases and it can be safely said that the infinite use of websites is beyond the study scope of this research. Based on the Gestalt theory and its rules, to design a good user interface, users and their personality traits should be identified as much as possible. It is possible to take advantage of the smallest features and characteristics that a user can have to design a user interface. The components that can be examined are: place of residence, average age of the clients, occupation and profession, taste, lifestyle, recreation and leisure time, nutrition and all the characteristics that a person can have.

The purpose of this research is to investigate a method for designing and optimizing a suitable user interface with the influence of Gestalt theory. In the same way, the effective factors in the success of a website based on graphic design that is optimized based on Gestalt theory have been investigated.

Research Hypothesis:

 It is an attempt to find a way and a method to improve the user interface of websites, especially the user interface of graphic designer websites, by studying and following Gestalt theory.

In this research, information processing has been analyzed analytically and also by studying and understanding Gestalt theory. This research is descriptive and analytical and the method of collecting information is sampling from articles, books and encyclopedias.

Graphic designer websites like art galleries help to introduce and understand the artistic style of the artist to the audience. It is better that the user interface of the graphic designer's website is designed by the artist himself and created and implemented in cooperation with the web development specialist. In building a website, the first step should be to pay special attention to the ease of use of the website and its content, and then combine it with psychological and aesthetic approaches so that the result is as simple as possible with attractiveness and a positive mind. Website Effectiveness Also, websites should be updated constantly to provide better services and optimization.

Every art-work has a different perceptual aspect that is related to some issues such as aesthetic perception and knowledge of users. The important point is how users get that and the difference between architectural perception and users that is a controversial issue in modern architecture and cause disagreement between users and designers. According to the importance of vernacular architecture and the need to adapt to its pattern with modern architecture, this paper aimed to evaluate principles of visual Gestalt and aesthetics between users and designers (non-experts and experts1) in the traditional live district in Dezful city in Iran. The methodology of this research is combined with descriptive-surveying methods and field and library studies. So, a semi-structural interview by using a targeted questionnaire was distributed to the experts and non-experts to quantify the differences, and by describing and analyzing these data by SPSS statistical software, the root of the differences between these groups was identified. Due to the analysis of the data, besides searching, studying, and being in that district, two types of questionnaires between users and designers have been used. The result of this study shows that in the ancient city of Dezful, the opinions of experts and users also differ in terms of aesthetic perception so that for users, shape, and context, and experts, symmetry is the first principle. So unexpectedly, it can be argued that sensible visual Gestalt principles, such as symmetry and closure for experts, are of the highest importance, while these principles are of less importance to the user group. The findings of this study made it possible to compare the views and opinions of people and experts. It makes clear the difference between the perception criteria of those who create the landscape and the people who are confronted with and live in the environment.

The Miraj (Night journey) of the Prophet of Islam (PBUH) is one of the subjects depicted by various painters in various historical-cultural periods, and it can be said that the most popular religious themes in the field of Islamic painting are always appropriate contexts for creativity and innovation of painters. The present study was conducted using descriptive-analytical method and qualitative approach, and studied the story of the Miraj of the Prophet from Khamseh Shah Tahmasebi, the artwork of Sultan Mohammad, based on the principles of visual perception of Gestalt. Research data is also collected using library methods. What is important in Gestalt's visual principles is to understand the perception of communication that results in a meaningful combination. Accordingly, the purpose of this study was to explore the effect of Gestalt visual perceptual rules on painting in order to identify its capabilities in creating useful communication. Miraj, as one of the topics that has a special place in Islamic culture, has been repeatedly portrayed by various painters, among which the work of Sultan Mohammad has been very popular. On the other hand, Gestalt theory of visual perception is a means to understand the perception of communication that results in a meaningful combination. Therefore, the main purpose of choosing this theory is to discover the extent and quality of influence that the principles of the Gestalt theory of visual perception have on the mentioned image to identify its potentials to result in a functional and successful communication. In fact, we can say that the present research seeks to read the pictures based on the same principles and tries to reconcile the scientific and credible theory with the brilliant example of Khamseh Shah Tahmasebi, and to explore the effect of these principles on painting. After description and visual analysis of the image and the classification of the elements in the image as the mind of the viewer demands, the existence, absence, and magnitude of the pragnanz of the seven principles of Gestalt's visual perception in painting are examined. Each item is explored individually in a graphic manner and visualized. In general, this research attempts to answer the following questions: Which of the principles of Gestalt's visual perception can be verified in Miraj of Sultan Mohammad? What is the pragnanz of each of these principles? Gestalt theory was first developed in the early twentieth century in the field of psychology and in reaction to the theory of structuralism. Some researchers believed that in perception and behavior; organized whole; these components are prior to others. Gestalt’s principles show their key role when visual information grows; because the human mind is interested in categorizing. The classification of visual elements is an activity that the human mind performs subconsciously from childhood. This feature is also widely used in the training process. Art theorists expanded and expanded the principles of Gestalt, and most notably in the analysis of works of art: The principle of similarity, the principle of proximity, the principle of continuity, the principle of integration or completion, the relations of form and background, the principle of the common destiny and the principle of superficiality. All these principles are under the influence of the principle of pragnanz, which forms the core of the Gestalt conceptual theory. Pragnanz or perfectionism is our perception of a good and strong Gestalt or representation, so that under conditions of domination, it is effectively distinguished from existing and weaker Gestalt or existing representations. According to what has been studied, it can be said that the principles of the Gestalt theory of visual perception play a very significant role in improving the process of reading the work of art. Reading this image, based on one of the most scientific and most systematic principles of visual perception and methodology of art, shows that the eyes and mind of the audience to understand the complexity and components and elements of a dense and tremendous effect use the seven principles of Gestalt, the organization and classification of the best, which will lead to an easier and more accurately understood communication. The result of analyzing the principles of Gestalt on the overall image of the Miraj showed that the effectiveness of each of the laws was not the same and left different Pragnanz, hence the emphasis on a single criterion alone is not a valid criterion. Therefore, in the present painting, the principle of similarity, Gestalt of the dimensions and similarity of the shape, the principle of proximity of the edge and the proximity of contact, the principle of continuity and the principle of completeness and integrity of the strong pragnanz are and can be appraised. Also, the principle of adjacency can be overlapping with the adjacency of integration, except in weak pragnanz.

The school of Gestalt psychology is among the most important schools of psychology in the early decades of Twentieth century that due to territory development and its relation with The process of visual perception, art field has profited from its effects. The followers of this school believe conceptual forces in visual field, harmonize themselves with the simplest possible pattern and in visual perception, total, will find different essence with role of composing elements and parts of it. In this research done with the method of descriptive-analytical and its information has been collected on the basis of library research, has been chosen one painting from Tahmasp shahnama, proportional to the subject in this research, and its figures has been studied based on Gestalt theory. This paper that done with the aim of familiarity with applied aspects of Gestalt theory in art and especially its explanation in persian painting, answered to the question that organizing of the figures according to above theory in mentioned painting, what features have, visually. The result of this research shows kind of location and figures organizing in mentioned painting, is appreciable according to four cases of Gestalt laws covering law of similarity, law of proximity, law of continuity and law of closure that with the implementation of the Principles, will form the process of visual perception.

Immanuel Kant, the 18th-century philosopher whose works was initiated major changes in the field of epistemology, as many Enlightenment thinkers hold our mental faculty of reason in high esteem. In his works on aesthetics, he argued that our faculty of judgment enables us to have experience of beauty as part of an ordered world with purpose.
His main ideas partly based on Baumgarten, who invented the modern use of the term aesthetics in the middle of 18th century. However, unlike Baumgarten beauty had more to do with rational ideas such as order and harmony for him. He holds aesthetic experience in relation to determinate judgments. He discusses particular unique features of aesthetic judgments (four moments) according to his main divisions of the categories. In the fourth moment, Kant was attempting to show that aesthetic judgments must be according to the principle. Everyone must assent to his judgment because it follows from this principle. This point and his emphasis on universality of aesthetic judgement in the second moment had been used by next generation of thinkers as a way of finding the basic principles of understanding beauty through rigid universal principles. Especially the Gestalt theorists, who was discovered the perception principles have been used in many early modern art movements as the universal way of obtaining beauty to any Good eye beholder in any art experience and they believed that it could be used as a secure way of teaching artists.
Therefore, this article, instead of the previous ones that had been focused on Kant's aesthetics in the relationship with his ethical or metaphysical philosophy, was tried to investigate the connection between Kant’s epistemology and the Modern Art theoretical basis. Research tries to indicate the Gestalt psychology as the medium of his epistemology and the Modern Art schools curriculum and the principles of the modern visual Art. His arguments in the Critique of Judgment have been used as a bridge between Art and the Kant’s theory of knowledge concepts like priori principles as the main reason of human's similar perception and the role of imagination in his transcendental synthesis. Then the Gestalt psychology was investigated to reveal its link with Kant’s philosophy and the educational system of Modern Art schools like Bauhaus and analytical theories of Rudolf Arnheim and György Kepes.
Results show that the modern aesthetics based on the priori principles in Kant’s epistemology as the standpoint of human communication and the creator of mind steady principles of visual understanding are similar with the central concept of Kant's judgment of beauty. In what he called the free play between the cognitive powers of imagination and understanding. Whereas judgments of free beauty are made without having one determinate concept for the object being judged but a judgment of beauty is adherent if we do have such a determined concept in mind. These determined concepts must be based on the universal principles everyone can be understood, as some modern artists believe in it.

Gestalt theory is one of the significant theories in 20th century that has been entered in the field of art and architecture. since in this theory a different kind of emphasis has been noted regarding the notion of perception, there are many papers that has been studied this system of perception and its functions in designing; But most of these papers are about the theoretical aspects of Gestalt theory and the presence of this theory in Iranian garden’s design has not been studied. So the question left here is that can we analyze the historical gardens with this theory? For finding the answer, first we studied the Gestalt theory and its connection with concepts of landscape architecture and then we examined its capacities for analyzing Iranian garden. The main questions of the presented research involve with concepts of Gestalt theory and its extracted criteria for analyzing historical Iranian gardens. To answer the proposed questions theoretically, the research methodologies of logical reasoning and case study has been used and at the end the related concepts of the theory to the plan of some historical gardens from different eras has been studied in order to present the extent of the application of this theory in Iranian gardens. The findings of this research show that although many years have been passed from the emergence of this theory, it is always applicable and can be well used in field of landscape architecture. With the help of Gestalt theory, hidden aspects of Iranian landscape architecture can be recognized.