نشریه هنرهای زیبا - هنرهای تجسمی
سال بیست و یکم شماره 4 (پیاپی 68، زمستان 1395)

The distinction between «appearance» and «reality» goes back to the origins of western philosophy. The Greek philosophers almost have considered the appearance as a distortion of the true essence of things and, as such, have strived to establish the reality behind the elusive and ephemeral appearances. The visual arts were condemned by this devaluation of appearances principally in Plato’s philosophy. For Plato, visual arts were essentially mimetic and not only were devoid of cognitive and epistemological values, but also were intrinsically deceiving. This philosophical condemnation of mimetic and representational arts prevailed all western art and culture until the early eighteenth century, when the study of appearance was gradually reevaluated and the role played by it in the visual art was also reconsidered. The first part of this article focuses on the developments of the concept of appearance in the 18th century’s philosophical reflections and its pivotal role in Kant, Schiller and Hegel’s aesthetics. The second part is devoted to the outgrowth of Impressionism based on these theoretical developments. According to the hypothesis adopted by this study, the Impressionist movement was rooted in these overvaluation of appearance in the philosophical debates of the late eighteen and early nineteenth century. The deep observation of the ever changing natural appearances, the scrutiny of colour hues and light shades and shadows, and the visual reductionism were at the service of the appearance representation. One of the discoveries of Impressionism was the flatness of canvas surface. We will show that great achievement of Edouard Manet (1832-1883), i. e breaking away from quattrocento traditions of representation the visual depth on the flat canvas, was undoubtedly the result of the reconsideration of the appearance and its far reaching importance in the reorganisation of the painting’s visual composition. One of the influential contribution to this appearance reconsideration was due to Konrad Fiedler’s (1841-1895) theories of «pur visibility». He argued that visual arts are the arts of pure visibility (reine Sichtbarkeit), that is the representation of appearances detached from their material solidity. He concluded that artistic creation is the creation of appearances. Although the impressionist painters were not aware of his theories, it is clear that the transition from essence to appearance was «in the air» in that period of western cultural history. We see at the same time the emergence of a new philosophical school, i. e. the phenomenology, which choses as its slogan «return to the things themselves». It was a complicated philosophical study of the appearances to achieve a true and genuine understanding of th world’s phenomena. Finally, we will see that the notion of appearance has always been at the heart of western art negatively or positively. In other words, the development of western painting can be traced in parallel with the developments of the appearance’s notion. There is a clear overlapping between modern art and the reeavalution of the appearance.

Human’s conception and cognition of art takes place in their communication with the work of art. These works’ hidden concepts and values which have been beyond their creators’ thoughts manifest in relation with the works. The process of cognition is conceiving the creator’s thought which manifests in a physical body. Communication process is one of the most important aspects in the value of a piece of art. Conception has its roots in philosophy. Knowing its identity and explaining its function in knowledge has been paid lots of attention by philosophers. Understanding this concept is one of the most prominent subjects in knowing one self and the world around. When we see a work of art, understanding and knowing the meta-physical aspects, besides the physical ones, are of utmost impotance. In conceiving every work of art, hidden features and values have effective roles in gaining knowledge. One of the noticeable features in this field is the beauty and aesthetic conception of a work which will be created in connection with audiences’ views. Therefore, the audiences’ presence and their conception of hidden values of a work of art will be significant in keeping the work of art. In conveying these features and knowing them, the audiences’ presence and their interactional relation with work is of utmost importance. So, when we see a work of art, the process of conception has an important role and audience is an integrated part of a work of art. In order to reach the goal of the study and answer its questions, the selected method of the study will be interpretive-analytical. To do this, first the process of conception from the viewpoints of philosophy and Islamic and Western philosophers is scrutinized. Then, beauty conception is analyzed from the viewpoints of scholars so that the characteristics and criteria of this process are identified. A comparative study is done to identify the features of conception and beauty among Western and Islamic philosophers. Through this, how the audiences perceive these characteristics can be obtained. Human’s conception and cognition of art, as an epistemologic subject, has its roots in other epistemological domains such as philosophy. In fact, philosophers and scholars’ views of conception of beauty provokes thought. In the present study, it is tried to evaluate and understand the conception of a work and the audiences’ aesthetic values according to Islamic and Western philosophers and scholars based on interpretive-analytic approaches. Also, this study benefits from logical argumentation to analyze the audiences’ understanding and aesthetic processes. Findings reveal that works of art are formal and semantic realities and their understanding is an interactional relation among emotion, thought, wisdom, and human conception. Understanding beauty is both a subjective and an objective process which is identified in three stages of selection, analysis, and giving meaning. Therefore, perception is discovery. Here, the audiences’ mentality playes its role and its socio-cultural conditions influence the field. Conception can be introduced as a subjective and objective process to depict the internal and external views.

Saqqā-ḵāna artists looked to cults, rituals, and visual elements of folk and local vernacular culture for inspiration. Although many of these items appeared crude in their execution and lacked the artistic polish of artifacts made by professional calligraphers and painters, and were often created collaboratively as a kind of street art, their true significance was not lost to these artists. Viewed from this perspective, Saqqā-ḵāna artists could be in fact considered successors to Iranian craftsmen of earlier centuries miniaturist, illuminators, calligraphers, and goldsmiths. In the view of the above-mentioned modern artists however, these roots had to be linked to modern styles and fused to create a distinctly national artistic expression.
The Saqqā-ḵāna movement in the sixties tried to find and establish a “national” or “Iranian” school of art. Exploring the various resources of folk decorative arts and designs, and reinterpreting of the traditional art forms, inspired and stimulated the artists to create innovatory works. Saqqā-ḵāna artists used these elements in a variety of forms and numerous structural compositions. Many forms of traditional Persian arts and crafts were explored, including popular printed prayers; talismanic and magical seals, amulets, and shirts; astrolabes, props used in mourning processions; motifs from local handicraft (rugs, carpets); ancient pottery motifs; such popular religious artifacts as the Jām-e ⋲ehel kelid (the forty keys vessel) and the panja-e panj tan (the Five Holy Ones’ palm of the hand); elements of Qajar art; enameled bowls from Rey adorned with horse-riders; and Persian calligraphy and painting; Achaemenid and Sasanian inscription or epigraphy, and Assyrian bas-reliefs. Persian poetry and eastern gnostic and mystical symbols also featured in the works of these artists.
The Saqqā-ḵāna movement has been among the most important of artistic movement of Iran that its artists have worked with a national approach. This research with the aim of studying of Saqqā-ḵāna painting with usage of Gadamers’ Hermeneutics of meaning, with a descriptional-analytical approach, attempts to answer to the question: how much is connected and explainable type creation of the works of artists in this movement with the meanings of Gadamer’s Hermeneutics. It is supposed due to proximity of the meanings of Gadamer’s Hermeneutics with the substrate formation and creation of Saqqā-ḵāna works, the meanings provide a suitable ground for representing of this movement.
Gadamer believes when the interpreter confronts with one old context, he/she transfers it to his/her contemporary time and sits and talks with it. saqqā-ḵāna painters have used old contexts namely elements and traditional motifs that have been from the past within the thought of their own time. Gadamer believes in the meantime, the interpreter enters his/her prejudices in the interpretion that is meant their thoughts proportional with his/her own time.
the saqqā-ḵāna painter has used the past motifs that have been in the traditions with a national language and according to his/her contemporary approaches. these motifs have common language with Iranian tradition. Meanwhile, the historical and social conditions as the ground, has been very effective.

Several works in the history of Iranian art movements emerged in most of the works in the form of books and their anthology. Some of the most precious manuscripts of different reasons left Iran and museums Foundation Art and other countries Grddnd maintained that this has been less studied works and researchers are internal.Anthology of Iskandar Sultan has been written in two volumes during the Timurid in 813 AD. The first volume comprising twenty three depictions and the latter has eleven ones. Mahmoud ben Murtaza Al-Hassani was the writer of that. The identification of projective features and investigation of color and decorative motifs of this anthology are the subject of current study. Hence, the paintings either have been investigated with looking at the history of Shiraz school, or descriptive and analytical method. Collecting of information was carried out through the spatial data library. The qualitative tool was employed in terms of collection, text reading, viewing images and the method of analyzing. The first volume consists of poems of poets such as Nizami Ganjavi, Jalal Al-Din Mullani Rumi, Attar Neyshabouri and Saadi. The second volume of book is about the history of the Prophets, Sultans and Kings. The anthology has been consisted of two parts including annotations and central text.The begging of anthology has been painted with Arabesque motifs and spatial layout in the middle of the golden and blue colors. Page layout and the arrangement way of contents are situated in italics on the margin of first volume with titles in the diagonal golden box and horizontally in the vertical frames in the central box. The second volume is devoid of columniation and the margin has been written in italics. The paintings of animals and flowers and the variety of arabesques have been drawn in the inside of these small triangles which are including drawings of animals such as Deer, Ducks being swimming and flying, small Birds, Rabbits, and the head of Lion. The governing ambiance of the paintings is the narrative style. The paintings have been vertically embedded on the side of the page, half-page, full-page and two facing pages in the anthology. The paintings of this anthology demonstrates the painting sophistication of Shiraz school. And, there is no doubt that the artists of Jalayeri Tabriz school were contributed in its production. Some of this volume’s painting related to the border text and others related to main text of the page, miniature is one of the oldest school of Iran. Shiraz painters and artist were less effected by foreign art than Tabriz school and other school of that particular time, they illustrator amazing painting of Iranian literature’s stories. Using light colors, clouds meander, perfect landscape and drawing rocks in the shape of indentation were the most characteristics of the anthology’s miniatures.The purpose of this paper is to introduce and review of the first volume Anthology of Sultan Iskandar 813 AH. An analytical approach to explore the characteristics and technical features and picture it.

Jarun namah is an illustrated epopee that belonged to the second half of Safavid period and Isfahan painting style. It reserved in Great Britain museum. Poetry of the book attributed to Qadri Shirazi. The story is about a battle between Iran and Portuguese army in the time of Shah Abbas I, also describes the battle scenes and courage of Safavid commanders army. Manuscript contains 10 miniatures that does not have any signature and identity. This descriptive- analytical study is done by inductive method and announced Jarun namah as one of the unknown illustrated manuscript of Safavid art, as well as examined the formal details and art features of its painting. The obtained results shows that despite of the epic base of poems, it has also miniatures with civilian themes. In general category, topic includes the banquet and meeting of nobles in the beginning, battle military talks in the middle of the story and farewell and mourning at the end. Each theme has its own visual features which have served to reinforce the subject; the banquet and meeting topic used elements of nature and the outdoors for induction the sense of peace and joy, the figures are static, drawn rich and colorful dress of court in solemn session, and the main character has language sign, located in the center of attention and all eyes pursued him. Visual elements used in martial themes that have been drawn in proportion of the tension and excitement of the story, includes things like broken frame, dispersion of figures, using triangular composition, curved form of the rocks, multiplicity of warm and bright colors, balanced distribution of vivid colors in composition. Drawing a high horizon in crowded scenes is another preparation of painter in this theme. In panting of farewell and mourning, artist has used gestures like hand on face, tweeze, nudity of female, twist of page components, limited color table and applying black and amethystine in mourner`s dress to create misty sorrow mood. Jarun namah miniatures are in relationship with Isfahan style on criteria such as technique of drawing, stateless figures, landscape presentment as a canvas decoration and domination of figure on nature. Accordingly if Isfahan style affected by Reza Abbasi and his followers, and also ascribe recent Isfahan to European methods, we can find Jarun namah paintings similar to early Isfahan school. Its similarity to traditional Persian painting is characterized in avoiding empty space, decorated surfaces, published composition, plurality figures, abstain from perspective and three- dimensional view. Special visual features of this manuscript summarized in average quality of colors and their sensory expression, conforming page dimension of radical 2 proportions, the vastness of space, passive faces, hastily drawing of decorating buildings and etc. Although the miniatures are unsigned but according to the evidence and matching them, it can be seen commonalities in methods and visual elements so that it can confirm that all the miniatures have a same painter. It is hoped that this study is useful for new research about recognizing this manuscript artist.

One of the most important Tekyes in Iran and one of the most important Islamic buildings in Kermanshah province is the Mo’aven-ol Molk Tekyeh. This building is located in historical context (Barzeh Damagh district) and related to the late Qajar period. Based on the present situation, the space of this Tekye has been formed of four parts: Courtyard entrance, Hoseiniyeh, Zainabiyeh and Abbasiyeh. Diverse motifs of Tekyeh tiles encompass various religious themes, national, mythological, epic, natural landscapes, flowers and birds and geometric patterns. As regards, the origin of Tekye tiles has not been studied, the most important aim of this study is identify the origin of motifs, causes of their formation adjacent to each other and find out variety of native and local themes. Tiles painting of Tekyeh are the junction of the latest old and new elements. These are reflection of the cultural and artistic development in Qajar Period. Paintings themes of Tekye not quite Iranian or European, rather they are bilateral phenomenon and can be seen unique features in artistic themes. Between paintings of Mo’aven-ol Molk Tekyeh, epic, political and religious themes superiority on other paintings. On the one hand, close relationship this paintings with Tazieh and Naqqali and on the other hand with heroic tales and epic of Shahnameh, caused common people has dreaming lives with national, religious and mythological heroes. In other words, syntagmatic of Qajarian kings, dignitaries and elders paintings beside religious imagery, motivate the same sense of respect and submission in Iranians which giving religious image or idealized image of the ancient kings to the people. This issue has been responder the national and religious needs of people that links and equivalent them together. Another important result of this study is the initial pattern of painters in creating tiles with images of epic and national kings in the Mo’aven-ol Molk Tekyeh, had been these books: “Nameh Khosrovan” by Jallal al -din Mirza Qajar and “Asar ol- Ajam” by Forsat ol- Doleh Shirazi. This Paintings had been the pattern of portrait images of mythological, national and epic figures in the tile works of buildings in this period especially in Tehran. The formation of image of members political elite as ministers, rulers and members of the merchants class in Mo’aven-ol Molk Tekyeh, has been the result of the Mashrooteh revolution as a symbol of modernity and the end of centrality king in Iran. In fact, modernity and social changes caused the formation specialized fields in the Qajarian period. Painting gradually achieved relative independency, along with these changes as in the other fields. Qajarian kings on the account of using this change with creation the political and epic themes, Shown glory and legitimacy of His dynasty. Method used in the present study in order to achieve consistent and appropriate analysis is the use of written sources; including primary sources and comparative comparisonin in this field. As well as fieldwork at the site in order to understand the origin of the motifs and effective backgrounds in creating them.

Calligraphy, as a prominent art incorporated into Persian and Islamic architecture, supplys messages and brings beauty to the eyes of the beholder. The most important messages in architecture are directly expressed by inscriptions. Different types of inscriptions are shaped in the form of mosaic works, multiple painted patterns, tiles, bricks or plaster techniques.
Although in qajar period traditional methods were continued, but new ideas, design and methods can be witnessed in qajar dynasty artists work.
The principal characteristic of epigraphy in Persia after the advent of the Safavids is the emphasis on Persian poetry and pious Shiʿite texts with an iconographic potency and deliberate frequency unknown yet. Arabic remained the language of koranic and Hadith quotations while Persian became increasingly prominent through its use for historical and poetic inscriptions in both architecture and decorative arts. Cursive scripts, especially ṯolṯ and nastaʿlīq supplanted the earlier Kufic and its variants in all but the essentially decorative repeat patterns in secondary positions.
There are no systematically recorded or analyzed collections of inscriptions for this period, nor are there any comprehensive architectural surveys as there are for the Il-Khanid and Timurid periods. The essential source for Safavid inscriptions is Honarfar’s work on Isfahan, the city whose buildings provide the substance of Safavid monumental inscriptions in general. Apart from Isfahan, major Safavid, Zand and Qajar inscriptions survive in buildings in Ardabīl, Kermān, Qom, Mašhad, Shiraz, Yazd, and Tehran as well as in the Māzandarān region.
Undoubtedly, one of the attractions of Qajar calligraphy is decisive and significant presence of Nastaliq in this era’s inscriptions. In fact, the masters of Nastaliq in this period are belonged to the last generation of calligraphers which highlighted Nastaliq. Great calligraphers such as Mohammad Bagher Semsuri, Fathollah Jalali, Abdorrahim Afsar, and the others who were the followers of Mir-emad and Mohammad Saleh Isfahani.
The main aim of this research is identify of fundamental and structural changes in the form of Nastaliq inscriptions of Qajar mosques. Mosques: Seyyed, Roknolmolk, Rahim Khan, Kermani and Safa; are five mosques that decorated by Nastaliq inscriptions. According to this, in this investigation, a number of Nastaliq inscriptions in Qajar mosques in Isfahan introduced and studied as the main purpose. Therefore, about 20 inscriptions selected and have been studied.
Based on the cases study, some conclusions were reached. Variety of colors, decorate the background frame and innovation in the form of frames, including innovations of Qajar samples compared with samples of the Safavid dynasty.
Another point of considerable differences in the Qajar and Safavid inscriptions are the common techniques. For example, in the studied samples, there are no stucco inscriptions. Instead of that, Haft-Rang inscriptions are dominant. This method used in tile decoration since Timurid dynasty and raised in Safavid and Qajar dynasty. The first usage of Haft-Rang in inscriptions was at early 11th century A.H (17th A.D).In addition, a number of artists and craftsmen of Qajar in the inscriptions mentioned in the text is addressed.

This paper is a study in different kinds of innovations in the product-design field and the way of categorization of them and station point of industrial design in this process. The research process comprised the following five steps: 1. Defining the research problem and establishing its methodology; 2.Selecting and describing samples; 3. Analyzing data and shaping hypotheses; 4. Testing the categorization and refining it; 5. Final testing and enfolding results with existing literature. The first step of the research project attempted to determine how to better demonstrate the contribution, design makes to product innovation. In order to answer this, a phenomenological approach was used, i.e. observing product innovation as a phenomenon. From this approach, three possible levers of a design-driven innovation process emerged: form, mode of use, and technology. This overall research process fits with the humanities tradition. This process first saw the gathering of “evidence produced by research” and then the gathering of “the judgments of other scholars” on the emerging research issues. On these “primary” and “secondary” sources of information, a logical argument was conducted by adding personal judgments in order to arrive at the final formulation of results. A detailed description of each step in the research process follows. During the third step of this research, which was devoted to shaping hypotheses, one issue that emerged was whether to consider design-driven innovation a process. Discussion on the first ten examples had clearly shown the need to distinguish between the results obtained by the designer and the tools he or she used to reach it. Therefore, the research group decided to assume the following definition of innovation, which is now widely accepted and underlines its procedural nature: “innovation equals creativity plus a successful implementation processing”. Through our phenomenological analysis, four possible results were distinguished: •Aesthetic Innovation •Innovation of Use •Meaning Innovation •Typological Innovation. In the dialectics between function,” the use the object is intended for,” and form” the external configuration of an object resulting from shape, proportion and color,” dialectics that have long characterized the history of industrial design, aesthetic innovation concerns form while innovation of use concerns the function. Conversely, no such clear-cut distinction between meaning innovation and typological innovation can be drawn. The levers and results are systematized here into an innovation pyramid, which helps to clarify both their similarities and their differences. Is such a categorization for product innovation, as set forth here, really true to life? And, by proposing it, are we not likely to constrain the results of creative activity into too rigid a model? As such, identifying the three levers and the four results for the design-driven innovation process mandates forgoing certain differences and obliging certain resemblances. Consequently an innovation pyramid has introduced which presents four different kind of design- driven innovations. This pyramid is the final result of our research process involving the three key disciplinary areas related to new product development: management, engineering and design. Nevertheless, the proposed categorization has enabled the author of this article to clearly explain the design-driven innovation phenomenon to students.