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سال پنجم شماره 10 (پاییز و زمستان 1387)

There has been several different scientific discussions about mutual interrelationships between human Mind and The Language he is using as Mother Tongue. But what is recently on the top of the discourses in this field refers to the relationship between Man and his Environment through language. In this article we will focus on the Iranian style built environment and it`s relations with the Persian language. We will try to show that when a Persian language speaker uses his language to discuss the environment actually the language affects his environmental perception as well as his cognition. So any environmental evaluation also will be derived from the structure and the meaning which hidden in the particular language. Therefore if we want to achieve original principles and criteria of Iranian style built form and built environment there is no way but refer to the official an non-official Persian language. This is the theory this article is trying to introduce.

One of the most contentious issues in aesthetics is whether there is any place for ‘truth’ in art or not; an ancient subject which still arises various debates between contemporary philosophers. The notion of St. Augustine, a late Ancient and early Middle-Ages philosopher, about representational art works is remarkable. Since painting and sculpture are mimetic in their nature and consequently contain less numerical order and unity, Augustine gives the lowest ratio to them among others. In addition, he believes that representational art works involve in inevitable falsehoods. In fact ‘false’ is such indispensable issue to art works that without it, there would not be true art works. Failure to reconcile one to the falsehood of an art work amounts to a failure to reconcile to art in general. In this paper, it will be tried to show that Augustine’s theory of “the dialectic nature of artworks” is a remarkable step in history of the modern theory of autonomy of art. Moreover, though Augustine’s theory of beauty and art is specially religious and spiritual, his theory of the dialectic nature of artworks could be seen as the base of a secular interpretation. On the other hand, he gives an emphasis on presentation in art which could be one of the conditions of existence of artworks.

The problems of rapid civilizations, ignorance of urban open spaces & urban sprawls especially in Europe and North American cities, cause the new approach "Landscape Urbanism" in recent decades. Besides, interaction and overlaps between landscape architecture and urban design and ignorance of them to the landscape and open space as a main infrastructure of the city has been increased the need for this approach. In the traditional approaches, architecture always considered as a main element of city building. However, with the growing importance of landscape urbanism, this emphasize as been changed. The main goal of this article is to understand landscape urbanism as a new approach emergent according to the interaction of landscape architecture and urban design. The result of this article shows that landscape urbanism as a new trend owns its fundamentals and goals from landscape architecture and urban design. This approach has an interdisciplinary nature. In this trend, landscape and open space as main elements of the city building are the core emphasizes. The survey of academic conditions shows that a few universities establish independent educational programs of landscape urbanism. Teaching the courses of this discipline is done in the middle of the related programs syllabuses.

Animation has passed critical changes and evolutions since 1980s. With the introduction of computer into this field, art and industry of animation have evolved in this era; as a result, it may be mandatory to add a new page to the animation history for this period. These years have been an important and effectual age to the animation. Alternations in management of companies, retirement of old groups and entrance of new generation altogether led to crucial changes in the course of animation production. In this period, the world gradually became aware of new possibilities of animation art and the abilities it could have with assistance of digital technology, and expanded it. Hence, today we can assume few features, short and experimental animations are found with no use of computer technology –at least in one of their production procedure stages. This paper generally describes three issues. First, genesis of computer animation and its introduction to the animation world till its dominance are discussed. Then, leading companies in the world animation industry and their productions are defined. In this part, productions of Walt Disney, Pixar, DreamWorks, Aardman and Ghibli studios after 1980 are named. Finally, animation production in Europe is briefly explained and top, effective independent animators in the field of this art will be introduced.

A huge rock cut panel like that with the inscription of Darius the Great at the Bisotun mountain of Kermanshah is named as Farhad Tarash. By the mid of 20th century some orientlists such as Jackson, Thompson, Erdmann and Hertzfeld introduced Farhad Tarash as an incomplete monumental rock relief dated back to the Achaemenid imperia. In the 1960s H. Luschay and W. Kleiss excavated the village of Bisotun, next to Farhad Tarash, and recovered some architectural remains. The German expedition to Bisotun realized such ancient remains as a Sassanid palace, but they could not explain any connectivity between Farhad Tarash and those architectural relics. According to W. Salzman the panel of Farhad Tarash is the incomplete Sassanid project of a rock cut Iwan like Taq-i- Bostan in Kermanshah. By this paper, based upon the results of expedition of the Tehran University to Bisotun in summer 2002, Farhad Tarash is dated to the Sassanid relics in both Kermanshah and Kangavar. The paper explains how the incomplete bas- relief of Farhad Tarash is related to the ancient architectural remain found from the village of Bisotun whose its function is proposed a hunting garden or Daskereh in accordance with classic Persian texts. In consequence Farhad Tarash is established as a sample of Sassanid art of gardening- landscape architecture by the authors.

The basis of criticism in the arts with any reading is attributed to the from of the artwork. Form is the principal and basis which gives birth to an artwork and reveals it.It is on basis of shape, form and structure of any artwork that an artist his/her talent and creative devices and by inventional imagination creates it. Art creation happens to come out in the form shape and beauty is the uncovered and undamental figure which appears in artwork.It is possible to have any critics and interpretations of an artwork through the objects composition and form which is called artwork meaning or concept of artwork, understanding and decoding the core idea of the author, the text antecedent (words chain, shape and color, motion land sounds) to psychological and sociological, historical and mythical fields through the artwork form (shape) and its formality. form is the contact point of an artist and interlocutors and vice versa. If an artwork is taken as an independent object on an artist and interpreted in the historical horizons frequently then what makes any interpretation possible finally is the art form; the¬ essence of which is the beauty of expression. Questioning an artwork may /be done in different aspect such as what does it mean? What has been the intention of its creator? What does the work mean in the present time? How an artwork can convey past historic horizons to the modern era?. Any answer to such questions depends on precise and original information of the artwork form and composition critics analysis.

The literature of the present study is so huge and the material used in their inscription and findings are archeological. In this research, the Librerian method and field reports were used. To the authers archeological materials are needed to understand the cultural relations between Persia & Egypt during this time. Thus, one could divide these materials in to two groups. First, the Persian archaeological finds in Egypt and second, the Egyptian archaeological finds in Iran. There are some typical archaeological materials in Egypt refer to Achaemenids. The inscriptions of Wadi Hammamat in Hieroglyph writing، the inscriptions of mausoleum achaemenids and Elephantine Papyrus carrying an Aramaic and the bas relieves from Memphis & Carved motives on the walls of Hibis، and the inscriptions of Darius I in Suez Cannel. We can refer to such an Egyptian style Statue of Darius I in Susa. The Egyptian Scrubs Stamp from Qazvin Plain، the wares with hieroglyph inscriptions from Perspolis and the objects related to the Egyptian Myth & magic believes found in Perspolis. Also Achaemenid administration seal impression. According to the finds it is concluded that there was a strong effect of Egyptian culture on the Persian one.