جستجوی مقالات مرتبط با کلیدواژه « ترکیب بندی » در نشریات گروه « هنر و معماری »

Framing and composition are topics that are very important in image aesthetics. Cinematic frame is very important because it practically defines the image for us. In cinema and visual arts, the image is one of the most fundamental factors in shaping the structural quality of an artwork, what is seen on the cinema screen is a set of images, so we must first look at the nature of the image and its dimensions. Visual elements such as line, shape, texture, etc., can affect the visual aesthetics and visual structure of the film. Aware of the visual features of these elements, which have an interconnected structure, filmmakers use them to create meaning, advance the story, and convey emotion. Cinema needs image elements to form an image, and the beauty of each image is directly dependent on the proper and conscious use of its constituent elements. On the other hand, for certain reasons, knowing how to frame the film has a greater impact on the audience and engages them in the film for a longer period of time, and through composition in the film, a deeper meaning can be conveyed to the audience without the need to tell them what is going on. On the other hand, the view of a film is like a painter's canvas in a sense: it must be filled and filled in such a way that it makes the viewer see certain things and (not see other things). Therefore, the images must be framed in such a way that they can be linked to the next image, and from this point of view, the director must not only obtain the proportion and balance in his combination of each shot, but must make this combination in such a way that he can create the appropriate sequence. Therefore, at the beginning of this research, we will first deal with the visual elements of the image, and then, based on a case study and with a descriptive-analytical approach, we will examine and analyze selected scenes and sequences of The Grand Budapest Hotel.

Iranian painting has had a strong connection with Persian literature for a long time, and the images of fantasy in poetry and painting have been consistent with each other. After the arrival of Islam in Iran, this kinship and connection becomes more apparent and the words of the poet are mixed with various themes and narratives by the painter's line, pattern and color. Over the years, the close relationship between poetry and image develops more and many illustrations come to the fore in the form of Iranian book design art. In the meantime, novel effects of Ferdowsi's Shahnameh appear as the largest national epic poem and a relic of Iranian culture in the field of painting art of this land, and Iranian painters leave various works inspired by Ferdowsi's poems. Many beliefs and convictions recorded in ancient texts are also manifested in the Shahnameh. Ancient Iranians considered useful and beneficial elements that were somehow effective in life as holy and considered God as their guardian. Water is one of the beneficial elements that has been highly praised and prayed for. In the Shahnameh, water is mentioned many times as the most familiar embodiment for the concept of life, and this vital element has many symbolic roles in this system which can be categorized in the following cases: A) Creation: The myth of water in different human cultures has been a symbol of the beginning of the stage of material creation and the movement of the life cycle. This role is reflected in the initial creation of the world from water and the symbolic end of life in it. The myth of water has the most connection with the concept of life. b) Immortality and partial treatment: The water of life or the water of animals is one of the world's mythological essences, and the desire for immortality is one of the long-standing wishes of mankind. The myth of water represents the immortality and continuity of material life. The main source of the legend of immortality, which has appeared in different forms such as the water of life, the tree of life, the fountain of eternal youth, and potion. Another manifestation of life-giving water can be found in the myth of the water healer. c) Baptism and purification: water is a symbol of death and rebirth. An expression of the symbolisation and ritual appearance of water in connection with death and rebirth can be found in the long-standing and mythological ritual of baptism. Immersion in water is considered equal to a storm or the sinking of a continent from the ocean and a sign of the disappearance of the old face in order to give birth to a new face. d) Fertility and abundance: Another role of water in the myth and consequently in the national epic is to fertilise and give abundance to the creators of good forces. This function has existed in all ancient religions and nations, as it has become a ritual and sacred function of water. e) Test and passage: water is a test of matter that must be passed in order to reach the kingdom of meaning, and the test or "passing through water" is a symbol of death and rebirth - dying from the old form and living in a new form which manifests itself in the form of crossing the sea and the river, and a person who passes through this "Khan" steps from a stage of material life to a stage of spiritual life. Passing the water test, as a common theme in the Shahnameh, has not been overlooked by the intelligent Iranian painter. The mythological tradition of crossing water and gaining victory can be seen in the lives of many kings and legendary warriors of the Shahnameh. Fereydun from Arvand and KayKhosrow from Jaihun and Ardashir crossed the sea, and Rostam and EsfaniyarEsfaniyar passed this tough test in Haft Khan. In this essay, we intend to examine the visual reflection of the symbolic tradition of the water test by studying the pages of the Shahnameh produced in the Safavid era. For this purpose, pictures of the story of Fereydun's passage from Arvand, KayKhosrow's passage from Jaihun, and KayKhosrow and the wonders of the Sea of Zere have been selected. In order to avoid delaying the speech, it is sufficient to analyse two examples of images from each story. These pictures are kept in museums and private collections around the world. In the analysis of paintings, it seems necessary to understand the subject matter and the context from which the story originated in order to read the image and understand the work correctly. For this reason, the narrative text is mentioned first then the visual aspects of the elements, especially the element of water, in these paintings are examined. For this reason, the question that can be asked is what is the importance of the place of water in the composition of the water test pictures? And how are the symbolic concepts of water reflected in these pictures? The purpose of this research is visual and symbolic analysis of the element of water in examples of Iranian painting art, in order to reveal the degree of synchronicity of Iranian literature and painting while familiarising with local treasures. In connection with the symbolism of the elements in the Shahnameh, the characters, mythical creatures, the dreams of kings and heroes, the symbolism of water, fire, and steam have been discussed in previous researches, which are mainly based on theoretical literature, and visual examples and visual analyses are in the minority. are located, and no independent research has been found to study water in the images of different Shahnamehs and from the aspect of digging in the visual structure, and the lack of available sources has motivated the writing of this essay. The research method is descriptive and analytical, and the method of collecting library materials is through scanning and image reading. Data analysis is done qualitatively and based on logical reasoning. The statistical population includes 6 examples of paintings that were selected from the three stories of Fereydun's passage from Arvand, KayKhosrow's passage from Jaihun, and Key Khusro and the wonders of the Zere Sea, and all of them were produced in the Safavid era. The method of sampling images is selective. The results of the research showed that in Iranian paintings, form and content are intertwined, but the importance of paintings cannot be seen only in terms of the exact translation of the text into the language of the image, because the painter tried with his utmost skill to create creativity while being faithful to the narratives. Visuals and subtle details can function independently from the text. The painter carefully uses the visual facilities to depict the emotions of the story in the best possible way. In the exciting and roaring test of crossing the water, there are spatial analogies that are included in the structure and composition to provide the dynamics and movement of the story, things like creating movement by breaking the frame of the image and penetrating details to the edge, cutting off limbs and bodies.On the sides of the frame, turning the gaze of the main character of the story, emphasizing all the elements and details to the center of gravity of the image and using rich and exciting colours. In response to the first question of the research, it can be said that due to the key role of water in the story, the highest and most focal place in the composition is assigned to it, that is, all the elements and components of the page are arranged around the axis of the river and the sea, and the composition focus and balance  coordinates with it. The mobility of the elements of the picture are formed in line with the dynamic nature of water waves, as far as the rhythm and balance of color and shapes are established according to the position of this element in the composition. The occupation of the largest possible space in the picture frame by the river or the sea, indicates the importance of water in the picture. To answer the second question of the research, we can talk about silver colour, because the use of silver metal in colouring water is done with the aim of inducing brilliance, light reflection, purity and spirituality of this element in a symbolic gesture with the spirit of narration. It should be consistent because if the hero of the story wins this difficult test and passes through the raging waters, he will be separated from the pollution of the material world and reach the Kingdom. The presence of animals such as fish and aquatic birds as a symbol of the abundance of water and creatures such as mermaids, dragons, eagles, cows and mixed monsters both strengthen the symbolic nature of water and are closely linked with the text. The role of most of these creatures has made the characteristics of filth and evil clear and they have found an appearance in the form of a symbol of the difficulty of the test.

The Iranian carpet is famous worldwide and its different examples are woven into all regions of Iran. Among the carpets of different ethnic groups in Iran, the carpets of Turkmen and Northern Khorasan have much in common. In some instances, braids are so similar that it is difficult to distinguish and recognize them as belonging to a particular ethnic group. This group of handwoven fabrics is always in the interest of art lovers due to their special features and unique beauty, which is the product of the authentic taste of Iranian women weavers. This research aims to identify the patterns, composition and colouring of Turkmen and Northern Khorasan rugs and to discover their similarities and differences. This research aims to answer the question of what are the differences and similarities between the Turkmen and the rugs of North Khorasan. The search method is descriptive-analytical, which is chosen using original sources in the form of a library and materials. Comparison of the samples shows that the carpets of these two ethnic groups have geometric patterns that are routinely repeated in the text and border. On this basis, the similarities of the samples are more than their differences, and the works investigated are based on the characteristics of Turkmen carpets. Based on the present research, it seems that in a particular historical period, the tribes of Khorasan were more influenced by the Turkmen carpets than before and created more similarities between the carpets of the tribes. Also, the most important difference between Turkmen carpets and Khorasan carpets is that, although the sample of Turkmen carpets is older and more authentic, the variety of motifs in terms of subject matter and composition methods of Khorasan carpets is much more than that Turkmen carpets.

Decorative and practical arrays in the two tombs of Chehel-Dokhtaran and Pir-e Alamdar in the Damghan city, is a suitable platform for research in the field of visual arts. The purpose of the research is to understand the visual capabilities and show balance in the artworks of the mentioned architectural heritages. The research queries the quality of the geometric designs along with the written elements of the mentioned tomb towers in terms of composition and space (with a visual approach). Therefore, eight image samples were selected and studied by descriptive-analytical method, beyond the field and documentary methods. The results show that geometric patterns are divided into two categories: simple (based on square and diagonal square) and complex (based on the style of prolific geometry). At the same time, written elements are divided into two categories of simple and knotted Kufic, which was used in both buildings. The use of repetitive combinations in both buildings has given a harmonious form to the designs. Moreover, the variety of positive and negative space ratios in these designs has resulted in a coherent structure. In the written elements, the inscriptions are basically composed of vertical, horizontal and diagonal lines (in simple Kufic) and geometric shapes (in knotted Kufic). Additionally, the composition of the writing elements is obtained from the combination of letters and words along with geometric and plant motifs. Moreover, the proper use of negative space in a simple Kufic inscription has contributed greatly to visual reading. In the knotted Kufic inscription, the balance between positive and negative space through writings and designs (geometric and plant) is well evident.

Salient points and regions in the Nastaliq SiahMashgh scriptBased on eye movement trakingSiahMashgh is one of the pure artistic manifestations in the Nastaliq script. Combination in SiahMashgh is one of the most significant explorations of calligraphers. Therefore, proper knowledge of the frame of the page is essential in this area of research. What are the most salient points and regions that the audience looks at the most? Also, what factors will attract more viewers? These are the two main questions of this study. We use a descriptive research method based on the experimental results and the analyses of the data we collected using an eye-tracking tool (OGAMA, an eye movement measuring software). The purpose of this research is to identify the most important places in Nastalig SiahMashgh piece. The results of this experiment, on the target group, showed that in a vertical black screen, the upper part of the board and the right side of it have the most attention. Changing the thrust angle of the pen and the tip of the pen are other factors that attract attention. Additionally, familiar phrases have also attracted the viewer's attention. Although this attention attraction could draw the target group to a salience point, it did not mean the participant stopped at one point, but there was eye-rolling throughout the painting, even the themes.KeyWords: SiahMashgh script. Salient points. movement traking. OGAMA

A grid system is a geometric structure that the artist uses to combine and arrange visual elements in a coherent, systematic and generally related form, in a way that contains artistic expression. Understanding this process is important in order to discover and receive the hidden intention of the creator and orderer of the work of art and the aesthetic pleasure resulting from viewing it; Today, recognizing the structure of the grid system, as one of the most important principles of this art is not hidden from anyone; but the purpose of the present article, besides examining the basic geometry and inner aesthetic arrangement among the visual elements in the painting of Muhammad Zaman, a famous painter of the Isfahan school in Safavid era, is to answer these questions: 1- How can one explain the proportionality between the geometric structure and the contention of the work in the " The servant girl Fitnah with an ox on her shoulders, against Bahram Gur" painting, using the grid system analysis? 2- Is this predetermined geometric structure formed?The results show that this illustration is based on the geometric structure and the principles of golden ratios, among the numbers Phi and Asm, and this matter indicates the artist's adherence to the classical style of Iranian painting; but her metaphorical expression is not based on the choice of the story scene, but on the hidden infrastructure of the work and its composition. This research has been written using the analytical method and descriptive-analytical approach of the case and its data collection has been done using library resources, documents and virtual databases of the British Museum.

Composition is the art of arranging the elements in such a way that they form a purposive structure. Composition in Persian Painting is closely connected to the relationship of the arts with mathematics and geometry. Persian miniature specifically acquires its merits in composition from the field of geometry; to such an extent that a lot of the visual qualities present in the works of Persian painting such as unity, harmony, compatibility between the elements, equilibrium and balance come from their geometrical substructure. The most important geometrical shapes in the composition of Iranian paintings are variations of the spiral, circle, square and rectangle, and the most notable mathematical proportions that are used include the golden and radical ratios. However, the systematic networks that implement the harmonious exterior partitions pertain to the repetition of poetic inscriptions in length and width and the bulging networks arising from the directory lines of the depiction’s framework. Consequently, the corresponding networks are comprised of diagonals and their intersections, linings, golden marks on the frame and bisections. The coming together of geometrical shapes and proportions with their systematic networks amounts to a concealed geometry that the final unified composition of the works of Persian painting is founded upon. Therefore, their visual merits come from this systematic composition which is the result of concealed geometry and the carefully considered structure of the elements. Hence, evaluating the apparent and concealed composition of the depictions bring about further understanding of the specific features and visual qualities of the works of Persian miniature, it also sheds light on their similarities and differences. In order to study and compare compositions among schools of Persian Painting, this study has chosen three depictions from the Khamsa of Nizami (1442 AD/846 AH) belonging to the schools of Herat, Tabriz of the Safavid era and Qazvin. The aim of this article is to arrive at the specific compositional features of depictions and study their transformations. Based on the assumption that the compositions of Kamāl ud-Dīn Behzād use more carefully considered geometrical and symmetrical systems, this research provides answers to these questions: 1. What are the transformational processes in the composition of the selected works of Khamsa of Nizami (1442 AD/846 AH)? 2. What are the differences and similarities among the compositional systems in the three chosen depictions? The current research is qualitative and fundamental in terms of orientation and goal. The manner of collecting data is library-based, and the interpretational method is descriptive-analytical and comparative. The choosing of the selected depictions was non-random and the criteria for selecting cases include similarities in subject matter and differences among schools. The cases are: depictions of The Battle of Iskandar and Dara by Behzād, The Death of Dara and The Battle of Iskandar with the Russians, that provide the theme of battle from three different schools. After the introductory evaluation of the depictions, their visual structure is studied and analyzed in order to shed light on the concealed geometry in the substructure of the composition, and then a comparative interpretation is presented. Therefore, the elements that constitute the geometrical structure, the size of the frame and the composition of visual elements in the depictions are studied which in detail include: the criterion epigraph, the index square, golden and dynamic rectangles, spiral curves and directory lines. Then, based on drawings and comparisons performed in the visual analysis of the works, by identifying various distinguishing relations, shapes, and geometric proportions in the compositional system, the selected works have been compared. Based on the findings of the study, it can be concluded that application of latent geometry played a significant role in the formation of the compositional systems of the three selected miniatures. However, the miniature belonging to the Herat School, created by Kamāl ud-Dīn Behzād, has a more systematic and cohesive composition by using geometric structures and creating a system of proportions, compared to the other two miniatures. In fact, despite the sheer abundance of structures and relations utilized in its underlying composition, the work is dominated by coordination and integration. Moreover, the evolution of the compositions in the selected miniatures was accompanied by gradual changes based on the transformations of miniature schools, while also being associated with and influenced by the traditions and innovations of Behzād.

Diverse collection of Sohrab Sepehri's drawings and paintings has left a legacy that is well worth the study. However, his drawings have received less attention from art critics. These works are an important source in the reading of the landscape and the vernacular architecture of his time and show his lived experience and deep understanding of the environment. Since an important part of our natural heritage and architecture is in danger of extinction due to the rapid growth of urbanization, drought and climate crises, Sepehri's works could be considered part of the documents of indigenous heritage. The aim of this study is to analyze the landscape and vernacular architecture in his drawings, to identify the structure of their composition and to analyze the spatial-local concepts in them. The method of this research is qualitative and based on description and analysis. In this study, a series of drawings by Sohrab Sepehri were selected in the last years of his life. These drawings include 145 pieces made from various landscapes during 1976-79. The reading of each work includes identifying the elements and components, the details, and the display qualities of each element. The results show that the components of landscape and vernacular architecture in Sohrab's lived experience include "mountain", "tree" and "architecture. The analysis of these elements indicates that the dominant structure in the natural landscape representation in these designs included the composition of mountains and hills in the right diameter. The vernacular landscape represented in these works is a kind of "complex landscape". "Village" and "house" are two types of architectures represented .Three different nested layers are formed in Sohrab Sepehri's designs; the innermost layer is the man-made layer of the architecture, the middle layer is the mass of trees, and the outer layer includes mountains and hills. The designer / spectator are always in the outer layer, so the concept of "here" and "there" is formed.Three different nested layers are formed in Sohrab Sepehri's designs; the innermost layer is the man-made layer of the architecture, the middle layer is the mass of trees, and the outer layer includes mountains and hills. The designer / spectator are always in the outer layer, so the concept of "here" and "there" is formed.Three different nested layers are formed in Sohrab Sepehri's designs; the innermost layer is the man-made layer of the architecture, the middle layer is the mass of trees, and the outer layer includes mountains and hills. The designer / spectator are always in the outer layer, so the concept of "here" and "there" is formed.Three different nested layers are formed in Sohrab Sepehri's designs; the innermost layer is the man-made layer of the architecture, the middle layer is the mass of trees, and the outer layer includes mountains and hills. The designer / spectator are always in the outer layer, so the concept of "here" and "there" is formed.

Over the chronicle of graphics Iran, landscaping has always occupied a peculiar position, being demonstrated through an array of forms and accompanied with different manifestations. Landscaping, which was under careful attention of painters and its flashy representation during the ninth and tenth centuries, undertook considerable alternations in Isfahan style of painting, losing its own previous practicality when the two prominent painters of Safavi court - Sadeq Beik afshar and Reza Abbasi - were the thorough masters of their own styles; the former as the representative of the new and the latter ancient forms of landscaping.Taking a glance at the works of these two artists, the viewer can easily see the differences. Since they are the notable delegates of the new and modern schools of Isfahan Safavi era, the recognition of their works' visual resemblance and discrepancy in one of the unique and most controversial domain of landscaping ,namely scenery, is highly necessary. Accordingly, the issue of inquiry is drawn up in this way; which special properties have been applied in the new and modern styles of Isfahan Safavi School baded on artistic works of Reza Abbasi and Sadeq Beik afshar?To do so, firstly, the nature and the basis of landscaping of the two styles have to be defined and then contrastive studies among their works are to be conducted. The outputs depict obvious distinctions in their special tendencies of landscaping which are being manifested through their exclusive inclination to the nature.This research is qualitatively categorized using contrastive and analytical bases of inquiry. It is a selection of works presented by Reza Abasi and Sadeq Beik afshar having been created in a specific time with a shared concept.

In Iranian art, the horse is a solar symbol of the spiritual radiance of resurrection and life, and Muslims associate it with happiness and joy. With the development of pottery in the Seljuk period and with a brief look at the pottery left from this period, the horse motif has been depicted in abundance in the form of scenes such as riding, hunting, war, and literary themes. The artists were able to depict the motif of a horse on pottery with different compositions with the use of enamel and glaze. Among these compositions, seven can be considered, such as balanced composition, symmetrical, radial, tangential circles, geometric background, concentric and horizontal circles. After examining the pottery of the Seljuk period, Kashan, Rey, and Saveh were among the most important cities in which these potteries were found. Twenty pottery samples were selected and examined in terms of background, composition, and subject matter based on these three cities. In the meantime, there is an obvious similarity between the paintings of Vargheh and Golshah and the images of enameled pottery, as if the painters had drawn these images. The image of a horseman, themes such as war, women riders, and horses in the form of constellations, as well as mythological subjects such as the winged horse, are popular designs of this period. In the meantime, the details of the horsechr('39')s body, such as the legs, tail, and mane have been considered. Horses on the battlefield often stand on their hind legs, but horses of rider women are a state of calm, and most of the time, one foot of the horse is forward. Horses in ancient fairy tales stand on all fours and are observers. Meanwhile, the tails of all the horses, along with their mane, have been shortened and woven. In this study, the presence of the motif of the horse as one of the main Seljuk motifs in these potteries has been inspected. Identifying the determinants of the use of the horsechr('39')s motifs is connected with answering notable questions such as: How has the motif of the horse in Seljuk pottery been worked? What themes are associated with the motif of horse in this period? It can help us to be familiar with the way of life and art of the people of that period. The research method has been descriptive-analytical, and the data collection method has been documentary (library). This research aims to study the horse motif in detail to find the roots of it and its uses in the pottery art of that period. The results of this research show that the Seljuk artist, relying on the works of previous periods, has tried to illustrate different themes, especially the horse motif. This motif is organized in the form of various themes and with different compositions on the pottery ground and conveys the importance and value of it in the Seljuk period.

The applied arts and decorative motifs painted on them have been the most important tools for transmitting culture as well as artistic and conceptual traditions among ancient nations, which in addition to messaging, have a variety of shapes and forms and a variety of combinations. In the meantime, one of the most important motifs that have always been considered and its usage has continued with the change of rituals and artistic developments, is the very important motif of birds in terms of design and content, used in various arts, especially pottery. This study aims to explain and evaluate the types of bird drawing and analysis methods in the composition of discovered potteries in three regions of Tabarestan, Deilaman, and Jorjan. The present study seeks an answer to the following question: What is the attitude in designing and combining bird motifs in Tabarestan, Jorjan, and Deilaman potteries? To study and survey nine samples of pottery (with the motif of birds), related to the 4th to 7th centuries A.H. (after Hijrat) have been selected. The motif of birds on the potteries of Jorjan and Tabarestan regions has more diversity compared to Deilaman potteries. Exaggeration in the appearance of birds, lack of proportion in design, simplification, and magnification in some parts of the body and more dynamism and movement of the bird form compared to the other two regions are the most important features of the motif of birds in Jorjan region. In the Tabarestan region, these motifs have been represented in various forms and special methods such as abstraction and simplification and sometimes being close to nature. It is noteworthy that these features distinguish it from the drawings of Jorjan and Deilaman regions. In the Deilaman region, all the studied figures have been designed and built in the form of realism and natural sizes. The proximity of the bodies to their true nature, disproportionate and unbalanced exaggerations in the head, neck, and body of the bodies of the figures are the characteristics of the motif of the bird in this region. At the same time, the artist's attention to the bird's appearance has sometimes prevented him from paying attention to the formal aesthetics and visual language content. However, this attitude is observed in the design, not in all figures, but most works.  The research method in this study is descriptive and analytical and gathering the data and information has been accomplished through field and library study. The results show that in line with the images studied, three methods of realistic, meta-realistic, and abstract design have been revealed. Realistic motifs are devoid of any creativity and visual value due to their adaptation of nature, and the emphasis on more detail in the actual shape of the bird's body and its natural dimensions and size, as well as the artist's close connection with nature, is very evident.  While in the unrealistic motifs, the artist's imagination is perceivable in depicting the motif of the bird and the exaggeration of its components, in which the inner sensitivity, emotions, and imagination are obvious. Also, in the abstract approach, the motifs are based on the basic essence of the forms and the visual value hidden in these works is based on a kind of aesthetics and is not easily understood. The motifs are inspired by nature and the environment around them, but the artist changes it with his imagination and taste so much that he creates an abstract role of nature. On the other hand, in this attitude, there is less of a sign of reality and visual aesthetics is gained instead. The concepts between lines and colors are the same; to understand it, every viewer must rely on their perceptions. In analyzing the types of composition in these pottery works, we are faced with various types of compositions such as symmetrical, asymmetrical, diffused, circular, and radial, the most common example of which is related to the Tabarestan region. In Jorjan province, the diffuse component is very obvious, and in the Deilaman region, all the studied samples have symmetrical composition.

Animation is an intuitive art with an exclusive expression method. The fantasy world of animation is more about image and creating the movement than it is about dialogue and audio text. This approach requires special spacing performed by Staging, related to factors such as composition, camera and player movement, location of the player in the frame, use of field and depth features, visual techniques and more. Steging is the effective interpretation of a narrative in a concise and intuitive way that plays an effective role in summarizing the explicit or implicit expression of the performing situation. Spacing and proper use of the scene help in the process of staging and ultimately conveying the message properly. Staging involves a variety of techniques that can influence the viewer and ultimately his/her view point. The main issue of the research is to investigate the impact and function of spacing with emphasis on Stageing technique. The research method is qualitative and with a descriptive-analytical approach. Accordingly, Steging usage will be scrutinized in three animations, Wall-E, Princess Kaguya, Ernst and Celestine, which is made in three different parts of the world, with different cultural and productive exclusivity. The results show that staging plays a significant role in the complete feedback of the narrative and the creation of mental and objective relationships between the animated film and the viewer.

The golden age of the textile art industry in Iran without a shadow of a doubt was the 10th and 11th centuries AH (16th-17th AD).Woven fabrics of this era were a remarkable combination of visual aesthetics, composition, motifs, colors and textures put together in a variable and versatile form.One of these beautiful compositions that is often seen in the fabric structure of this age is the use of medallion form/motif embellished with plant, animal and human motifs.Studies indicate that this form/motif has been used in textile in abundance confirming that medallion is one of themost widely used motifs of this period. According to the above-mentioned descriptions, the main purpose of this study is to investigate the structural patterns of the motifs/form of medallion on Safavid textiles In this regard, the question that arises is what is the structural diversity of the motif/form of medallion in decorating Safavid textiles and what is the position of this motif/form in the composition of these fabrics? To find the answer to this question, 16 fabric samples existing in books and art galleries of Safavid period are selected and then their structural features are analyzed. The research method is descriptive-analytical and is based on historical nature.The data is collected from librariesand the Internet and the analysis is qualitative.The results of the research show that medallion form/motif exists both explicitly and in disguise in most of the Safavid textiles.This structure adheres to the symmetry system and shows new and orderly combinations in the text of the work. The greatest use of this motif in the textiles has been transitional and in the form of 1/2 and 1/4.

The concern of accurately representing the elements of the world around, in a work of art under the technical skill of the artist, sometimes repels the interaction between these elements for the sake of desirable generality. Consequently, relying on the strict representation of the elements of the scene and the lack of attention to design principles in the work will not be sufficient to achieve the target audience. The artist uses the necessary visual arrangements to make sense of the scene in the body and soul of the viewer and to convey the sense of content through the necessary measures. Departure of Iranian paintings from walls to manuscript forms a profound link between Persian literature and Iranian art. The Mongol conquest of Iran was a turning point in the history of the painting of this land. Another process of adaptations and innovations began in the late 13th century AD. With the introduction of bibliography at the courts, there was a restriction on the social function of painting, but instead, the themes and artistic expression became wider'. The Iranian painter has exhibited some of the most prominent works of literature of this region in the form of design and color, and has contributed his wishes, ambition and imagination. Visual representation of artistic discipline and artistic arrangements in Iranian painting, especially in the schools of Herat and Tabriz, represent the Iranian artist's awareness of the principles of design and the visual study of the valuable works of Iranian painting art is a visible evidence of the application of design principles in this field. The artist achieves visual unity by utilizing visual qualities, artistic tactics, and the principles and rules required in the process of creating a work. The principles of image organizing, harmony, diversity, balance, proportion, mastery, movement and the ability to form a single whole are the guides of the artist. Iranian and Indian-Islamic sources have mainly benefited from the term framework rather than the contemporary term of composition. For example, Mirza Muhammad Haidar Dughlatin the discussion of Behzad -1450-1535 AD wrote as follows: “His pen is tighter and his framework is better than his”. In the works of Tabriz I school, the harmony between image and text, caused horizontal and vertical combinations of events. Symmetrical and sometimes diagonal structures are also visible in these paintings. In some of these works, the artist uses clever tactics to create such a link between the existing elements, the composition and the narrative that the keen eye, after understanding and receiving it, rejoices and camouflaging these measures and applying hidden geometry, doubles the enjoyment of the work. The purpose of this study was to combine composition in Iranian painting with emphasis on the content and principles of visual traditions in a descriptive-analytical method. The present study seeks to draw on the legacy of the fine art of Iranian painting, through extensive research in the form of books and articles, and the author's collection and analysis of the aforementioned cases, conventional, institutional, and authentic tricks and arrangements from the perspective of creating a sense of theme in Iranian painting. In the field of visual traditions, the necessary books and articles are sufficiently accessible, and the conformity of the visual values of Iranian painting with these principles has been the way to achieve the purpose of the present study. Therefore, the results show that Iranian art has long been trying to express deep spiritual thoughts and has been seeking the truth by crossing the boundaries of time and place as elements of perception of reality. The Western artist used all the formal arrangements and techniques of landscapes to create spirituality from the visual elements. The Iranian-Islamic artist, however, tried to immaterialize the world of work. The viewer's feeling against a stimulus will itself be a criterion for measuring the success of a project. The basis of design theory is to discover the conditions under which the viewer's sensory reactions are quite receptive and positive. Design theory is based on the assumption that human sense inherently searches for a particular order within visual stimuli. The result is that the Iranian painter is aware of the principles of visual discipline and does not purport to convey a mere depiction of the elements of the scene in order to convey a sense of variety of themes. Choosing the right frame, the right geometry, and the right composition, along with applying visual qualities and artistic arrangements have been guidance of emotionally believing text and image adaptation. Each theme requires its own structure, composition and geometry, and contemporary themes have often used common tricks and tactics.

The visual form of a film is the construction of visual elements. This framework is used to advance the story, giving meaning and conveying insight and feeling to the film. In film, there are techniques and rules for arranging visual elements. These techniques are not changeless and fixed laws, but they change according to a film structure or director’s style. This research is intended to generally study visual structure in films and in particular, Iranian films. Bahram Tavakkoli is an excellent example of this study because his works belong to the stylish part of Iranian movies. The main reason for this study is gathering a proper knowledge of visual elements in film. This research uses a neo-formalist approach for studying the visual form. It means that it emphasizes the dynamic structure of the film which becomes complete by the audience. Neo-formalists emphasize the importance of the form in film, and they believe it is something ordered, and rule based. Every element of this structure must be in relation to other elements making a construction. Even the meaning of a film is part of this structure. Form and meaning are intertwined, so we cannot separate them. Neo-formalists also emphasize on the audience’s perception system. They think all attendees have inner perceptive systems which help them to gather data from films. Any formal structure cretaes some expectations for the audience. So viewers, dynamically participate in perceiving, analyzing and memorizing data and information they gather from films. We can see this dynamic structure in Bahram Tavakoli’s films. By concentrating on the point of view, time and space, using shallow depth of field, telephoto and wide-angle lenses, high and low key lighting, low saturated colors, changing hues and subjective spaces, Bahram Tavakkoli gives his story-telling process, a stylish visual characteristic. The first step of this study is analyzing the meaning of form according to neo-formalistic approach. Then the relations between visual form and story structure will be analyzed with Boris Block’s theory of Visual Structure. It suggests that a film divides into three separate parts; Exposition, conflict, and resolution. Exposition is part of a film in which characters and spaces are introduced to the audience. In conflict, there are struggles between protagonist and antagonist. Resolution is everything that happens after the climax. Also, every film has some important points, like the beginning of the crisis and the climax. All of these parts and points have their visual characteristics which are described in this text. After setting up a theoretical base for analyzing images in film, we study Bahram Tavakoli’s films. There are three films that we review; A Walk in the Fog (2010); Here without me (2011); The Shallow Yellow Sky (2013).

Calligraphy is one of the few traditional arts that, according to its geometric features, has experienced various forms and formats and while being one of the noble traditional arts it has been linked to modern contemporary art. Studying the works of calligraphy and its subset Nastaliq's Calligraphy, using the principles of Gestalt theory, has been paid less attention by researcher in the field of calligraphy. This paper analyzes the relations of the Nastaliq Calligraphy and its composition based on the process of Gestalt perception and has attempted to answer the following question: how can we use the principles of Gestalt theory to introduce a systematic method that allows us to measure different forms and compositions of calligraphy works with Nastaliq's Calligraphy? The data of this research are collected and classified through bibliographic studies of books, articles, treatises and available published pieces in libraries and museums, and evaluated by descriptive, analytical and statistical methods. The topic intended by Gestalt is the relation between the whole and the component and the preference of the whole on the component, and that a calligrapher how to change the gestalts and to produce a correct gestalt proposition in the structure of the letters and simple elements and the structure of the words in relation to each other indicates the pivotal importance. In this research, we show that the works of calligraphy of Nastaliq with the principles of Gestalt theory, such as similarity, proximity, continuity and Closure, can be analyzed, and these principles are in analysis and evaluation of the Nastaliq works in various formats, along with the foundations of visual arts complementing the twelve calligraphy principles. Therefore, to illustrate the relationship between the form of letters and the composition in the Nastaliq Calligraphy with the principles of Gestalt's theory, one sample was chosen from the three Chalipa, Siah-mashgh and the combined-component templates, and were analyzed using these principles; Since the perception of the audience of calligraphy works is mostly a generalist conception in accordance with the principles of Gestalt's theory. In the next step, using a questionnaire, a combined-component with four different gestalt was presented and by referring to a 100-member statistical population, assessment and comment were made. As a result of this survey, it will be determined which percentage of the audience of the Nastaliq Calligraphy  has a correct understanding of a good gestalt; The result of this judgment has shown that more than half of the calligrapher and non-calligrapher users participating in the survey, has chosen the same composition and gestalt which has been created by a well-known calligraphist from among the four different gestalt as provided by a single text, hence the two-way communication between performance and the evaluation of the calligraphic work is determined by the principles of Gestalt's theory. Also we came to the conclusion that to criticize a piece of calligraphy, it’s necessary to be used a combination of traditional and Gestalt methods.

Timurid era has been one of the peaks of art in Iran. Unprecedented effort by the Timurid princes is exemplary in establishing Libraries and Supporting Artists. Beautiful works of art were created with his support. Samples of these designs can be seen in the decorations of Goharshad mosque, Jame mosque of Azghad, Ghyasyeh school and building of Abu Bakr e Taaybadi. Design works created in the Imperial Library in Herat were probably performed to cover all aspects of Art. Geometry of motives in Ilkanian period was transformed into elegant designs in Timurid era that owed its elegance to artistic traditions of Tabriz, Baghdad, Shiraz, which were later developed in Herat. The use of plant motives and arabesque simultaneously shows progress of art design during the Shahrukh e Timuri era. The paper has studied the design in the first art school in Herat that ,despite what experts believe, shows a mixture of arabesques and plant(Khataee) motives simultaneously in decorative motives. According to architectural decoration including wood working and tile in the building one can observe conformity with the Qur’ans and writing books. Research approach is qualitative and method is comparative analysis. Data collection and field research is based on the library documents and case study. It should be noted that all the images in architectural decorative arts have been photographed by the author.

The plant decorations are considered as the most obvious designs that are used elaborately in different works of art. They are also used frequently in architectural decoration, particularly the ones made of stucco. The way these plant ornaments are composed characterizes the period in which they were created though many of these compositions have been repeated frequently over centuries. The goal of this research is to study the typology and classify the significant plant compositions in the stucco decorations from the Islamic period to the fourteenth century. In order to achieve this goal, the following questions should be answered: • What are the most popular plant compositions in the stucco decorations from the Islamic period to the fourteenth century? • Which compositions can be considered as the significant features of plant ornaments in a certain period?

The research method and tools used in this research are mostly historical-analytical because the research problem is based on the historical context around the characteristics of architectural works and the aim of the study is to identify the types of the stuccoworks of the Islamic period in Iran until the end of the eighth century AH. Therefore, in this research, the study of these formal properties in stucco works will be done in terms of composition with an inductive strategy. In this regard, it has been tried to use objective observations and field studies and library resources to distinguish the plant ornaments used in these works from other motifs (geometric motifs and inscriptions) referring to the Iranian stucco works of the Islamic period until the end of the eighth century AH, which enjoyed relative stability because according to preliminary findings, there was no independent hypothesis or research in this regard. Then the plant decorations were categorized and typified according to similarities in their composition, and in order to better understand it by the audience and to adapt the description provided for the composition of the samples, linear plans are mapped using the software Corel Draw and in the following, by comparing the samples, analyzes are provided.

The data was collected based upon written sources and field research (photography, linear print of the images) and analyzed through comparative-historical method. The results of this study suggest that the compositions existing in the samples can be classified into 9 groups some of which have been repeated in all historical periods, like the two and three-arabesque compositions in the margins and delicate joint/ stems with snail-shaped arches. But some of these compositions, including multi-layered plant compositions, delicate plant stems in the backgrounds, snail-shaped arches, etc., were evolved in some centuries, i.e. 13th and 14th centuries, or used more frequently.

Potteries known as “Minai” are one of the valuable types of potteries remained from middle Islamic era, which were produced between 575 and 616 AH in middle of Islamic civilization, in the late period of Seljuk and Khwarazmshahi era in Iran. Such potteries were found in works obtained from Ray, Kashan, Saveh, and in a limited number in Nishapur and Tabriz that in terms of motifs and their composition on surface of the potteries have a great importance regarding the visual relations and high visual creativity. The question raised in this study is that what are the visual features of the motif and composition of the Mina`i ware, which has a different style than before and after potteries? The current study attempts to visually analyze the motifs and compositions of the pottery which will lead to introduction, recognition, reaching and discovering the common patterns of compositions and propositions and explaining various categorization of Minai ware. The study is carried out based on the library studies, documents, and science authentic websites, by using analytical-descriptive method. The results show that the motifs of the Minai ware decorated in five categories of humans, animals, herbaceous, geometric and written mofits, and organized in six types of index compositions on the surface of Minai ware. The main spiritual of the Islamic ornaments is mostly reflected in the motifs of geometric, herbaceous, and inscriptions, and human and animal motifs are derived from the historical and literary stories such as Ferdowsi Shahnameh.