پژوهشنامه گرافیک و نقاشی
پیاپی 2 (بهار و تابستان 1398)

Perception is the process by which the sensation, that is, the information taken from the sensory organs, becomes organized and meaningful in the whole. The significance of perception is that the world around us provides a regular basis for knowledge. The purpose of this research is to investigate the effect of art of painting education on the perceptional organization of individuals. Our assumption is that the artist’s perception is improved by doing some of the themes that will be mentioned in the text. To prove this hypothesis, this study attempts to be conducted in an experimental laboratory environment whose results will actually be the answer to the main question of this research. What is the impact of painting education on the perceptual organization of individuals? This test is a test, copy and re-examination of the complex Andrei Ray’s geometric shapes. Sixty subjects including thirty students of painting and thirty non-artistic subjects participated in this research. The research method is causal-comparative after-event. Statistical analysis has been used to analyze the research data. Comparison of meaningful scores shows the perceptual organization’s criteria. Based on these results, the different criteria of the perceptual organization of the people, including the quality and richness of the drawing, the drawing style, as well as the length of the drawing in the non-artistic group, show less scores than the artistic group.

One of the most important communicational media belongs to book cover that has been published more than any other visual communicational products, and affects directly the audience’s visual taste as an artistic and applied work. But plenty of books published during recent years have made books with non-qualitative aesthetics criteria due to generalization of publishing market. Because the art audiences as its receivers and consumers play a key role in the formation and reception of art works, so it is essential to know quality of taste and aesthetics criteria of audiences. The theoretical foundation of this study in the field of evaluation of the levels of audiences’ taste is based on the theory of “cultural capital” stated by Pierre Beurdieu. He believes that aesthetics choice of audience depends on each person’s cultural capital acquired through the social field in which he located. Beurdieu speaks of two types of audiences and thus two different types of aesthetics; the “pure aesthetics” and “vulgar aesthetics”. Standards of these definitions rest on the recipient-based research in this study. Authors have benefited from a descriptive-analytical and field study method by use of library documents in this research. The present study tends to evaluate the level of visual taste of audience based on Bourdieu’s cultural capital (education, income and…) to recognize them and study their expectations from cover design as medium. The results illustrate that most of audiences, regardless to their education and income, give priority to book cover designs with criteria presented in the “pure aesthetics”. This means the artistic ability of audience has been developed due to the influence and expansion of media. If you design a book cover including the aesthetics criteria related to the content of the book, the reader will select it despite substantial differences in its usage of cultural capital.

the mirror’s art is one of the Iranian traditional art. It is mainly used for interior decoration of monuments. The mirror can be considered the latest initiative of Iranian artists in the fine arts. Iranians have used it for interior design and decoration. As a matter of fact implementation of designs with small and large mirrors are used to decorate the interior surfaces of the buildings, which creates a brilliant and sparkling space. The result is a consistent reflection of light from the countless parts of the mirror and creating a pleasant and dreamy atmosphere. The equivalent of this brilliant atmosphere can be seen in various forms of modern art, for instance, cubism. This article is an attempt to answer the question whether there is a similarity between multidimensional images in Iranian mirror’s art and cubism. Thus in order to achieve the purpose of the research, the author has divided the common visual signs between the Iranian mirror and the art of cubism into their visual signs. Hence using a descriptive analytical method, visual concurrency and collecting library and field information we will study some aspects of the sample. The result of the matching and the studies show; there are similarities between refraction and multidimensional images in the Iranian mirror and cubism regardless of the time and space conditions.

One of the most precious and oldest legacy of the past, and their art is traditional painting and art, images that are rooted in the heart of culture. Symbolism as one of the tools of visual expression has been seen in many Iranian paintings and has brought together the concepts of form and meaning. By studying and analyzing elements related to painting and Iranian motifs used in posters with different subject and audience, we can examine the effect of images on the transmission of the message and its impact on the audience. This pictorial epistemology on posters of the last decade emphasizes the Iranian art of painting. The main focus of this research is to study the relationship between the topic of posters of the last decade of Iran and the use of symbolic elements and Iranian imaging paintings. In this research, the posters designed during this time period are discussed and analyzed according to the semiotic concepts of motifs and images related to Iranian painting. Descriptive-analytical research method and library information gathering method you and the field results indicate that the relationship between the role of Iranian mosaics and the elements of painting with the use of symbolic signs and it is argued that the relationship between the role of Iranian mosaics and the elements of painting in this poster using the elements of the figurative elements.

Semiotics enables us to enhance the function and effect of advertisement. Advertising is one of the arts in which visual signs, along with some other signs, develop a link between the audience and the artwork. The present study was an attempt to investigate and analyze Parody’s effect and function as part of the effect of art on intertextuality. In the present article, intertextuality, parody and advertisement are generally introduced, and then a descriptive, analytical and qualitative approach is used to investigate the role parody in McDonald’s commercial advertisement, according to Michelangelo’s Creation of Adam, as a delicate and leading manifestation of parody. Judging by the literature, the theoretical framework and the fundamentals of semiotics used, it can be argued that the present study actually draws on the origin of intertextuality and the approaches used by Roland Barthes the French postmodern philosopher. The results suggest that in its new service advertising campaign inspired by Michelangelo’s Creation of Adam, McDonald actually tries to make customers develop an association between the food products and the food values, making them believe that the products presented by this Brand are of a particular refreshing and spiritual value.

O ne of the main sources of knowledge of the foundations of modern painting is an article by Clement Greenberg entitled Modernist Painting. In this article, by expressing the function of self-criticism in art, and eliminating other mediums, he has introduced surface as the single distinguished and specific norm of painting for realization of purity in painting, which has been largely highlighted in modern art. In Iran Jalil Ziapour in 1949 published a statement entitled Elimination of Theories of Past Schools from Primitive to Surrealism in Kavir Journal. By elimination of other mediums in painting Ziapour sought to propose the “Perfect School Theory” and delineate the values of pure painting. Knowledge and comparison of the foundations of modern painting in contemporary art in Iran and World seem to be necessary. Since both statements express the foundations of the modern painting the question is that what differences and similarities do these statements have? The current essay uses a descriptive-analytic method to show that both statements consider the motives and goals of the artists a personal affair. But the difference of the statement of Ziapour lies in the fact that contrary to Greenberg it does not believe in the function of self-criticism in painting, existence of historical continuity in painting, lack of planning of modernity in art and the significance of historical and cultural context of modern art.