جستجوی مقالات مرتبط با کلیدواژه « سیاست های فرهنگی » در نشریات گروه « هنر و معماری »

With the collapse of the Qajar dynasty and the rise of the Pahlavi government, Iran underwent many changes. The main thing that Pahlavi paid too much attention to was naming Iran as a country which has an independent identity in the whole world. Since the concept of "identity" is always hidden in the content of a "culture", the culture of any country or nation represents the identity of that country and that nation.  The ideals of the Pahlavi government were all those things that were mostly planned with constitutionalism and continued under the shadow of the intellectuals' support and the authority of Reza Shah, in the form of an imperative modernism. Based on this, the cultural policymakers of the first Pahlavi era, in order to build a desired "national identity", formed a discourse space so that they could advance their ideology.  A secular policy that tried to weaken the role of religion as much as possible compared to the culture and civilization of ancient Iran.  Therefore, a cultural sphere was formed on the basis and core of the Iranian identity. The desire of the Pahlavi statesmen to modernize Iran in line with global developments required that modernity, secularism and Westernism be part of the transparent layers of this cultural sphere, and they were other components compared to the two layers of nationalism and antiquarianism. Totally, these components formed a sphere that legitimized the cultural discourses of the first Pahlavi and gave meaning to all kinds of signs within it with the denotation system it produced and made them its own.  As Lutman pointed out, everything outside of this sphere was a chaotic world of zeal and unculture that had to be crossed to enter this sphere. Crossing the border meant harmonizing with the components inside the sphere.  Here, every traditional matter, if it wanted to enter this sphere, had to be coordinated with the discourses emerging from this cultural sphere, but the traditional arts, specifically painting, were able to continue within the cultural sphere of the Pahlavi period because it is one of the components of the second layer.  The transparency of this concept was "nationalism", traditional arts were considered a part of Iran's ancient history, which could include cultural and historical credit for Iran. As a result, focusing on traditional arts could both emphasize the values ​​of Iran's cultural history and be in line with the goals of cultural propaganda which Pahlavi used; As a result, organizations such as the National Works Association were established in an attempt to institutionalize and systematize traditional arts.  Reza Shah himself emphasized that he should be recognized as a person who has brought about the revival of Iranian national arts.  In the meantime, painting gained special importance and was able to find a special place in the discourse of Iranian art after about three centuries.  The attention of the academic and artistic circles of the world to Iranian arts, especially painting, the compatibility of painting with aspects of nationalism and its historical function, highlighted the place of this art in the cultural sphere of this period.  The establishment of museums and the participation of painters in world exhibitions and the establishment of art conservatories were some of the steps that made the painting of this period the beginning of a new trend in traditional Iranian painting, and as it was analyzed, the harmony with the components of the cultural sphere of the first Pahlavi period played an important role in the expansion of this art in this era; So during the Pahlavi period, painting flourished again, and many artists of the Qajar school, who worked on lacquer works, also turned to painting.  Among their prominent examples were Haj Mosavar-ul-Molki and Hossein Behzad.
 Now, according to the rule of the discourse of modernism, painting should have certain characteristics so that it can gain legitimacy by crossing the border of the cultural sphere of this period.  We have already seen that the core of the first Pahlavi cultural sphere with the centrality of Iranian identity was surrounded by many layers, especially modernism and nationalism.  But instead, nationalism first of all required the consolidation of historical and national values; therefore, the duality of "modernity" and "authenticity" were placed against each other.  Reza Shah's cultural policy needed both of these in order to consolidate his soft power, as much as modernism was able to redefine culture in line with Pahlavi policies, at the same time it was able to marginalize some foundations of traditional culture, including artistic types, from the cultural field.  This was if the government needed to keep some traditions alive to instill a sense of patriotism and a sense of rootedness in Iranians.  This is where the need to selectively revive some traditions became important.  An example of this policy can be seen in Reza Shah's speech to students sent abroad: "I don't want to turn Iranians into a bad European version.  This is not necessary because there are strong traditions behind them. These traditions helped to form a fusion between different historical periods as well as among the many ethnic groups of Iran. In first Pahlavi’s art, there is a companionship between tradition and modernism; in order to have a correct way of applying this combination to art, first of all it should be brought in to the system of education, that is, establishing institutions for teaching, researching and preserving the heritage of traditional arts, which led to the establishment of institutions such as "Association of National Artifacts" or " It became the "Higher Academy of Iranian Arts".  The Association of National Artifacts became the base of elites who tried to make the Iranian nationalistic trend public from the heart of its cultural history and traditions.  As it was described, a set of policies was formed in the field of culture, which led to a cultural sphere, which, according to Yuri Lutman's theory, was made of the core of Iranian identity and the transparent layers of modernity, nationalism, archaism, secularism, and Westernism.  According to this approach, any kind of cultural event that occurs during the Pahlavi era must be adapted to the components within it by crossing the border of this cultural sphere so that it can be accepted in this cultural system.  Based on this, the problem of this research is the status and position of painting within the cultural sphere of the Pahlavi era.  The research method is also the description of the cultural conditions of the first Pahlavi period and its analysis based on Lutman's symbolic sphere theory, with the aim of obtaining a more detailed understanding of the relationship between the cultural policies of that era and painting.  The findings show that the desire of the first Pahlavi government to build a new national identity made the historical components the most important pillar of the ideology of nationalism in this era, which led to the support of traditional arts and painting, which was revived in the wake of nationalist currents. Global attention to Iranian art, especially book design, was another factor in the prosperity of painting in this era.

This article's goal is analysis of economic issues about cinema in after the Islamic revolution era and description of policymakers' attention to cultural economics in this area in order to states preferences and performances. Applied methods are content analysis and second data analysis. Data are consisted of documents, regulations and rules and states and ministries of culture's programs, and also interview with experts. None-arbitrary sampling is used for written policies and snowball sampling is used for interviews. Finally, after content analysis of samples, second data analysis is used for this study. The results show that in all studying periods cinema economics policies and preferences are changing in order of policymakers changing even in a state. In all states except the eleventh state, governmental regulation and participation is in the first three preferences of the states. The goals and preferences such as cinema screens developments in spite of policymakers' attention have not been successful. Production of Iranian films and increase of foreign films exhibition is one of the all states goals (sometimes unwritten) which successfully is done. On the other hand, policies like facilitation of production and exhibition permit in other states are missed.

This research with exploratory-descriptive nature seeks a model for understanding the concept of citizenship. The mixed (quantita- tive-qualitative) method has been used in data collection and infor- mation processing. First, by studying the existing theoretical litera- ture, the basic conceptual model of “citizenship” is extracted, then based on the themes and using the method of content analysis of the country’s cultural policies in documents such as the constitution, the first to sixth economic, social and cultural development programs. J.A.A., Charter of Citizenship Rights ... The existing model of citi- zenship was obtained and in order to ensure the fit of the model, it was approved by a sample of thirty elites of university centers who were selected by non-probability sampling and purposefully. A ques- tionnaire was used at this stage. Pls software is used in this step. The model of citizenship based on cultural policies, which was ob- tained in two dimensions of citizenship rights and citizenship re- sponsibilities and 10 components in 55 indicators, is used as a basis for judging the state of citizenship in society based on the results of frequency distribution of citizenship dimensions. Obviously, any im- balance between the two dimensions of right and responsibility of citizenship will leave its mark. This claim does not mean not accept- ing the intertwining of these two dimensions, but merely a separation to know more about the status of citizenship in society. Based on this model, one of the most important findings was that the results of frequency distribution of citizenship dimensions in the first to sixth development plans indicate a higher frequency of salaries of 61.36 percent compared to the dimension of citizenship responsibili- ties with 38.64 percent. This means that the general guidelines, which are at the helm of future changes in citizenship and citizenship, see citizenship as a right rather than a duty and responsibility. Thus, cit- izens as important actors in this field are deprived of responsibility and most of the government in the position of guardian is responsible for ensuring citizenship rights.

AbstractIranian Islamic calligraphy, which has the support of divine theology, cultural heritage, wisdom, mysticism, and literature, has changed its meaning in the face of modernism and rival discourses in transmitting meaning among social actors, especially contemporary artists with calligraphic tendencies. In some cases, it has been separated from its function and dignity and has become a trivial and vulgar element. This study seeks to find important and influential factors affecting and changing the meaning. Protecting the concepts and high values of calligraphy as an element emanating from the heart of Islamic civilization with a multidimensional critical discourse analysis approach indicates this research’s necessity. Statistical Society based on the objectives of this study, we selected well-known artists employing Islamic calligraphy style. Therefore, it seems that one of the most important factors in addition to modernism is the commercialization of some of these works for sale in art markets. It is assumed that the flourishing of art markets in the region and applying the views of foreign art theorists in changing the meaning of calligraphy towards foreign goals is not ineffective.This study aims to use post-colonial studies, especially the Resistance element. This research utilizes the critical discourse analysis method.The results show that as much as society and artists distance themselves from customary and religious values and traditions and are superficial, they will stay away from understanding the meaning of Islamic calligraphy, which is the product of Islamic discourse will be subject to sales markets.

This article has tried to look at the political representation of mythical creatures in the Achaemenid architecture to find the semantic roots of them, in the art of ancient Iran and adjacent civilizations, by the method of Jakobson’s six communication functions. By researching their myths and beliefs, and looking at the motifs of their artifacts, we want to shine a flash on relationship between these cultures, and perusing the migration of these symbols. Roman Jakobson defined six functions of a communication act; Sender (with the emotive or affective function), Reciever (with the conative function), Context (with the referential function), Channel (with the phatic function), Code (with the reflexive function) and Message (with the poetic function). In this issue, sender is supposed to be Achaemenid court. Recievers are the political representatives of the Achaemenid states. Context is an intelligent combination of various cultures and religious credences of ancient east’s inhabitants. Channel is the art of stone carving, observed by the court. Code is a selective collection of prevalent mythical beliefs in the states of the kingdom. However, the most important function is the message: imperial art is transnational. We reviewed nine archetypal symbols in the Achaemenid architecture. First, a bas-relief in Pasargadae, most likely a resemblance of Cyrus himself, possessing four wings shown in an Assyrian style, dressed in Elamite traditional clothing, with the Egyptian Hemhem crown. A fish-man on the walls of palace “S” in Pasargadae may refer to an Apkallu, one of the seven Mesopotamian sages or demigods who are said to have been created by the god Enki. Beside that, we can find a Bull-Man, maybe Kusarikku, an ancient Mesopotamian mythological demon. Winged Bulls on the walls of Apadana palace in Susa are maybe symbols of Tishtar (god of rain) in his battle with Apush (demon of drouth), or just mighty protectors of the palace. Achaemenid winged globes are derived from an Egyptian origin, placed above the entrances to all the temples in order to commemorate the victory won by Horus over Set. This pattern turned to the symbol of god Assur in the Assyrian art. The battle between a king and a beast in the entrance of Tachara palace is presumably connected with a bas-relief from the Ninurta temple in Nimrud, that Ninurta with his thunderbolts pursues Anzu (Imdugud). Gopat (winged bull or lion with human face with a great emphasis in the Avestan literature) and Shirdal (eagle-head lion) have used in all the ancient eastern arts. Man, eagle, lion and bull each have their magical power and territory. When they combine, the result would be an unconquerable guardian for shrines. The mythical creature found on the walls of Tomb-e Ajori must be mušḫuššu, the sacred animal of Marduk and his son Nabu depicted on the Ishtar Gate of the city of Babylon. Achaemenid diplomacy was based on political, cultural and religious tolerance; therefore, it’s not unexpected for their art to be combined and transnational.

An integral feature of urban development is economic and symbolic value which has been brought by cultural industries. A city, especially its historical center, acts as a set of cultural resources that provide creative arena for cultural production and consumption, competing fields with each other, increasing city attractions for potential investment and improving interaction with local communities and making a memorable place. In addition, the ability of this sector can be an important indicator for innovative capacities of other parts of the city and its extensive economy in national and regional level.
Cultural quarters based on innovation, flexibility, idea making and changeability can be useful indicators for a set of extensive changes and affecting the city and quarter's economy and providing creative industries. Thus developing creative industries through establishing creative and cultural regions as a key for developing the region and changing the landscape of historic quarters, is considered as the most important necessity of this paper. The aim of this study was to explain a way along with developing creative economy in historical urban textures with an emphasis on cultural and historical themes, as well as explanation of a creativity-based strategy to establish an integrated system of urban regeneration and to achieve a new identity and improve the image of the city in competing fields, that has been studied with a qualitative approach and a descriptive and analytical method based on a review of documents and evidences and explanation of the case study, leading to suggest explanation motives for a cultural quarter inside historic urban textures in the case study-Lalezar.