نشریه پژوهش در هنر و علوم انسانی
پیاپی 7 (دی 1396)

One of the techniques of Orsi is the mirror. The mirror in architecture has been used as a decorative element, due to the reflection of more light and a more pleasant and luminous environment.The artwork mirror creates regular shapes in diverse designs and designs, with small and large mirrors to decorate the interior surfaces of the curtain. The result of this art is a brilliant and brilliant atmosphere that emerges from the sequential reflection of light in mirror parts. The purpose of mirror decorations in Islamic architecture, in addition to beauty, is the induction of concepts such as order and unity, which can be seen in the form of Arabesque archeology. Water and mirror have always been considered a symbol of purity, brightness, truthfulness and admiration for Iranians. Maybe the use of a mirror in the role of one of the decorative arrays on this subject is unrelated. The lack of written and illustrated sources of work on the work of the mirror is imperative, the way in which this art is written should be easily accessible to future visitors. Therefore, the author, by constructing a mirror-like Orsi, is attempting to accurately represent the methods of construction and the techniques employed in this art to give the enthusiasts of this art their experience. The present project is a type of applied research and has been applied in a descriptive-analytical manner.

Modern art considers part of its existence owing to the incompatibility of certain artists with the general process of classical art. In this period of history, some artists have flooded in search of an effective response to the current strained process, and commence on empiricism in sought to explore new recitative ways. Paul Gauguin, The famous French painter by using the theme of the religious works of his former masters, inspire the spirit of primitive life and break the boundary between imagination and reality, considered a huge and influential flow in the context of the early 20th century art. For Gauguin and the rebellious artists of the late nineteenth century, contracts that were regarded as undisputable basis had no constant value, and this issue provides the field of creation of diverse and empirical work. The issue of the present study is that what is visual components of Paul Gauguin's paintings which address the religious subjects, and what achievements have these works brought to the dissenting artists of the early twentieth century? This research that is done by descriptive-analytic method, explains the
most significant achievements of his artistic heritage by studying the content of the works of this artist and its adaptation to the form of work.

This scientifically applied research is a descriptive research which is done with the aim of studying the importance of the sense of touch, nurturing and finding the principle factors in sensorial perception of texture for 4to 6year old children, and reinforcing this sense by
further interaction with texture through composing the touch sense with the other traditional senses. During the evaluation of the scale of touch perception in children, we examined 36 children ( 4to 6years old) in different categories. For each examination, we described the variable factors and then measured the content of the child’s cognition about different textures. Finally, we studied the relationship between the sense of touch and the other senses including sight, hearing, taste and smell. The results showed that the children knew the cold and sticky textures well but the need to reinforce the perception of texture was evident. It is also necessary to increase their perception of cold and lubricious. In the subject of studying the relationship of the perception of traditional senses together, the results showed that there is a relationship between bass sound, happiness and sweet taste, and between soprano sound and hard and rough textures. Also there is a relationship between the emotion of happiness, sweet taste and soft and sticky textures. In this study we did not find any relationship between the smell sense and textures. Finally, the principle of design of a product that can reinforce the traditional senses in children was presented.

Sirjan carpet weaving art which is internationally known, nowadays, suffers from a lack of weavers and intendancy of young girls to this art, and perhaps gives way to industrial carpets, shortly. In this study, which is fundamental in terms of objective and historical and descriptive in terms of the nature; has been tried identify the designs and motifs used in Shyryky Kilim and Afshar carpet and commonality between them by identifying the cultural and historical background of these hand-woven; and introduce for domestic producers and exporters. Identification of designs and motifs were performed through library and field study (visit and interview with weavers and producers). Among the designs of Afshar carpet, it can be mentioned to Sekalle, Musakhani, Toranj, Bandi Shool, Baba beigi and Heshmat; which each of these carpets are woven with numerous motifs .