فهرست مطالب aliakbar jahangard

Three single-page drawings mounted in an album signed by Shafi `Abbasi in the style of Ink on paper is the subject of this research. This album is kept in the British Museum. The album contains twenty-eight folios with fifty-five drawings of flowers, plants, insects, and birds, attributed to Shafi` `Abbasi. Iranian artist Shafi` `Abbasi was one of the painters of the Isfahan school, who specialized in painting in the style of flowers and birds.  Before the Isfahan school, color was the main element of Iranian painting but In the Isfahan school, the main element is line drawing. The Safavid capital, which was moved to Isfahan, turned this city into a trade center for all kinds of goods from east to west. The use of painting was no longer confined to the scope of court books layout. Single- page drawings had become popular for different classes; Also, at this time, designs were created for the growing industry of Safavid textile weaving and decorative boxes with lacquered covers. The visual element of line in these works has been investigated by the descriptive-survey method with the help of data from printed books. The research aims to identify the visual elements of lines in the signed drawings of Shafi `Abbasi. The classification of line features in the artist's drawings is proof of the authenticity of other works attributed to him. The results of this research show that all the lines used in the artist's works are curved lines. The line element is based on curved lines and no line has a static character. We have divided the lines into various curves and into five categories in terms of type. These categories include: 1- Symmetrical curved line of a single arc, 2- A curved line along the horizonal or vertical axis with several degrees of curvature, 3- Asymmetric curved line of a single arc, 4- Curved line with wavy arcs, 5- Deep curved line. For each single-page drawing, a single category of curves can be considered, which has caused the creation of various rhythms and patterns. On the edge of the leaves and some flowers, different corners are drawn with elongated or wide curves. These corners are curved in different directions depending on the position. Even the use of this category in drawing insects and other painting decorations is also considered. There is a formal connection between the curved lines of the painting and the calligraphy form in the artist's signature. In terms of quality, the line has variable thicknesses and does not move uniformly. The starting line is thin and delicate, in the next stage, it takes a suitable thickness. This change in line thickness has created a bright shadow and volume in the painting. In the end it has a delicate finish and is separate from the connection to the other line.

The influence of Kamal-ol-Molk on Iranian contemporary art is taken for granted. This effect was the beginning of changing the paradigms governing Persian painting. But despite the influential position of Kamal-ol-Molk, the discussion about this influence and position has not always been the same, and perhaps it can be said that few artists in contemporary Iranian art have experienced such a difference in evaluation. Honar-va-Mardom magazine, as one of Iran’s pioneering artistic publications, with a governmental structure and affected by the inevitable acceleration of modernization of Iran in the 40s and 50s, (equivalent to the 60s and 70s AD) is one of the first examples that introduced Kamal-ol-Molk. In these texts, different definitions of Kamal-ol-Molk have been presented. The purpose of this research is to analyze how Kamal-ol-Molk was introduced in the Honar-va-Mardom magazine and determine the relationship between this introduction and the developments of Iranian modernism. Since the purpose of this research is fundamental and it is done by examining the historical developments of the decades in question, the historical-analytical method was used. Data from books and articles on contemporary Iranian history and magazine archives have been used. The results show that the introduction of Kamal-ol-Molk in the publications can be classified into three groups: 1- The paintings are amazing in terms of Realism and resemblance to photographs, but with some technical problems. 2- The works are limited to copies and the necessity of modern society is to pay attention to the contemporary arts of Europe and America. 3- Kamal-ol-Molk joined history and created change in his time, which was due to the conditions of his time.

Kant’s thoughts and his important book on beauty andaesthetics  -  Critique of Judgment  - should be consideredas one of the most important foundations of subjectiveaesthetics. Subjective aesthetics in Kant’s theorydistinguishes fine arts from useful arts by attributingcharacteristics such as non-functional, non-conceptual,and genius-based to fine arts. In this respect subjectiveaesthetics laid the theoretical foundations of modernart - developed in the late nineteenth to the first halfof the twentieth century- in the eighteenth century. Inaddition to modernism, which was directly influencedby subjective aesthetics, this approach also had a greatinfluence on the art of the second half of the twentiethcentury. The main feature of some artistic currents ofthat period such as Pop art is based on a critical reactionto subjective aesthetics. Pop art is a turning point of aradically different approach to art and the foundationsof the art world. Understanding the characteristics ofPop art is significantly based on reaction to subjectiveaesthetics, and it seems that without subjective aestheticswe cannot achieve a comprehensive understanding ofthe nature of some artistic currents in the second halfof the twentieth century, including Pop art. LawrenceAlloway is one of the most important theorists of PostModernist art. Alloway initially used the term Pop artto describe some of the artists’ works in Europe andAmerica; works that were different in themes andformal character from fine arts traditionally based onsubjective aesthetics. Opposing modernist elitism andany transcendental character for art, Lawrence Allowaysought to achieve a broad definition of culture and artbeyond subjective aesthetics; a definition beyond thelimits of fine arts, referring to all human activities. Inthis way, is removed the distinction between fine arts anduseful arts in Kant’s theory. In this article, we seek togain a more accurate understanding of the nature of Popart by considering Lawrence Alloway’s views - as themost important theorist of Pop art- and his thinking onKantian aesthetics. Finally, Lawrence Alloway’s theoryseems to consider art as functional and communicativesystem, in order to both respond to subjective aestheticsand to offer a different definition of art in general, whichis based on the system of functional communication. Onthis basis and regarding Pop art, it can be inferred thatthis theory does not agree with qualitative topics andanalyses of art. Because qualitative analysis dependson subjective aesthetics, it is the opposite of LawrenceAlloway’s communicative approach to art. FromLawrence Alloway’s point of view, qualitative valuesin art seem to neglect the achievement of a commonand equal field for all in art. For this reason, art as acommunicative medium is considered only as a platformfor providing information to the audience.

Children are the most significant future assets of the society of any country, and their care is the responsibility of families, the education system, and other institutions. Childhood is also a vital year for children’s physical and mental development. Therefore, general education should start at this age. Art plays an essential role in teaching and transmitting information to children. The occurrence of natural disasters in the world, such as earthquakes, floods, etc., has caused a lot of financial and human damage to human beings in recent years. Today, the importance of disaster education in operational programs with a risk reduction and disaster approach, creating resilience that can reduce vulnerability and adverse and destructive effects of disasters, has been emphasized. Therefore, acquiring skills to prevent the impact of natural disasters that have threatened human society for centuries is essential and also requires education and knowledge transfer to children as a vulnerable group. In the meantime, art as a helpful tool in education and prevention can be practical and play a role. Therefore, in this study, the role of art in preventing disasters for educating children aged 6 to 12 years has been investigated.

The tiling in Persian history has passed through a way full of ups and downs. From the first renowned monuments like enameled bricks of the Achaemenian era through the floor mosaics of Bishapoor palace in Fars province, all have been connected and foregrounds to achieve what is owned in terms of patterns and designs, and techniques. However, some eras in Persian history have been significantly distinct and marked compared to others in tiling history. Up to the advent of Islam, a particular tiling style was fashioned in tombs, mosques, and seminaries in the Seljuk era. The tiling of this era was austere and monochromatic and contained geometrical patterns. In the following periods, such as the Safavid era, with the departure of Islam and the weakening of its laws in design, and the effects of western architecture and art, there created several changes in the patterns and designs of tiles. Moreover, using new techniques (heptachromatic), the rate of tile production also increased, and thus tiling patterns became more various and consequently more distinct. This study is a qualitative comparative article examining tile patterns in the Safavid and Seljuk Islamic eras. The styles of tiling in the above two different historical eras have been studied in this research, and their differences and resemblances are explained. One of the most important results is that in the Seljuk period, the tiling was monochromatic, while in the Safavid period, the tiling was polychromatic or seven-colored.

The events of the Prophet Muhammad’s life are one of the most important issues considered by painters in different eras, which many examples are in the manuscripts of Mongolian Ilkhans. This study includes the investigation of Ilkhani images related to prophet’s life based on Iconography method. Therefore, three questions formed the purpose of the study (1. Which characteristics have been basically utilized to describe the prophet pictures in Ilkhani period? 2. How is the evolutionary religious icons’ trend during the Ilkhani period? 3. What are the factors affecting on religious icons during the mentioned period?) Four images in Ilkhans’ manuscripts were assigned using the iconography method in order to answer these questions. The findings revealed that the painters typically illustrated the prophet’s events life relying on existing descriptions in the Qur’an, hadith and Islamic narratives as well as the interests of art patrons. The results indicate intellectual, religious, political and artistic background of the study period, which looks at the differentiation and the similarity of the images of the Prophet in this period.

In many cases, the invented perspective of Renaissance and its related texts from the era could be read as a claim on representing reality. Yet, they can also be considered as a unitying system in the realm of the image which is more in favor with subjective characteristics. According to the available evidences, it seems that the Renaissance perspective is not only a reflection of objective reality, but also it is incompatible with human vision. If one considers Renaissance perspective a subjective system as Kant and Panofsky did, then perspective would be a showing of the unquestioning supremacy of the subject in the realm of the image. Hence, the claim of the realism of Cubist painters would be in favor with a kind of objectivity, which criticizes the domination of the subject. The most important proof in this regard is deletion of the subject’s perspective from Cubism painting.

Courtly Iconography is one of the most important schools of Qajar painting which, relying on new technical features and traditions of Iranian painting, achieved a new kind of visual character. There is a certain kind of ideal objectivity in Iranian painting which regards reality not a form visible by sight, but an ideal one. This ideal form is not necceserily the immaterial aspect of matters, but the nomen of every phenomen which is not seen by human.But Qajar painting considers another type of image properties. These properties are important both in their formal qualities and in specific changes which they embed in themselves. This type of painting relies on formal traits and new material, creating different visual forms in appearance compared to miniature. But regarding the concept of reality in Islamic thought and visual traits of Qajar painting, two conclusions about this school may be deduced: first, in spite of its differences with miniature, by relying upon Islamic thought, this type of painting is actually the continuance of that tradition. Second, the dominant characteristics of Qajar painting can be placed into one category which is in accordance with the concept of foregoing reality