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هنرهای زیبا - هنرهای تجسمی - سال بیست و دوم شماره 2 (پیاپی 70، تابستان 1396)

نشریه هنرهای زیبا - هنرهای تجسمی
سال بیست و دوم شماره 2 (پیاپی 70، تابستان 1396)

  • تاریخ انتشار: 1396/05/07
  • تعداد عناوین: 12
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  • یعقوب آژند* صفحات 1-18
    این مقاله مبتنی بر این فرضیه است که ظهور رقم مسجع در نقاشی اواخر دوره صفوی، افشاریه، زندیه و اوایل قاجار، بنا به مصالح مذهبی و لزوم اجتماعی و اقتصادی بوده است. از مکتب اصفهان به بعد که نقاشی تا حدودی از حصار دربار بیرون آمد، در جامعه اصفهان بسط و گسترش یافت و با زندگانی روزمره مردم گره خورد، نقاشان با معضل مقبولیت آن در بین عامه مردم مواجه شدند؛ چون نقاشی از دوره اسلامی بنا به مسائل کلامی و مذهبی همچنان در هاله ای از حرمت قرار گرفته بود و گرچه گذشت ایام، این دیدگاه را تا حدودی تلطیف کرده بود، پیکرنگاری نزد گروه هایی از جامعه همچنان در معرض بی مهری قرار داشت. نقاشان برای حل این معضل به رقم هایی روی آوردند که مفهوم دوپهلو داشت: یکی مفهوم مذهبی و دیگری حرفه ای. شیوه فرنگی سازی هم که از نیمه های سده دهم هجری در نقاشی ایران شروع شده بود، به کمک نقاشان آمد و آنها با گنجاندن پیکره های فرنگی، مناظر و مزایای اروپایی در آثار خود، درواقع به نوعی فرافکنی مفهومی پرداختند و تاحدودی توانستند معضل حرمت در نقاشی های پیکرنگارانه را حل کنند. در این مقاله با روش استقرایی و فرایند وصف و ارزیابی و تحلیل، علل و عوامل موضوع تتبع می شود.
    کلیدواژگان: ترقیمه، رقم مسجع، علی اشرف، یا صادق الوعد، یا صاحب الزمان
  • مینا محمدی وکیل *، حسن بلخاری قهی صفحات 19-20
    انگاره های مرتبط با پیکر انسان، بدنمندی و تقابل های جنسیتی از دیرباز در بازنمود انسان در هنر نقشی تعیین کننده داشته اند. پس از دهه 1970، پژوهش پیرامون جایگاه تن و واکاوی گستره های معنایی آن، دامنه وسیع تری یافت. هدف این جستار، تطبیق معانی مذکور در دو حوزه فلسفه، مشخصا با تاکید بر اندیشه بودریار و نیز مصادیق هنری ملهم از آن معانی است. در این زمینه نظریاتی همچون شی ء شدگی، مفهوم عضو شیء، پایان جنسیت و... با آثار تجسمی هنرمندانی همچون کروگر، گبر، شرمن، هاگنز، لونا و آبراموویچ تطبیق داده می شود. روش این تحقیق به صورت تحلیلی توصیفی و تجزیه و تحلیل داده ها به شیوه استقرایی است. طبق یافته های پژوهش مشخص خواهد شد که اولا تکرار نشانه ها در نظام های مختلف معنایی، سبب شده تا خرد جنسی پست مدرن رو به محوشدگی گذاشته شود و به وانمودهبدل شود که نمود تن در هنرها نیز تابع همین فلسفه است. ثانیا عرضه وسیع مفاهیم جنسی در تمامی نظام های معنایی همه چیز را به نشانه ای جنسیتی بدل کرده است؛ از این رو درواقع دیگر هیچ چیز جنسیت نیست. لذا نشانه های جنسیتی، در هنر نیز جنبه بت وارگی خود را از دست داده اند. ثالثا عنصر عضو شیء در هنر معاصر را می توان در جایگاه ژانر طبیعت بی جان از سویی و انسان قربانی عصر پست مدرن از سوی دیگر مدنظر قرار داد.
    کلیدواژگان: بودریار، شیء شدگی، هنر پیکرنما، هنر معاصر، نظریه پایان جنسیت
  • ریحانه رفیع زاده اخویان *، اصغر جوانی، محمد جواد صافیان صفحات 21-30
    حوزه رسانه نوین به گفتمانی اشاره دارد که با تکنولوژی و رسانه های معاصر پوشیده شده است. امروزه بسیاری از هنرمندان با تکنولوژی دیجیتال به مثابه رسانه هنری سروکار دارند. واقعیت افزوده، فن روی هم گذاری نگاره های کامپیوتری بر نمای زنده جهان واقعی است. هنر واقعیت افزوده، به آثار هنری نمایش داده شده در محیط واقعی گفته می شود که از واقعیت افزوده به مثابه رسانه هنری استفاده می کنند. به دلیل تعاملی بودن هنر واقعیت افزوده، مخاطب آن به کمک کنش بدنی خود به تجربه زیباشناختی می پردازد. هدف از این پژوهش، بررسی نقش بدن در تجربه هنر واقعیت افزوده است. نمونه های مورد مطالعه، برگرفته از آثار هنر واقعیت افزوده در دوسالانه های ونیز و استانبول در سال 2011 است. روش گردآوری اطلاعات در این پژوهش، استفاده از سنجه های غیرواکنشی شامل عکس و تصاویر ویدئویی برگرفته از اینترنت است. در این پژوهش با تبیین تمایز میان دو مفهوم تصویر بدن و شاکله بدن نزد موریس مرلوپونتی، مشاهده می شود که در هنر واقعیت افزوده با استفاده از شاکله بدنی، عاملیت مخاطب اثر هنری به عنوان هستی تن یافته افزایش یافته است و التفات سوژه متجسد در مقابل رسانه، به شیء افزوده شده معطوف می شود.
    کلیدواژگان: پدیدار شناسی، تن یافتگی، رسانه نوین هنری، هنر دیجیتال تعاملی، واقعیت افزوده
  • فاطمه طهماسبی عمران *، نادیا معقولی صفحات 31-45
    ایران، ازجمله ملل و نژادی است که طی قرون متمادی با هند در ارتباط بوده و در هنر و فرهنگ آنها نفوذ کرده است. یکی از دوره های طلایی هنر و فرهنگ ایران، در اوایل دوران صفویه در تبریز بود؛ زمانی که شاه طهماسب از هنر روی برگردانید، برخی از هنرمندان به دعوت همایون پادشاه گورکانی به هند رفتند و هسته اصلی مکتب نگارگری مغولی هند را بنیان گذاشتند. بدین ترتیب، مهم ترین اثر این مکتب، حمزه نامه، تحت تاثیر شدید نگارگری ایرانی و تحت نظارت نگارگران ایرانی خلق شد. بر این اساس، پژوهش حاضر به این پرسش ها پاسخ می دهد که چه عناصری از مکتب نگارگری تبریز 2 در تصاویر حمزه نامه مشاهده شدند؟ و تاثیرات دیگر مکاتب نگارگری ایرانی بر تصاویر حمزه نامه چیست؟
    با هدف دسته بندی برخی از این عناصر تصویری، روش تحقیق توصیفی- تطبیقی است و نتایج نشان می دهد عناصر تصویری نگاره های حمزه نامه تشابهات بسیاری با نگاره های مکتب تبریز 2 دارد؛ زیرا بسیاری از عناصر گیاهی، تلفیقی، جانوری و سماوی در حمزه نامه با شباهت فراوانی با همین عناصر در مکتب نگارگری تبریز 2 ترسیم شده اند. علاوه بر آن، تاثیرات دیگر مکاتب نگارگری ایرانی نیز بر نگاره های حمزه نامه مشاهده می شود.
    کلیدواژگان: حمزه نامه، مکتب تبریز 2، مکتب گورکانی هند، نگارگری ایرانی
  • جواد نکونام *، بهمن نامورمطلق صفحات 47-56
    کشف بینامتنیت در قرن بیستم، نگرش نوینی در افق مطالعات علوم انسانی و هنر فراهم آورد. از گرایش های مهم بینامتنی، بینامتنیت خوانشی است که نخستین بار رولان بارت مطرح کرد. مقاله پیش رو، به مطالعه مجسمه سفالین «سلطان طغرل بیک سلجوقی» متعلق به هنر دوره اسلامی ایران با رویکرد بینامتنیت خوانشی پرداخته است. هدف اصلی نوشتار حاضر، آشنایی مخاطبان با یکی از شیوه های مهم نقد ادبی و هنری معاصر، یعنی بینامتنیت خوانشی است که با تطبیق آن بر پیکره های مطالعاتی ایرانی و اسلامی، قابل بهره برداری است. در ابتدا، شناسه تاریخی پیکره حاضر معرفی می شود و سپس، کشف تمامی خوانش های ممکن با رویکرد بینامتنی در مجسمه مذکور کانون توجه قرار می گیرد. در مرحله بعد، با تحقیقی میدانی، نقش متن های مذکور در خوانش مخاطبان اثر نقد و بررسی می شود. بدین منظور، چهل خوانش مختلف که از مصاحبه با دانشجویان رشته های هنر و ادبیات شکل یافته، محور تحلیل این قسمت است. یافته های پژوهش حاضر نشان می دهد اول، خوانش بینامتنی به عنوان روش تحقیق، قابلیت نقد و بررسی آثار هنری و تجسمی ایرانی- اسلامی را دارد. دوم، خوانش مخاطبان اثر حاضر، اغلب خوانشی مرکب (متنی، بینامتنی و فرامتنی) بوده است.
    کلیدواژگان: پيکره سفالي، خوانش بارتي، رويکرد بينامتنيت، طغرل بيک سلجوقي، هنر اسلامي
  • زهره ابراهیمی نژاد رفسنجانی*، زهرا حسین آبادی، سید رحیم خوب بین خوش نظر صفحات 57-69
    شباهت سفالینه های کوباچه تبریز دوره صفویه با سفالینه ایزنیک ترکیه در دوره عثمانی این سوال را پدید می آورد که علل تشابه این دو گونه سفالینه چه بوده و کدام یک بر دیگری تاثیر گذاشته است؟ شیوه ساخت این ظروف، تزئینات ظروف سفالی ایران و ایزنیک و رنگ های مشترک، حکایت از تاثیر متقابل آنها در دوره های زمانی خاص دارد. هدف تحقیق، شناسایی نمونه های مشابه در ایران و ترکیه و بررسی علل احتمالی تاثیر پذیری این دو گونه سفالینه از یکدیگر است. ظروف کوباچه که با نقوش ختایی و رنگ های متنوع تزئین شده ، در ایزنیک ترکیه نیز با اشتراکاتی در طرح و رنگ دیده می شود. این مقاله، ابتدا به معرفی دو گونه سفال کوباچه و ایزنیک پرداخته است. سپس با بررسی روابط و مراودات فرهنگی و سیاسی دو کشور، به عوامل احتمالی تاثیر گذار سفال کوباچه بر سفال ایزنیک و تبیین اشتراکات در تزئین و رنگ پرداخته است. یافته های تحقیق نشان داد مهاجرت عده ای از هنرمندان تبریزی به ترکیه و پس از آن، حمله عثمانی ها در چالدران و سپس، دستیابی آنها به خزانه دولت صفوی در تبریز و به غنیمت بردن آثار هنری و هنرمندان آن منطقه به پایتخت عثمانی، باعث تاثیرپذیری سفالینه های ایزنیک از سفال کوباچه شده است.
    کلیدواژگان: دوره صفوی، دوره عثمانی، سفال ایزنیک، سفال کوباچه
  • محدثه حسینی صومعه*، مهرناز آزادی بوباغچی، کامبیز پورطهماسی صفحات 71-81
    نسخ خطی دوره سلجوقی و تیموری، از نفیس ترین آثار کتاب آرایی و نسخه پردازی محسوب می شوند و بسیاری از محققان به توصیف کاغذهای اولیه در نسخه پردازی ایرانی- اسلامی پرداخته اند. نتایج حاصل از مطالعات تاریخی نشان می دهد کاغذهای دست ساز دوره سلجوقی و تیموری، کاغذهایی به نام سمرقندی، بغدادی و خراسانی بوده اند و عموما شامل گیاهان غیرچوبی می شوند. در این میان، الیاف گیاهی کتان، کنف و شاهدانه بیشتر استفاده شده اند. با این حال، اطلاعات دقیقی درباره ساختار این کاغذها وجود ندارد. هدف اصلی در این پژوهش، گردآوری اطلاعات در زمینه نحوه شناسایی الیاف در کاغذهای تاریخی دوره سلجوقی و تیموری است تا با انطباق بر روش های تجربی کیفی، کمی و دستگاهی، شناخت این کاغذها میسر شود. براساس نتایج، روش های بسیاری علاوه بر کاربرد معرف های شیمیایی که روشی کیفی است، وجود دارد؛ به طوری که با استفاده از میکروسکوپ های الکترونی، بررسی سطحی الیاف در کاغذها امکان پذیر شده است و ویژگی هایی همچون تاب و اندازه الیاف، برجستگی ها و خطوط متقاطع آنان را آشکار می نماید. همچنین استفاده از میکروسکوپ پلاریزان نه تنها با تغییرات رنگی بر سطح الیاف، آنها را متمایز می کند، بلکه وجود اگزالات کلسیم در الیاف را تصدیق می کند و نقش موثری در شناسایی الیاف کاغذهای تاریخی اولیه دارد.
    کلیدواژگان: شناسایی الیاف کاغذ تیموری، شناسایی الیاف کاغذ سلجوقی، معرف های شیمیایی کاغذ، میکروسکوپ الکترونی، میکروسکوپ پلاریزان
  • محسن قانونی*، سمانه صادقی مهر صفحات 83-95
    هنر سفالگری ایران، از دیرباز به عنوان قدیمی ترین نمونه آثار تولیدی، مهم ترین شاخص های فرهنگی، اجتماعی و هنری ایران را بازنمود ساخته است. در این میان، شیوه سفالگری زرین فام، نقطه اوج سفالگری اسلامی در ایران است. در اوج دوران تولید سفالینه های زرین فام در سده هفتم هجری قمری، هنرمندان ایرانی به خصوص خاندان های صنعتگر و هنرمند مانند خاندان طاهر کاشانی، با توسعه روش های ساخت آثار زرین فام به چنان توانایی در این عرصه دست یافتند که این فن را در کتیبه کاشی ها و محراب مهم ترین اماکن مقدس ایران به کار بستند. این مقاله در بستری تاریخی و تطبیقی، به بررسی نمونه های موجود در مزار حضرت فاطمه معصومه(س) و چگونگی رابطه آنها با نمونه های دیگر در ایران پرداخته است. بر این اساس، همکاری خاندان ابی طاهر به صورت خاص «محمد بن ابی طاهر» و «علی بن محمد» و شخص «ابوزید» در تولید این آثار بر اساس رقم های موجود، مشهود است. اهمیت آثار به حدی است که رقم «ابوزید» را در دو کتیبه مجزا می توان مشاهده کرد. همچنین تاریخ 602 ه.ق و رقم بانیان کاشی ها می تواند آنها را قدیمی ترین نمونه کتیبه کاشی های موجود در این سرزمین معرفی کند.
    کلیدواژگان: ابوزید، خاندان طاهر کاشانی، زرین فام، سده هفتم ه، ق، کتیبه کاشی، مزار حضرت فاطمه معصومه(س)
  • فریناز فربود*، سمانه پورعزیزی صفحات 97-109
    فتوحات مسلمانان در دوره اموی، زمینه ساز ورود اسلام به اسپانیا و دگرگونی فرهنگ و هنر آندلس، به ویژه منسوجات این دوران، از منظر طراحی نقوش بود. برخی محققان، منسوجات اسپانیای اسلامی را تداوم سنت طراحی منسوجات ایران ساسانی می دانند؛ اما پژوهش حاضر بر بنیاد این فرضیه شکل گرفته است که در منسوجات اندلس، به ویژه در دوران حکمرانی مرابطون و موحدون، شواهدی از نوآوری های منسوجات دوران هم عصر آنها، حکومت های آل بویه و سلجوقی که خود تداوم سنت ساسانی محسوب می شوند، قابل مشاهده است.
    بنابراین، هدف پژوهش حاضر، کشف دلایل و میزان این تاثیرپذیری از طریق بررسی مستندات تاریخی، مقایسه نقوش و ترکیب بندی شواهد منسوجات دو تمدن به منظور بررسی فرضیه مزبور است. نتایج پژوهش، نشانگر نقش تجارت در این زمینه و تاثیرپذیری منسوجات مرابطون از نقش مایه های انسانی، حیوانی، پرندگان و نمادهای عقاب دو سر، درخت زندگی و ترکیب بندی مدالیون های حاشیه دار منسوجات آل بویه است. استفاده از نقوش هندسی، ستاره هشت پر، لوزی و چلیپا نیز می تواند نشانگر تاثیرپذیری محدود موحدون از منسوجات سلجوقی باشد. کاهش تاثیر در دوره موحدون را باید نتیجه توجه حاکمان موحد به ساده زیستی، طرد نقوش جانداران، تمایل به نقوش هندسی تزیینات معماری، کاهش واردات ناشی از پیشرفت صنعت نساجی اندلس و تبدیل آن به قطب نساجی اروپا دانست.
    کلیدواژگان: منسوجات آل بویه، منسوجات اسپانیای اسلامی، منسوجات ایران، منسوجات سلجوقی، منسوجات مرابطون، منسوجات موحدون
  • ابوالفضل صادقپور فیروزآباد* صفحات 111-124
    استفاده از نقوش و نمادها در هنر ایران که پیش از دوره ساسانیان نیز جایگاه والایی داشته است، تا پس از حکومت ساسانیان و در تمدن و هنر اسلامی ایران نیز در بیان هنری کاربرد بسیاری یافت. این نقوش دربردارنده تجارب اجتماعی، فرهنگی و معتقدات مذهبی دوران خود هستند؛ لذا به فهم بهتر سیر تحول اندیشه های مردم دوران خود کمک می کنند. یکی از شاخصه های مهم منسوجات ساسانی، نقوش تزیینی به کاررفته در آن است که تاثیر عمیقی بر هنر دوره های مختلف تاریخی بعد از خود گذاشته است. از این جمله می توان به دوره سامانی، آل بویه و... اشاره کرد. روش تحقیق در این پژوهش به صورت توصیفی– تحلیلی است و سعی شده تا علاوه بر معرفی نقوش و عناصر تزیینی مشترک به کاررفته در منسوجات دوره ساسانی و آل بویه، به شناسایی و تحلیل نمادگرایانه نقوش مشترک منسوجات در این دو دوره پرداخته شود. یافته های این پژوهش نشان می دهد که بیشترین مضامین و نقوشی که به عنوان نقوش تزیینی در منسوجات دوره آل بویه استفاده شده اند، درواقع همان نقوش دوره ساسانی است که با کیفیات فرمی و محتوایی متفاوتی به کار رفته اند.
    کلیدواژگان: آل بویه، ساسانی، منسوجات، نقوش، نمادگرایانه
  • محمد ستاری، شکوفه بیاتی* صفحات 125-138
    میرزا سیدعلی خان مستوفی ملقب به اعتماد حضور فرزند میرزا سیدعلی اکبر مستوفی، یکی از عکاسان پرکار، اما گمنام دوره قاجار است. علی رغم به جای ماندن عکس های نسبتا زیادی از وی در آلبوم خانه کاخ گلستان، مجموعه اسناد تصویری کتابخانه مرکزی دانشگاه تهران و بر روی طاقچه های بسیاری از منازل قدیمی ایرانی، کمتر نام و نشانی از وی در منابع مختلف تاریخ عکاسی ایران یافت می شود. موضوع اغلب عکس های میرزا سیدعلی، رجال دولتی، صاحبان القاب و مناصب هستند که در آتلیه شخصی عکاس با سبک و سیاقی خاص به عنوان سندی برای دربار قاجار عکاسی شده اند. بسیاری از این عکس ها به قلم نقاشان چیره دست آن دوران نقاشی و به صورت چاپ سنگی در روزنامه های «شرف» و «شرافت» چاپ و منتشر شده اند. پرتره نگاری های بسیار به جای مانده از وی و ناشناخته ماندن این عکاس دلیلی بر بررسی و مطالعه آثار اوست. این پژوهش با استناد به منابع کتابخانه ای و تصویری، به روش اسنادی- توصیفی انجام گردیده است و روش گردآوری اطلاعات، کتابخانه ای و مشاهده ای بوده است. سعی بر این بوده است که با توجه به منابع بسیار محدود اطلاعاتی مکتوب از وی و کاوش در تصاویر به جای مانده، کلیت آثار، ویژگی ها و راه و روش عکاسانه اش با درنظرگرفتن جنبه کاربردی آثارش که اکثرا پرتره نگاری هستند، با دقت بررسی شود.
    کلیدواژگان: اعتماد حضور، پرتره نگاری، سیدعلی مستوفی، عکاسی قاجار
  • وحید چوپانکاره *، اکرم سلطانی صفحات 139-150
    بشر در تلاش است که «ایمنی» را در «سواحل دریا» تامین کند. بنا بر آمارهای سازمان پزشکی قانونی کشور از قربانیان «غرق شدگی»، این معضل یکی از بحران های بهداشت عمومی محسوب می شود. آگاهی بخشی مفاهیم ایمنی در سنین کم توسط بازی های آموزشی، از شیوه های پیشگیری برای کاهش معضلات محسوب می شود. به همین منظور، بازی آموزشی با استفاده از سیستم پیکتوگرام طراحی شد تا بتوان از آن به عنوان ابزاری پیشگیرانه برای کنترل و کاهش سوانح و غرق شدگی استفاده کرد. از روش ارزیابی DAST-C، برای تایید فرضیه های موجود روی سی کودک دختر هفت تا یازده سال استفاده شده است. فرضیه ها عبارت است از: 1. استفاده از بازی آموزشی در یادگیری مفاهیم مربوط به ایمنی سواحل تاثیر دارد؛ 2. به وسیله بازی آموزشی می توان کودکان را با سرگرمی های دیگری غیر از شنا در دریا آشنا و ترغیب کرد. گروه آزمایش طی هفت هفته در چهار مرحله، با ابزار طراحی شده سنجیده شدند و نتایج با روش تحلیل واریانس یک طرفه با کمک نرم افزار تحلیل داده ها SPSS سنجیده شد. علاوه بر نرمال بودن داده ها، تفاوت معنادار نتایج نشان داده شد؛ به این معنی که استفاده از این بازی در یادگیری مفاهیم مدنظر تاثیر داشت و می توان نگرش جدیدی در کودکان ایجاد کرد.
    کلیدواژگان: بازی آموزشی، سواحل ماسه ای، سیستم پیکتوگرام، طراحی آموزشی، غرق شدگی
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  • Yaaghoub Azhand* Pages 1-18
    One of the most significant factor in Safavid, s painting is the Europeanizing style (Farangi Sazi). All the artists in later Safavid and Afsharid and Zand periods employed European techniques and in some cases they have viewed their European sources and copied or adapted European prototypes. However, they also painted portraits of Persian, such as that of a prince and a lady. Even at the more commercial end of the market and religious problems, the artists followed the Europeanizing trend. The significant development in the area of painting during the second half of the eleventh century H. was the explanded repertoire of lacquer objects. Europeanizing painters produced lacquer penboxes and mirror-covers and caskets and bindings. In these objects individual subjects such as flowers and birds combined with floral decoration on one surface and related motifs on the sides and interior. The Safavid, s had effectively lost power in 1135 H. Nadir by 1150 H. had so successfully re-established control over Iran. Forms and Formulas already developed in the Safavid period especialy by the eclectic painters and their families and followers are the principal manifestation in painting after period. In the absence of orders to the contrary, artists worked to the variant medium. This surley accounts for quantities of painted and lacquered papier mache of the period, the bookbindings mirrorcases, caskets, boxes, but especialy pen boxes. On these Objects, themes and compositions from Safavid period were used and copied in numerable times. In 1148 H. a lacquered binding decorated with flowers was commissioned by Muhammad Mehdi-khan Astarabadi, private secretry and historian of Nadir shah. This Muraqa, (album) are work of four painters and artists. These Artists were: Ali Ashraf, Muhammad Hadi, Muhammad Baqir and Muhammad Sadiq. This album was finaly completed in the Zand period. Rhymed signature presents distinctive charactictics of this Muraqa, (album). All artists in Afshar and Zand periods had multiple signatures. Familial and apprenticeship or student_teacher relationships inferred from the numerous artists, signatures. The signatures also provide some biographical facts not available in the art books. Additional information can be gathered from these signatures. This method descends to artistic life in social and religious sphere. And this method provides us with the basic style of artists had been transmitted from one generation to another. The use of rhymed signature, introduced during the Safavid period, remained current until the mid-nineteenth century. Sadiq, s works are signed, in a compact Naskh script, with his proper name Muhammad Sadiq, or with formula »Ya Sadiq al-va, d« (O thou who are true) refering to Jafar, Sadiq, the six Imam. This inscription exhibits the same form and style of signature found in Sadiq, s works. We know that Muhammad Sadiq was deciple of Ali Ashraf, and his rhymed signature: » Sadiq A lotf-i Ali Ashraf bood «signify this deciple relationship with religious significance. Another example of these signature was» Ya Sahib al-Zaman« (o lord of time), may be by Aqa Zaman another painter of Karim Khan Zand period. Understanding and transmission mechanismof these signature is a point that in this Article discuss.
    Keywords: Rhymed Signature, Ya Sadiq al-va, D, Tarqimah, Ya Sahib al-Zaman, Ali Ashraf
  • Mina Mohammadi Vakil *, Hasan Bolkhari Pages 19-20
    In contemporary times the philosophy of human figure and the discourse of gender has become one of the greatest cultural narratives and concerns of the west. In the postmodernist art and philosophy, inclination towards extroversion is one of the main constituents, which means an extra leniency to expose gender through repetitious trials and unheroic representations of figures. According to Baudrillard, in contemporary times because teleonomic power has replaced theological power, pornography by doubling the sexual signs and relying on the power of media has become so widespread that everything in contemporary culture is related to sexuality. Signs of sexuality and seduction shadow culture, media, art, power exchanges, capitals and even politics. But in semiotic structures however, no sign in its function is distinct, abstract or self-standing and its presence only becomes valued and identified by multidimensional and differential relations with other signs of meaningful disciplines. It can therefore be said that since the extensive presentation of meanings and sexual images in the media and other arenas have become as signs of sexuality, then in fact nothing is sexual anymore and the widespread signs of sexuality have lost their fetishistic quality. For the same reason, at times even the human figure in contemporary art appears as an object in which the relation between the parts and organs has been altered. The element of part-object in contemporary art is abundantly considered in lieu of visual design and a replacement for the human figure in whole. This extends to the point that more daringly in order to objectify the body and the issue of sexuality, mutilated dolls represent human figures, placing it in the genre of still life on one hand and human as a victim of post- modernist era on the other. Such bodily tokens simultaneously portray seductive attributes and emasculation. In fact, it can be said that the proliferation of signs and their coherence in various meaningful disciplines has caused the post- modernist sexual wisdom to decline to the point of vanish and become only simulacrum. The representation of ‘human figure’ in the arts also follows this philosophy. Naked images in contemporary art are neither symbols of mystic salvation or symbols of humanity nor are they instruments of provocation. They have no fetishistic properties or a form of social objections and ultimately they are not even sexual beings (male/female) but only a sign has become a form of imminence of culture as result of endless repetitions and blending with various cultural areas and for that matter it has become meaningless and close to its last horizon of existence. In the current article, the method of research was qualitative. Considering that the study was conducted utilizing the findings that related to the past and critiques and analysis and review of artworks involved past events, therefore this study is one of a historical research. The compilation of information in this article involved study of library documents and books. The information obtained were eventually for analysis through scientific inductive method in the sense that by putting together of details, more general results were obtained.
    Keywords: Philosophy of Human Figure, Contemporary Art, Gender in Art, Figurative Art, Objectification
  • Reihaneh Rafizadeh Akhavian*, Asghar Javani, Mohammadjavad Safian Pages 21-30
    Phenomenology has been center of the tradition of continental European philosophy throughout the 20th century. Phenomenology, as we know it, was started by Edmund Husserl. Husserl proposed practice of phenomenology by “bracketing” the question of the existence of the natural world around us. Husserl's suggestion was followed by a flurry of phenomenological writing in the first half of the 20th century. Maurice Merleau-Ponty, one of the famous classical phenomenologists, expanded a rich variety of phenomenology emphasizing the role of the body in human experience. He concentrated on the “body image” and “Body Schema”, our experience of our own body and its importance in our activities. He refused Cartesian dualism between soul and body and believed to subject-body. Many artists deal with digital and electronic technologies as a medium that suggests creative ideas to them. One of the newest of these technologies is Augmented Reality. Augmented Reality is the art of super-imposing computer graphics over a direct or indirect view of the real and physical world. Augmented Reality Art is artwork exhibited in a real world using Augmented Reality technology as medium. Since Augmented Reality Art is, fundamentally, digital art embedded into a real-world environment, it can easily be made interactive and animated. As the viewer must become involved in physically with the site to experience the artwork, Augmented Reality Art provides the embodied experience of the human body. Recent advantages in Augmented Reality applications have led to an important shift in the understanding of the nature and type of Augmented Reality and its novel areas of applications, such as Art. Although, the current progress in the field of Augmented Reality and Augmented Reality Art requires continuous logical and methodological attention. This paper is just a step toward understanding the concept of Augmented Reality Art. The goal of this paper is surveying the role of body in experience of Augmented Reality Art and provides a phenomenological analysis of Augmented Reality as medium in Contemporary Art. First of all, we will define Augmented Reality as a technology in new media era. Then we will survey it’s applications in activism, medical, and it’s Experiences for Museum Visitors .After that, we will describe the characteristics and the main aspects of Augmented Reality Art with a comparison between this new media art and pre-Augmented Reality Art. By using of contemporary interpretive and qualitative approaches to video analysis, we will analyze the natural data such as pictures and videos that has been downloaded from Internet. This videos show augmented reality artworks that were presented in 2011Venice and Istanbul Biennials. In the experience of Augmented Reality Art, the spectator is technically enabled to utilize the body schema to increase his agency as an embodied being. To improve this embodied experience, we have to develop a technology that is transparent that provide the transparency of directionality and the noematic one. The subject of this experience should not be able to see device or medium. Additionally, the object presented to subject must have the usual typology of perceivable object.
    Keywords: Phenomenology, embodiment, New Media Art, Interactive Digital Art, Augmented Reality
  • Fatemeh Tahmasbi Omran *, Nadia Magholy Pages 31-45
    Among the different people and races which were in contact with India and had influence in their lives and culture, the oldest and most lasting of them are Iranians. The turning point massive entry of Iranian culture elements to India was by enthronement Babur's son Humayun's and Subsequently his refuge to the court of Shah Tahmasp. The presence of Homayoun Shah in Iran in court of Shah Tahmasp coincides has been with one of the golden periods of art and culture of Iran in the early Safavid period in Tabriz and When Shah Tahmasp turned away from art and supporting it, some of the artists were invited by king Humayun of Gurkani dynasty to go to India and found the core of the school of miniature in that country and that is how the most important result of this school (Hamzanama) under the extreme influence of Iranian miniature and artists was created. indian earliest works in this field are generally drawn from the works of Iranian Safavid era. One reason for this Take advantage and influence Iranian miniature art in India,was traction and attraction that Indian Emperor (Humayun) during the a visit to Iran felt than Persian Painting. Mural painting and miniatures that in the Safavid era in Iran had reached perfection by disciples of Kamal-ud-Din Behzad was taken in the land of India. The presence of this artists in workshops, book illustration Mughal Empire, was Caused transfer and expansion many of Tabriz miniature the aesthetic achievement in The fledgling school of Gvrkany miniature and especially the images of great book Hamzanama. Hamzanama version is, the first collective workings in the art workshop Akbar Shah has that lasted its completion 15 years. The attraction of this collection that Backgrounds preparing it can be traced to the palace murals the Mongols in the cable and the increasingly enthusiasm them to Portrait painting and Rvayatngary; be summarized In large format, Zoomed image elements, The Being text in the image and Finally, its application in the tradition of minstrelsy. Accordingly, this research with the goal of categorizing some of these elements emphasizes on the old connection between these two lands. And simultaneously answers the question that which elements of the second school of Tabriz had direct influence on Hamzenama and also what were the influences of the other Iranian negargary schools in Hamzenama. This research has a history research purpose which was done by descriptive analysis system and comparative and the data was collected in libraries. Results showed that visual elements Hamzanama image has many similarities with the paintings of Tabriz School 2, why that most of Herbal, combined, animals and celestial elements in hamzanama with many similarities with the elements in the painting school of Tabriz 2 have been draws. Besides that Other effects of painting schools of Iran, especially in Herat Painting School, the School of Shiraz during the Injuids and Tabriz school in the late eighth century be seen on a Hamzanama paintings.
    Keywords: Tabriz School 2, School of Mughal India, Hamzanama, Iranian painting
  • Javad Nekonam *, Bahman Namvar-Motlagh Pages 47-56
    Intertextuality in the twentieth century gave way to a new perspective and approach in studies in humanities, especially in literature and art. One of the most important of these trends belongs to Roland Barthes’ theory of intertextuality. The author of this paper has studied art figurine of the Islamic period entitled "Seljuk Sultan Tughril" belonging to 6th and 7th centuries AD by adopting the intertextuality theory. To this effect, first descriptive and historical accounts are presented. Then exploration are made with respect to visual, verbal, and pictorial elements of the system. Finally these elements are considered holistically and integratively in a ceramic statue Tughril Seljuk of 6th and 7th centuries AD. In the next stage by adopting a field study, the impact of the text in the audience and their interpretations the work are collected and reviewed. To this end, the researcher relied on forty different readings taken through an interview with the art and literature students and the resulting transcriptions were analyzed afterwards. The main purpose of this article is to make the audience familiar with one of the most important approaches of literary criticism and contemporary art that is the theory and practice of intertextuality by Barthes. In light of the study the audience may have a more accurate recognition of localization and the way it is adapted to the Iranian and Islamic studies. The results show that intertextual reading is a research method which provides the means to review and visual art, Islamic Iran. In addition, readings of the audience are often compound readings. In other words, most of the audience who had intertextual reading approach of the statue have also used textual approach and those who have had contextual approach have also applied textual and intertextual reading approach as well. Islamic art is derived from neither the Islamic doctrine nor the Islamic law; rather, it is originates from the inner truth of Islam in the Holy book of Quran. The Quran expresses Islam's central thought of monotheistic thinking states. The monolithic thinking not only explains the theoretical basis of Islamic art but also presents examples of this art. Intertextual study of Tughril clay figurines, a work symbolizing Islamic art, evidently represents Islamic law, monotheism and the Quran. The author believes that reading a work of art through the lens of intertextuality can help to achieve this goal as any work of art, according to Barthes, is a blind text, text and forms almost beyond recognition in the others with former cultural context and the context of the surrounding culture. By full recognition of the intertextual relations and putting together their artistic interpretation of a text together a complete interpretation of an artistic work may be realizable. This article intends to answer questions: - How does the audience benefit from intertextual relations in clay sculptures? - How many of intertextual readings of the work have explicit references to other texts? - How much of the audience’s reading belongs to verbal, visual or both verval-visual?
    Keywords: Clay Sculpture, Tughril Seljuk, Islamic art, Intertextuality Approach, Reading Barthes
  • Zohre Ebrahimi Nejad Rafsanjani *, Zahra Hossein Abadi, Rahim Khoob Bin Khosh Nazar Pages 57-69
    The similarity between underglaze painted earthenware, so-called "Kubachi” in the Persian Safavid period and Turkey’s Iznik pottery in Ottoman period has raised questions about the similarities with regard to motif and color between these earthenware and whether the Iznik earthenware take effect from the Kubachi ones? The art of pottery in the Safavid period had much prosperity and diverse earthenware came into existence, including gilt earthenware, haft-rang, blue and white, celadon, Gambron and Kubachi. Kubachi earthenware is a type of Safavid earthenware from the 16th century, the majority of which was found in Kubachi of the regions of Azerbaijan and Tabriz. This type of earthenware was often decorated by Khatay motifs and variety of colors. Similar earthenware were also found in Turkey’s Iznik region which largely conform in respect of design and color so that it seems they have effectively impacted each other. The aim of the research is to investigate the similar samples in Iran and Turkey. It seems that the Iznik earthenware were affected by the Kubachi earthenware through the attachment of Ottomans to ancient Persia and following the seizure of the Safavid government treasury in Tabriz and plundering many valuable artworks and the transmission of numerous artists of that region to Turkey (Ottoman capital). Beside the difference in the type of Kubachi free designing and Iznik symmetric patterning, the way those potteries are made, outline decorations and border of these potteries, and also their joint colors indicate their mutual impact in specific periods of time. This article first of all introduces the two kinds of earthenware, and investigates their relations and parameters that show that Kubachi earthenware influence those of Iznik. In spite of the available references, a comprehensive study on the comparison between these two kinds of earthenware has not been conducted, to date.
    Keywords: Kubachi Earthenware, Safavid Period, Iznik Earthenware, Ottoman Period, Iran, Persia, turkey
  • Mohadeseh Hosseini Someah *, Mehrnaz Azadi Bobaghchy, Kambiz Pourtahmasi Pages 71-81
    Workpieces (such as calligraphy or miniature), and manuscripts from the Seljuk and Timurids are the most exquisite paper works of book layout that have been noticed due to the transformations in the transition period of Iranian-Islamic book layout and the first handmade papers and diversity in papers. Although many researchers have described book layouts in the Islamic period and have spoken of diverse and high quality papers, there is no detailed information about the structure of these papers and it is not known how the papers are made. Also due to the structural similarities of the fibers used in the pulp of the historical papers, the most important factors of fibers identification must be must be evaluated in order that the differences and similarities between papers are more tangible. The main purpose of the research is to collect data on the way the fibers in historical papers from the Seljuk and Timurids are identified in order that the way the fibers from this period are identified is evaluated by meeting the standards.So, experimental methods (qualitative observations) and quantitative techniques are explained that can help in this regard. Historical studies showed that handmade papers from the Seljuk and Timurids are papers known as Samarghandi, Baghdadi and Khorasani and are mainly made of flax, kenaf and hemp. Fibers that are basic compounds of papers are generally obtained from annual plants such as fibers of dicotyledonous and monocot plants, and are known as non-woody plants. Compared to woody plants, these plants have lower lignin, higher ash, with similar cellulose but with more pentosan, and therefore, they are turned into paste more cheaply and comfortably. flax, hemp and kenaf are a part of crust group fibers (soft fibers), that have lower lignin in their fiber's wall, and are thus softer and more flexible. However, among soft fibers, hemp is less flexible than linen and cannabis, and it is difficult to distnguish linen and cannabis due to the structural similarities among their fibers. For instance, the physical properties of the surface of the plants including linen, hemp, jute, nettle and ramie are very similar. Also, the chemical compositions of crust fibers are very similar, except jute that has more lignin. On the other hand, the shape and size of the cross section of crust fibers cannot be distinguished. Today in addition to chemical reagents, there are many more techniques for identifying fiber of papers that are from the non-woody plants. the surface examination of fibers has become possible using SEM. In other words, flax fibers are directed towards S and hemp fibers are directed towards Z on their surface. Also using polarized light microscopy (PLM) that identifies the plants through their color changes on their surfaces, calcium oxalate in fibers was also confirmed. Calcium oxalate crystals are an important factor for identifying crust fibers. Also, instrumental analyses of Fourier transform infrared spectroscopy, energy-dispersive x-ray spectroscopy and x-ray scattering are tools by which the internal and chemical structures of the historical papers can be identified.
    Keywords: Identifying Fibers of Seljuk Papers, Identifying Fibers of Timurid Papers, Chemical Reagent Paper, Scanning Electrone Microscopy, Polarization Microscopy
  • Mohsen Ghanooni *, Samaneh Sadeghimehr Pages 83-95
    From a long time ago, the Iranian pottery has been as the oldest method of production and this works of art has presented the most important cultural, social and artistic characteristics of Iranian people. Meanwhile, the method of lustre pottery as the Islamic climax of pottery includes the numerous characteristics in the field of Iranian art. In 7th century AH. When was the golden time of producting lustre pottery, Iranian artists and industrialists such as Taher Kashani family developed its production and they got master in this field and they used this technique in the inscriptions and sanctuaries of the most important holy places in Iran. This article studies some existing types of the lustre tiles in Fatemeh-Masumeh’s tomb in Qom and their relationship with other types in Iran. Regarding the signatures on the inscriptions, we can find the oldest one a lustre tiles. The Islamic Iranian pottery improved significantly in different cities of Iran by the development of the science, culture and civilization. From the 5th century AH, a style has been grown according to Iranian national and religious concepts that the best ones can be sought in 7th century AH. The technical and artistic complexity and glory in the development of the methods of the lustre tiles were presented in the inscriptions of lustre tiles in the early 7th century AH. By the support of some founders of that time, some artists like “Abu Zeid” and “Taher Kashani” families could tie the lustre tiles to the body of Fatemeh-Masumeh’s tomb for the first time. The work finished in 602 AH., and it was the first work that included all the artistic and historical features in itself. Perhaps the work of the lustre tiles of Fatemeh-Masumeh’s holy shrine and Imam Reza’s holy shrine which were done in 612 AH. By this group of artist were the last attempts and works in Kharazmshahian era and before the Mogul invasion to Iran. The name of “Muhammad Ibn Abi Taher” is written on the inscriptions as the manufacture and calligrapher. In this work like the other works, “Abu Zeid” had done the decoration of the tiles. The name of “Abu Zeid” was written on two separate tiles and one of them confirms the scribing of the text on the tiles and one that time. Also, in the following decades and probably in 663 AH., “Ali Ibn Muhamad” the son of the “Muhammad Ibn Abi Taher” installed the tiles with different designs and technique in the tomb. The name of its founder “Muzafar Ibn Ahmad Ibn Ismael” and its installer who was one of the Kharazmshahi rulers were written on the inscription. This collection is a precious and national work and also it shows the religious respect of its creators to it. It has boon an artistic indicator and one of the prominent and oldest example in the word of pottery and ceramic. “Caiger-Smith” believes that the lustre tiles innovation was the most important achievement of Muslims in the field of ceramic.
    Keywords: Fatemeh-Masumeh Tomb, Luster glaze, 7th AH (13th AD) Century, Taher Kashani Famili, Abuzeid
  • Farinaz Farbod *, Samane Poorazizi Pages 97-109
    Al-Andalus also known as Muslim Spain or Islamic Iberia, generally describes parts of the Iberian Peninsula governed by Muslims at times between 711 and 1492.As a political domain, it successively constituted as province of the Umayyad Caliphate, Umayyad Emirate and Caliphate of Córdoba, Taifa kingdoms, Almoravids, Almohads and Marinids. Under these kingdoms led to a rise in cultural, Industrial, Artistic progress and became the most Imporatant Europe scientific center during Middle-Ages. Many beleves Fashion speeded in Iclamic spain Courts by the Genius of one Man, Ziryab, Who revolutionized the court at Córdoba and made it the stylistic capital of its time. After Umayyad Caliphate, the independent Caliphate of Córdoba focused on textile manufacturing as an important things for court precious property and trading stuff one of the most important progress was textile manufacturing and sericulture makes Al-Andulus the pioneer of European silk textiles. Silk industry flourished during Almoravids and Almohads dynasties and most desired those weaving textiles, Silk dress and vivacious curtains traded between Christian countries in central Europe. Most researchers believe that Al-Andulus textiles Most seen as continuity of Eastern textile design tradition especially Iran during Sassanid Period. It means that all similar motifs and compositions derived from this clothes and evolved in various Islamic territories separately. But this research presumes that Some of Al-Andalus textile motives and pattern repeats of Almoravids and Almohads dynasties have witnesses of some contemporary Iranian reign’s textile design innovations especially Buyid and Seljuk Textiles that both of them are the continuity of Sassanid textile design tradition. Therefore, this research tries to show these similarities through historical documents, comparative analysis of remainded textiles of these dynasties from design point of view, to investigate the reasoning behind these resemblance and showing he similar aspects of these textiles. Previous Researcher papers and Historical documents through Historians like al-Maqqari (1578–1632) and textile remains in various Museums especially Cleveland Art Museum offered precious information to measuring presume theory and improve it. Results show that trading over Mediterranean Sea between iran and Islamic Spain specially during Almoravids dynasty that had been imported silk clothes from Persian territories for courtiers usage and imitated them in local workshops with similar names as Dibaj, Isfahani, Jorjani, etc. that shows the cultural dominant of Persian textile design culture in Islamic Spain manufacturing places and their literature. From design view, depicting Human Figure, Animals and Buirds and Persian symbols as Tree of Life, two headed eagle, man catching two animals in repetitive roundels named Medallion, equally attention to positive and negative complement spaces in design of Buyid Textiles can be seen in Almoravids textiles and we can see representation of Seljuk textiles as geometrical Patterns, eight-pointed stars, lozenge and crosses in late Almohed Dynasty textiles. Probably, the less impact of Persian textiles during Almohed dynesty can infer as the result of religious beliefs of Almohed governers in relationship between virtue and simplicity in Life and reducing textile importations due Spain progress in sericulture and silk weaving that became them Europe's textile manufacturing Pole.
    Keywords: Buyid Textiles, Seljuk Textiles, Almoravid Textiles, Almohed Textiles, Al-Andalus Textiles, Persian Textiles
  • Abolfazl Sadegpour * Pages 111-124
    The use of motifs and Iranian artistic symbols of pre-Sassanid era continued to exist during the Sassanid dynasty and even thereafter, in Islamic art and civilization. These motifs can be perceived as the expression of social and cultural experience and religious beliefs of their time. Hence, they are great help to better understand the history of evolution of the peoples’ ideas. Following the conquest of Iran by Muslims and the Iranian’s conversion to Islam, under the influence of Islamic teachings, art and culture found significant changes. However, a lot of concepts and artistic traditions and customs of pre-Islamic Persia continue to exist with new values of the religious community. One of the most important characteristics of Sassanid textiles is their widely used decorative motifs with a profound influence on later artistic works of the later historical periods including Samanid and Buwayhid. The research enjoyed a qualitative method and tried to introduce the common motifs and decorative elements used in textiles of Sassanid and Buwayhid periods. Also, it presented a symbolic analysis to identify common patterns of textiles in the eras. The findings of this study Showed that most of the themes and decorative motifs, with a different qualities of form and content, in textiles of the Buwayhid period originated from the Sassanid’s. It also showed that symbolic textiles of Sassanid motifs on textiles Buwayhid showed continuity of cultural and artistic traditions and the National Iranian beliefs in the creation and processing of works of art of this period. The most important trends in textiles of Buwayhid period revealed the increasing prevalence of inscriptions in Arabic. Thus, fabrics were decorated with the prayers and the rulers’ names and titles in Kufic style. Among the common motifs, the tree of life was the most widely used embracing symbolic meanings. Many animal motifs used as decorative elements in Buwayhid textiles can be traced back to the shapes and designs of the Sassanid era. In addition, the use of natural elements in Buwayhid textiles was more prominent, more dynamic and more realistic than the Sassanid era. Among the Sassanid textile designs image, animal motifs were more common. Most of the motifs, moreover, were repetitive and placed in circular frames. It can be concluded that the motifs followed the designs of the previous eras. Research Questions: 1. what were the most important themes and motifs transferred from the Sassanid to Buwayhid textiles? 2. what were the most important motives in the transmission of symbols and motifs of textiles from Sassanid to Buwayhid? Research Hypothesis: 1. It seems that the most important themes and motifs transferred from the Sassanid to Buwayhid include natural and plant motifs such as lotus tree of life, animal motifs such as Phoenix, eagles, peacocks, lions, horses, role angels and humans. 2. It seems that the most important factors in the transmission of visual symbols and themes of Sassanid art to Buwayhid’s were Buwayhi’s sense of affinity to Sassanid rulers to create an integrated power and the restoration of the historical identity of Iran.
    Keywords: Buwayhid, paintings, Sassanid, Symbolic Analysis, Textiles
  • Mohammad Baqer Sattari, Shokoufeh Bayati* Pages 125-138
    Mirza Seyedalikhan Mostofi, entitled Etemad-e Hozoor the son of Mirza Seyedaliakbar Mostofi, is considered as one of the most active but anonymous photographers during Qajar era. In spite of large number of his works in galleries of Golestan palace, the collection of pictorial documentaries in central library of Tehran University and on the niches of most of old houses in Iran, there is not much popularity for his name in different photography history of Iran. Most of his works subjects are governmental officials, nobles and appointed people which have been taken in his private studio in a particular style. Some of these photos have been drawn by well-known painters and published in a lithography form in Sharaf and Sharafat newspapers that are two known newspapers in the Qajar era. We have found about five hundred of his works available now. Most of his photographs have been taken indoor, in his private studio and a few numbers of his works have been taken outdoor. His subjects are governmental officials but in some collections we can see photos of regular peoples and even poor people. No portrait from shah has been founded in his works but there is a photo of a women that seems to be the shah's wife. Except this one, other portrait sitters are males. He had made his studio by himself and had paid the costs by himself. Later, by understanding his skill from the shah, he selected to manage the royal photography studio and take portraits from governmental officials. This could be understood from series of photographs that have same titles and same method. His technique was wet collodion and his photographs has been taken in a studio with textile back ground and some decorations that are obviously artificial. The most important point in his photographs is that he seems to use same clothes in his studio for different subjects. The clothes and a significant sword are used in a series of portraits that make us believe that he was the was the first photographer that supplied his studio with some accessories to be used in the photographs for different persons. Most of his works are framed by special cardboards. His name is printed in English on these frames and all of the portraits have a subtitle that seems to be written by the photographer explaining the situation, name and posts of the portrait sitters. His photographs has less artistic or aesthetic value and can be mostly classified as practical photographs. In this study, his photographic technique and his particular style in portraiture is studied.There are a lot of portraits taken by him but he is still anonymous because his works haven’t yet been studied. This research relying on visual and library documents was performed through an explanative- documentary method. Data was collected by observation and library methods. We have tried to investigate all his works, traits and photograph taking methods with regard to very limited resources of information written by him.
    Keywords: Qajar Photography, Seyedalikhan Mostofi, Etemad-e Hozoor, Portrait
  • Vahid Choopankareh *, Akram Soltani Pages 139-150
    Humans try to provide “security and safety” in related environments to themselves such as living, work, rest and recreational environments. “Coasts” are one of the areas that always attract people to spend time and vacation there. But according to statistics in the medical jurisprudence organization of our country (Iran), “drowning” is one of the problems and obstacles that some people are victims of it each year (Adults and children). It is a multifaceted injury, involving multiple patterns that vary by age group, body of water and activity. Death and injury due to drowning and other water-related causes are too common in Iran at summer. Although it is one of the new public health crises and considered as major causes of mortality in many parts of the world, but it is often neglected. The awareness and institutionalize the concepts of security and safety at an early age are considered as preventative measures and strategies to ease the burden and problem. And drowning prevention efforts have narrowly focused on specific age groups and specific activities. Also educational games has attracted the attention of many educational leaders and they utilize the games as a practical and experimental approach for teaching kids in educational and non-educational environments such as home. Educational game is defined as an application compounded with educational aims and recreations and providing learners with regarding the value of life, using resource and methods and having a good time with the way of creating and having experience. For this purpose, in order to teach the concepts of safety and security as well as control the problem of drowning, an educational game has been designed to make it possible to utilize that as a preventive tool to control or decrease in this subject. Educational game includes teaching defined concepts by using pictogram system along for example notify about Rip Current and use aids for swimming (for example: Wearing life jacket, inflatable rings, swimming belts) and refreshing activities such as playing with sand and objects in it on the beaches. The Draw-a-Scientist Test (DAST) is a tool to assess stereotypical imagery of scientists. To increase the objectivity and reliability of the DAST as an assessment instrument method DAST-C (The Draw-a-Scientist Test Checklist) is used to confirm available hypotheses on 30 little girls from 7 to 11 years old at school. Hypotheses involve the using of educational games by children has effect on learning concepts related to safety and security of the coast. Educational game can be used to lead children toward other entertainments except swimming in seas. During the seven weeks and four stages (pretest, playing educational game, test, latest test), experimental group with the tools and methods mentioned above were tested. Finally the results evaluated by Analysis of variance (ANOVA) by a statistical analysis software (SPSS) and results had a significant differences between pretest and test/latest test and showed that the use of educational games has positive effect on learning defined concepts and it is possible to create a new attitude in children.
    Keywords: Educational Design, Drowning, Sandy Coast, Educational Game, Pictogram System