جستجوی مقالات مرتبط با کلیدواژه « ساختار بصری » در نشریات گروه « تاریخ »

Manichaean paintings are the visual language of the Manichaean religion, every Manichaean painting has mystical themes depicted by human figures. Human roles that are classified by the Manichaeans with different titles and positions. The arrangement and placement of each human body on the drawing page is displayed based on their position and rank in different scales and modes. Examining and recognizing human figures in Manichaean paintings can help identify the structural features of this valuable art because composition, rhythm balance, movement and geometry, which are important elements of visual structures, are tied to human figures in Manichaean paintings. The aim of this study is to find out the structural features of Manichaean paintings. The questions of this research are as follows: 1. What elements owe the structure of Manichaean paintings? 2. What are the features of Manichaean paintings in structural and composition? Research method in this descriptive_ analytical study, library resources have been studied and samples of Manichaean paintings on paper have been reviewed. The method of analyzing the works is based on the study of the visual principles and rules used in the appearance features of Manichaean painting. The results of this study show that human elements play a major role in the structure of Manichaean paintings and usually change based on the position of the scale and the sitting position of the figures. The size and placement of each body in the sections of each page of the drawing is not based on the principles and rules of perspective and images do not have depth, but nevertheless the drawings have a special balance and coordination and have a desirable visual weight.

Most studies on numerous potteries found in archaeological excavations are aimed at understanding people s mentality and beliefs in that era, in case that these images are externally and naturally roots of our visual art. The recent analytical-historical study will review visual structure of the illustrations in Iran plateau B.C with a formalist approach. The study is based on painted potteries and it is aimed at achieving visual characteristics. Studying vessel forms, elements and visual principle used in images clarifies the dominant visual features and provides context for categorizing samples based on the region’s visual priorities which include density of motifs, compositional structure of illustration and its elements, and type and repetition of motifs. Fars’s Tall-e Bakun is chosen as this study’s case geography because of its geographical extent, plurality of findings and its rich images. Visual samples are gathered by studying excavation reports and observing museum objects. In Tall-e Bakun b’s findings, vessel forms are limited. There’s a density of motifs in image frames, margins, in Tall-e Bakun a’s findings. Variety of motifs outnumbers variety of composition and structure. Visual elements were complementary in most images. However, a few vessels were illustrated only by using them. Visual equality between positive shapes and negative space is the unique feature of many images in this era. Movement and rotation are mostly observed in not band-based structures or animal expressive motifs. After visual analysis and visual criteria determination of motifs, vessels were classified as two major categories of either Fully-Painted or Scattered-Painted. Each category ‘s images were also classified into subgroups based on visual structure, elements of structure, quantity, type and method of motifs’ repetition. More than 90 percent of available vessels specially the scattered ones have band-based structures. Most images are fully painted with a single row or two rows of motifs.