نشریه هنرهای زیبا - هنرهای تجسمی
سال پانزدهم شماره 2 (پیاپی 42، تابستان 1389)

The manner of understanding of muslims mystics such as Ghazzali, Sohrevardi and Najmeddin kubar about light, degrees of lights, coloured lights and realm of imagination is an issue that this essay intends to study it. In this research, the matters about the influence of Gnostics thoughts and Islamic theologians on Persian painting are presented. Certainly if the artist is qualified for deep of muslim mystics about light and realm of imagination, in artistic creation, is different with the artist having no such deep insight. For example, Iranian painters, because of pay attention to the realm of imagination, there is no in their works, chiaroscuro and perspective. The artist is an artist if acts with imaginary cognition in human cognitive system and the realm of imagination which is different with imaginative faculty and ontological affair in existence system are analyzed. If the imaginative faculty of the artist is concerned with the spiritual affairs, the art created by him/her is a sacred art. The sacred art is similar to the veridical dream because it is based on truth and its recognition. But if the imaginative faculty of the artist is concerned with the satanic affairs, the art created by him/her is a mundane art. The aim of this research, is also to survey on the influence of the light theory of illuminatioism on Iranian painting. The Muslim painters such as other artists of the previous eras followed the mystic and philosophical doctrines of the Muslim intellectuals. Among these intellectuals, the theories and doctrines of Sheikh Shaboddin Sohrevardi and Najmeddin Kubra have had much impact on the beliefs and function of the painters in such a way that these effects are clear well in the face of the Muslim painter’s works.The effects of Islamic philosophy and mysticism on the view of Muslim artists, have led to presentation of certain aspets of light and color in the imaginary world of Persian painting. The imaginal world was initially introduced to Islamic philosophy by Shaykh al-Ishraq Sohrevadi. Tish is an intermediate world between the world of matter and immaterial worlds. Therefore, it plays the role of a connecting link enjoying the characteristics of the worlds above and below, and that is why it is the world of wonders. Concerning the quality of the interaction between the imaginal world and material world, we should say that, based on Sohrevardi’s words, we can consider the forms of the material world as the manifestation of the imaginal forms existing in the imaginal world. In this reseach, concept and attendance of light in painting works and familiarity of painters with illumination philosophy, some explanation and clarifying matters have been mentioned. Manner of sohrevardy’s understanding of light and also world of imagination issues presented by him, has caused that painter draws a world of imaginal in his artistic work without shadow and full of light. In the end of article, we can see effect of imagination discussions on distinction of sacred art from mundane art.

ew system of secondary education has been incepted in 1992, consisting of three study branches of theoretical, technical/ vocational, and Kardanesh. Regarding the founding philosophy of Kardanesh branch, i.e. provision of skilled manpower proportionate with labor market need and also training skilled, semi-skilled and master workforce, art students may receive Kardanesh high school diploma providing that they pass general courses and skill standards as well as all remaining courses up to 96 credits. It is in such condition that they may continue their post diploma study in the related fields. Main objective of Kardanesh and technical/vocational skill training branches is training of required manpower in industry, agriculture, and service sections, in accordance with country’s economic, social, and cultural development needs. This objective should be fulfilled in a way that all employed individuals or employment applicants in society acquire sufficient knowledge, skill and attitude for the occupation they are already involved in or are interested. In this article, research problems in technical/vocational and skill training curriculum activities and content have been studied. Main emphasis has been on skill fields of art group in the Kardanesh branch. Reviewing more than two hundred fifty research results in the area of technical/vocational and Kardanesh education has shown absence of analysis of problems in the art education domain. Considering some curriculum parameters such as art teachers role, learning opportunities, and development and implementation of curriculum, organization of content and activities as well as problems related to art group are studies as follows: 1- Provision of entrepreneurship ability for educated students and graduates employment (labor market); 2- Diversity of art students and art teachers’ education needs; 3- Required educational equipments and spaces; 4- State of implementing curriculum activities and content; 5- Existing learning opportunities in curriculum and educational programs. This writing describes the students’ transition trend from high school technical/vocational and Kardanesh branches to labor market and university art schools. It, therefore, provides art universities professors with background and information related to students diagnosis evaluation at high school cycle, and before university thoughts. Results of this study, which has been undertaken by descriptive and analysis method of five above mentioned problems through refers to research reports and discussion with scholars of high school art group in technical/vocational and skill training, imply that following matters should be taken into consideration: Taking advantage from technical/vocational research results in other countries; Proportionality of country’s regional capacity with technical/vocational and skill training curricula; Providing manpower (art teacher); Designing, developing and implementing technical/vocational and skill training curricula in a way as curriculum guide; Horizontal and vertical relevance of high school art group curricula its correspondent fields in technical and art university schools; Paying attention to curriculum elements in implementing technical/vocational and skill trainings; Other similar subjects. Paying attention to curriculum elements in implementing technical/vocational and skill trainings; Other similar subjects.

Training and upbringing tradition and educational system in Iran because of its religious content, at first has accentuated to moral and intellectual foundations and then has recommended to teaching of since and art. Calligraphy is one of art branches that its education system has formed in the shine of religious meanings. Doubtless, this tradition has caused to the formation of properties and elements in this system and has helped to its preservation and genesis. The question is that what these factors are and how affords on calligraphy preservation and genesis. The review of properties of these factors can make clear the reasons of growth and spread of this field in past periods and display the position of each factor in education system. The factors such as moral education, the reciprocal rights between teacher and student and methods and steps of education like as theory practice, pen practice and imaginary practice, by their special properties and qualifications has had effect on calligraphy continuity and genesis. Moral upbringing is the beginning of calligraphy education and learning. Learning of Koran and hadith (Islamic holy persons’ phrases) texts in childhood, provides moral status for other educational factors. In addition of Koran and hadith learning texts, there are another educations such as fine writing. Because of duplicating manuscripts, calligraphy learning has been ordered much since childhood. So people have learned calligraphy from masters since childhood. Teacher and student is main pillar of education. Relation between Teacher and student was formed gradually and was hearty. In this style of communication, teacher’s pace maker has placed in the students’ hearts as executable laws and be accepted as the most important educational basics. Teacher and student by conditions that religious educations would create due mutual rights. Master should always thinks about the student’s teaching, and should not begrudge anything from student, examines his talents and recognizes the student’s abilities and prepares the student for education. Against, student must, has perfect devotion and hears the teacher’s orders by heart, leaves indolence and be strong and firm in the way. Ingredients of calligraphy have two parts: acquisitive and non- acquisitive. Principles and manners have formed, for entrance to calligraphy acquisitive part. Practice is one of these methods. Practice is done in three levels. First level that is called “theory practice” is the study of teacher’s style. In this step Student get familiar with spirituals qualitative of teacher’s style. Second level that is called “pen practice” is applicative study as well as teacher’s style. Third level that is graduation step devotes to imaginary practice. Student can sign under his work with teacher’s permission in this level. Teacher and student, with consideration of rights which have own to each other, and use of educational methods such as verbal and slender education by teacher and doing theory practice, pen practice and imaginary practice by student, help to preservation and genesis of calligraphy. This article has done by using of old context such as Gnostic books and calligraphy treatises, and studying calligraphy education in teacher-studentship system by qualitative and content analyses method.

One of the special Islamic Arts, Calligraphy was given a great reputation because of its association with Quranic verses from its earliest appearance on Kufic script. This spiritual support along with the utilization of Kufic on craft decoration cause the advent of different kinds of Kufic, and different cultures and eras flourished its vast variety of unique characteristics. Among all of Islamic dynasties, Samanids have a prominent role in reviving ancient conventional Arts and in representing Persian schema and quality in the Kufic script which remarkably appear on Samanid epigraphic slipware. In this era, potters attained a suitable social and economic position in which they equipped decorators to create a wide spectrum of motifs with their invention named slip painting, a new technique of under- glazed painting. Furthermore, both the application of calligraphy for decorative purpose and inscriptions such as benedictions, proverbs and pious aphorism allowed calligraphers to decorate vessels without the limitation imposed in implementation of architectural epigraphs for registration of historical events and Quranic verses. Thus calligrapher decorators utilized various forms of Kufic from simple to ornamental. They wrote simple Kufic style from classic to eastern on slipware, the quality of which is comparable to the similar contemporary Quranic manuscripts. The ornamental elements such as palmette, Knot, etc were gradually joined to simple Kufic to develop ornamental Kufic script. Although in early inscriptions these adornments were used only on a few letters, they were later elaborated so intricately that they made the writing difficult to decipher. On the one hand, studying this variety seems essential in that it has been mentioned repetitively in many sources without any evidence that there were forty two kinds of Kufic script in Khorasan in eleventh century. So the study of Samanid epigraphic slipware originating in this region can provide testimony to this purport. On the other hand, the variation of Kufic script is valuable for its aesthetic and historic trend and nowadays tempts the attention of many researchers, collectors and designers. In this research all kinds of Kufic script on Samanid slipware are extracted and categorized in the prevalent Kufic classification. It also surveys its formal developments to inform designers about the origin and the principles of calligraphy. In addition, it intends not only to improve designers’ practical skills but also to illustrate the evolution process of Kufic to specify the origin and the source of each one, Meanwhile, Kufic developments are chronologically showed in graph which can be effective to estimate the approximate time of these vessels with the aid of other factors. Ultimately, it can be concluded by scrutinizing these slipwares that classic Kufic was the first simple Kufic and intertwined Kufic the first ornamental one which were inscribed on Samanid slipware with the essence of Persian trait. This special characteristic fortified with the coming of eastern Kufic prospered the other kinds of simple Kufic. Moreover they were progressively combined with adornment elements and varied scripts were emerged as a result.

This essay tries to use armchair studies and photograph comparing for indicating the influence of political and cultural relations between west and east countries directly and indirectly and the role of Iranian king in his territory about Iranian photography including the different approaches obtainment between Iranian and European photographers about taking photos from Iran through the Qajar era. It contains dichotic theories that are affected by western photographers’ approach from the “Orientalism” trend in 19th century and the reasons of Iranian for being reluctant about taking social documentary photographs in order to find the necessary required origin of historic reasons about the mysterious concept of Iranian photography. The conclusion of this essay shows the western visual effects, artistic culture of that century and Iranian art on Iranian photographers and the main events of them. This result introduce the aspect of Iran photography history in basis of that dichotomy to indicate the future route of this art and the relations that will perform in this “Transcultural” interactions. Since the king “N??er-al-D?n Shah” enjoyed taking photographs and photography was important for him, the photography as an unknown technique was accepted by the Iranian. So, it could be the most essential factor to distribute photography and made it as a common art in Qajar Era. Here the word “European Photographer” including non-Iranian photographer who their approaches and concepts are affected and interacted by European culture. The writer mentions some prominent Iranian and European photographers as following:? qa Rez? Eqb?l -al- Saltaneh, “Akk?sb?sh?”, worked as the first professional photographer in Iran. His art works indicates both the European influence and his own style. Abdol?h Mirz?, “Akk?s Makhs?s”, the first official photography teacher in “D?r -al- Fon?n”, the most professional Iranian photographer because of photograph amounts and quality and eventually, his art works was unique in comparison with other Iranian ones. Francis Carlhian who was the first official photography teacher in Iran, took photographs about Iranian portrait. Luigi Montabone could be a photographer who his arriving and photography in Iran was beginning the artistic and aesthetic motivation in Iran photography. Ernst Hoeltzer, a German engineer, in Iran. During his working in Isfahan (Jolf?) tried to take some planned and organized photographs of buildings, jobs, customs and different levels of Iranian society residences. Antoin Sevruguin is the most well-known and popular foreign photographer in Iran. He is one of the most significant characters for being a type of cultural hybridity. The European demands for anthropologic photographs were changed the European photographers’ direction to a kind of semi-documentary photography in Iran. The main order of Iranian portrait and building ones was from the king. Iranian works was first simpler but after a while they changed as composed the European paintings and the Iranian art and culture. The European photographers’ works visually derived from European painting tradition and even sometimes a little from Iranian culture and art. The cultural differentiation is the main factor to indicate Iranian and European photographers’ approaches in Qajar Era.

In this paper the role of appropriate methods for Culture based design would be discussed. The main argumentation of the article is based on possibility of Causal Layered Analysis as a method for culture based design, so that deep layers of cultural cognition would be grasped. Based on this, two pilot experiments have been conducted and some comments for further studies have been introduced. The role of culture in product Design has become a major trend in Design research; however presence of a methodology for designing products based on culture is not mature enough. The problem with current methods is that while observable layers could be grasped in culture based design, designers hardly can confront deep and tacit levels of cultural interaction. There have been two main trends in order to achieve tacit levels of user cognition; one of them is by motivating users to demonstrate their ideal products by collages or pseudo-advertising sessions (Sanders and Stappers); the other method is by combining levels of emotion (Donald Norman ‘s Theory) and levels of cultural interaction. The main criticism we pose to them is that these methods are based on user’s observable perception and their desire or hedonistic character. While the real reaction could come from confronting users with cultural elements and symbols, stories and metaphors may not be evident at first glance, but would have a tremendous effect based on their subconscious and unconscious character. For years, designers’ insight, the same as artists, has covered this gap. And later on, terms such as collective unconsciousness, have been offered by Karl Gustav Jung. Without entering those discussions, we would like to refer to a method which would help the designer confront those levels. The method we chose, from current methods, is Causal Layered Analysis. This method has been originated from Foresight Studies by Prof. Suhail Inayatullah. The reason we chose this method is based on the layer of analysis which can be generated from this, it was one of the few methods which referred to layers of Mythologies as a paradigm shaping the human artifacts. According to the abovementioned argumentations, we planned two experiments, in the first experiment we showed participants 3 set of objects; each set consisted of two examples of the object type, one functional and simple, the other with cultural associations, and we asked the users to choose between them regarding their interest. The results showed that most users would like to choose objects with cultural associations rather than simple functional objects. In order to see if our chosen method would be helpful for designers, we conducted our second pilot study, meaning that we designed objects based on CLA method and we to reflect deep layers of cultural association in the objects designed. The results not only showed the usefulness of method, but also opened up possibilities and further steps which needs to be passed in order to let it be fruitful for design.

The objects do not exist alone and are material. They were produced by men, which integrates the social systems. An object can be formed by other objects but also into a broader technical ensemble. Technically, they are in relationship with other data such as materials, sources and forms of energy, other objects surrounding them. Historians of technology believe that making the history of products is to integrate the technical objects in the human and economic dimensions of their time to understand, explain and be able to follow their evolution should be placed at the intersection of three areas: technical, economical and socio-cultural. So, objects faced with several huge changes during human history and eras, from simple hand tools to even socio-economic, cultural and religion roles. It means the role of tool has already gone beyond the simple usage. Furthermore, use of products in some cases has been changing to a symbolic function or an art which does not depend on its real function. Our senses are known as the first contact way to objects for getting related perceptions, and there some factors which affect on our perception from our surroundings such as individual’s experiences, environmental conditions, and so on. Otherwise, objects are the main linkage between user (costumer or consumer) and designer; therefore, the mentioned contact might be as a non-vocal communication. Anything that involves communication, even unintentionally (colors, forms, functions, quality, etc.) is something that can deal with objects. It means that the designed objective create a communication between designer and user through the object’s features or significant performances. In other words, the industrial product can be studied as a communicative tool and expressively rich. Under this condition, user is able to understand the designer by object’s performances (for both of unfair & optimistic characteristics). This article tries to explain the process of product design as a reliable thought and shows that a valid designing involves a logical process, techniques, and measurement. Effort and creativity of the designer (as the sender of the message) must lead the user to understand easily all of product’s information. The message passed, causing the user to reclaim the object. An ignorant and non-experienced designer (in the fields of semiotics and semantics) is not able to create an attractive product. Therefore, the product is deservedly regarded as the mediator of the designer in his absence. If the mediator (the product) has no message to deliver, or if the product has trouble to convey the true words of the designer, it puts in danger the both of need and use of product. The outcome of the mentioned circumstance is ended to a sustainable and dynamic communications between users and designers, as well; therefore, making the mentioned interaction is known as prominent visions in industrial design endeavors. Also, by assessment and exploration of these sorts of communications, making an appropriated linkage between designer, product, and user will be create which help to boosting the interactions factors and related interfaces.

Mental philosophies of modern and postmodern era influenced on all aspects of artists’ lives. Graphic designers are, likewise, influenced by this difference of attitude in the industrial and post industrial societies which is the result of these eras. This fundamental evolution in the graphist’s attitude caused an obvious variation in the duties, tools and procedures of their work. The present research with a comparative survey attempts to compare the philosophy, culture in the modern and postmodern arts and the way of their effectiveness on the attitude of societies, and on the other hand, how it affect the graphic design and its methods. The survey continued by the study of the concept of user-oriented design which based on identifying the audience and its effectiveness on the postmodern graphic. The results of this research indicate that Graphic designers’ duties and procedures of designing in the industrial society had a structural approach; and the artist tries to create a unique culture (cultural democratization) among the societies. However, the novel post industrial world with the new interactive art does not accept Graphic apart from other knowledge, especially the audience. In this period customs and individual values become significant (cultural democracy). Graphic designers discuss about the issue of creating culture and presence of audience in art works which contains some new and cultural necessities. Graphic designers of industrial era had the duty of creation of a formative visual art work with the international comprehensibility; however, in the post industrial era, they had to know the audience and his culture better and involved him in the designing processes. On the other hand, they had to check the amount of their success in creating and blooming of culture in post industrial society. This conversion of duty for Graphic designers which was simultaneous with duty conversion of industries is named the process of progressing from designing for a culture to designing a culture. Postmodern graphic designing is not vogue in Iran and that is owing to the absence of academic foundations and lack of enough communication between visual artists and basics of Anthropology, Sociology and Ethnography which are the bases in scientific cognition of audience and designing culture for him. The concepts that are known as user- oriented design among the world Graphists. Different methods of Observation, Photography, human-oriented Cinematography, deep interview, integrated meetings and … is educating in this educational system for master levels. Moreover, they teach how to analyze these data in the way that the outputs of designing could derive from them. Occurring this issue according to the developing interdisciplinary sciences, could omit the deep gap between art and humanities in Iran. Different methods of Observation, Photography, human-oriented Cinematography, deep interview, integrated meetings and … is educating in this educational system for master levels. Moreover, they teach how to analyze these data in the way that the outputs of designing could derive from them. Occurring this issue according to the developing interdisciplinary sciences, could omit the deep gap between art and humanities in Iran.