جستجوی مقالات مرتبط با کلیدواژه "مصورسازی" در نشریات گروه "هنر و معماری"

The studies that have examined the Persian language and literature’s presence in Iranian painting have summarized this presence only as a visual representation of the literary text in the painting, through a type of reductionist approach. This approach only considers and analyzes the research data, the literary texts and the illustrated miniatures that are based on them, and the presence of Persian language and literature is overlooked in the totality of the paintings’ creation process. As a result, in this reductionist approach, the other forms of Persian language and literature’s presence in Iranian paintings are eliminated. In the reductionist approach, the presence of Persian language and literature in Iranian paintings has been ignored, and only the relation between the visual objects in the painting and the text of the poem has been explained and analyzed. The purpose of this study is to identify and distinguish the presence of Persian language and literature in the whole process of creating miniatures in Iranian painting. Therefore, the question is in what forms Persian language and literature have been present in the process of creating miniatures in Iranian painting?The present qualitative study was conducted through content analysis method using the Jürgen Ritsert analytical method. Data collection is done using archival, library and internet resources. Content analysis is a process of reading a text, gaining proper understanding of seemingly irrelevant information, analyzing qualitative information, systematic observation and conversion of qualitative data into quantitative ones. In the present study, the content analysis method has an interpretive nature. And according to the mentioned model, it began with the theoretical stage (i.e. the formation of the initial plans, questions and analyzed resources), and the process of creating paintings and different Iranian schools up to the Safavi era were examined. Then, in the unit construction stage, groups and units of analysis were divided into several categories: "painter" (or their students who did the act of painting), "painting as a product of artistic and technical activities", "collection of technical and artistic actions that the painter applied on the painting". In the data evaluation stage, appropriate analyses were performed related to the research, and the presence of literature was investigated in relation to each of these three groups. Finally, in the results interpretation stage, a conclusion was reached based on the research problem. Accordingly, in the production line of paintings in libraries, three units of analysis can be distinguished: The first is the painter, the painters and their students who did the painting. The second component is the product of their artistic and technical activities on the affected surface, namely painting, and the third part is all the technical and artistic works that the painter and the students performed on the painting. In response to the question of what are the forms of the presence of Persian literature in Iranian painting, the findings of this study show that Persian language and literature have been present in the whole process of producing miniature in Iranian painting. Literature acted as a medium for the artist to understand mysticism, and in order to illustrate the literary text, the mental perceptions of the painter and the writer of the literary text have been united. Persian language and literature also conditioned the minds of some painters due to the calligraphic limitations that prevailed over writing in Persian language and literature. Existence of Persian letters and texts in the form of calligraphy in the paintings, the principle of the internal relation between image and text, and the representation of the opposition between the external matter (appearance) and the internal matter (within) in literature and mysticism in the formal structure of miniatures is a clear example of the presence of Persian language and literature in painting. During the technical operation, the painter looks for the pictorial equivalent of the metaphorical language of literature and prepares a list of conventional motifs. He also uses the metaphorical style as an illustration technique to enrich the image. In addition, the signs that referred to the text were also used to induce psychological aspects.As noted, the inseparable nature of the history of Iranian painting with Persian literature is not limited to the conformity of the drawing and the text. Rather, Persian language and literature are presen

Badi 'al-Zaman Abu al-'Izz ibn Isma'il ibn Razzaz al-Jazari is a Muslim scholar of the sixth century AH who spent the last three decades of his life in the region of Diyarbakir (ancient Amidia) in Turkey during the reign of three rulers of the Artuqid dynasty and had passed away in 602 AH. He had the title of "Chief of Operations", which meant Chief of Engineers. He is one of the most important scientists and artists of "Sina'at al-Hiyal" who has been in the scientific and artistic field of producing efficient, useful and, of course, wonderful products in his time. "Hiyal" is one of the most practical scientific tools in Islamic civilization, which is the science of the solution to change and launching to meet the various needs of life; from the design of timepieces to solutions for easy withdrawal of water from wells and springs, to the construction of devices that are needed in medicine and have other applications, all are defined in the field of Hiyal. If there are different mechanisms in the devices, this science is close to mechanical engineering and the people who have done research in the field of Hiyal have been mechanical engineers, but in many ways, the science of Hiyal or at least the "Sina'at al-Hiyal" that aspect Art is being considered as part of the history of product design (industrial design) which, by using art and creativity, has identified the needs well and provided appropriate answers for them. Jazari was an inventor and has written a description of his innovations and the development of the innovations of his predecessors in an engineering and artistic way in his book entitled "Al-Jami' Bayn al-'Ilm wa al-'Amal al-Nafi' fi Sina'at al-Hiyal (A Compendium on the Theory and Useful Practice of the Mechanical Arts)". Numerous manuscripts of this book are kept in libraries around the world. Before this research, 20 copies of it were officially introduced by Iranian researchers, and in this research, 4 more copies are introduced for the first time. This book, with other titles such as "Fi Ma'rifat al-Hiyal al-Handasiyya", "Aja'ib al-Sana'ei", "al-Alat al-Rahaniah" and "Kitab al-Hiyal", is apparently the only book left from Jazari, and has 50 automatic devices invented or completed by him, in 6 groups Introduced and illustrated. Elephant water clock is an example of products designed by Jazari that is of special importance and is considered as one of the manifestations of the progress of science and technology in Islamic civilization. This device is an automatic water clock that could display and announce time along with symbolic functions, before the advent of hands clock. This product is an artificial elephant with a four-column palace on the back. A person sits on the neck of an elephant with a hammer in his right hand and an ax in his left, holding two beautiful cups on either side. Inside the palace, a secretary is sitting on a circular platform holding a pen. Above it, two dragons turn their tails around an axis and their heads protrude from the palace. At the top of the palace is a dome and on top of it sits an eagle. The other two eagle heads are visible in the front view of this device, on either side of the person sitting on top of the palace. Above this person is a graded page with 15 cells that represents time. The way this important Jazari’s invention works is that inside the elephant's belly, there is a water tank and a container with a small hole in the bottom floats on this water tank. Gradually, over a period of time, the container fills with water and sinks slowly into the water, pulling down the three chains to which it is attached. This, according to a controlled mechanism, causes the eagle to rotate over the dome and release a metal sphere, which in its path, from the top of the palace, reaches the mouth of one of the two eagles and from there falls into the mouth of the dragon. The weight of this metal sphere causes the dragon to descend, so that the sphere falls from its mouth into one of the two cups next to the elephant, making a resounding sound. Meanwhile, the person raises and lowers his hands to indicate the passage of half-time, the secretary spins on a circular platform, and on the top plate of the palace, the size of the half-unit changes. In the next half of the time, the same thing happens on the other side of the machine. The method of this research is descriptive-analytical and there is a partial comparative approach in the study of samples. During this article, the collected library data and manuscripts of Jazari book have been observed and described and based on these data, analysis and study have been done. The study population of this study is all known manuscripts of the book "Fi Ma'rifat al-Hiyal al-Handasiyya", which led to the identification of new versions of this book. The illustrations of the original shape of the elephant water clock in these versions were examined as much as possible. Out of 24 manuscripts, 11 had the mentioned image, 9 copies were definitively devoid of this shape, and the status of the other 4 copies remained unclear in this regard because did not have the necessary access to determine the presence or absence of this image in them. In the next step, 11 images of the elephant water clock were displayed and analyzed, and by presenting a summary of its illustration in the form of a table, a kind of comparative study was performed. In general, it can be said that 8 examples of this image are paintings with good, average and poor qualities, and the other three examples can only be called illustrations. Also, 3 examples of these images can be defined in the Abbasi International School (Baghdad school), two of which were depicted in the workshop of the court of the Artuqid and the other one in the workshop of the Mamluks. The other 3 copies can be attributed to the style of Indian Mongol painting. It is "Sina'at al-Hyial" that, in addition to the mechanical functions of the product, pays attention to the user interface, user experience, aesthetics, identity and symbolization. This study showed that the international language of Jazari in designing a leading clock in his time, as a scientific achievement, showed the superiority of Muslims, and its installation in the city of Diyarbakir, which is a destination for foreign businessmen and ambassadors, could be a sign of domination of Muslims over other nations. The nations whose symbols were used, namely India, China, Egypt and Iran, were in fact the greatest nations of the civilized world at that time, and in a way, showed the scientific, political and cultural superiority of Islam over these nations. It can be said that the use of many signs and symbols of the world by Jazari, such as the Indian elephant, the Chinese dragon, the Egyptian eagle, the Persian carpet in a completely advanced and progressive product in its time, indicates the existence of product design process in Jazari work, and brings it transcends engineering and closer to the concept we know today as industrial design.

One of the exquisite illustrated manuscripts available in Persian language in Iran is the number 708 manuscript available at the library of Shahid Motahari University (formerly Sepahsalar) in Tehran, which is a Persian translation of the book of Hiyal by Badi’ al-Zaman al-Jazari. In this book, of which at least 21 manuscripts have been identified and 3 of them are available in Iran, 50 automated machines have been presented along with illustrations. Therefore, it serves as a very important document in the history of science, technology and art of Islamic civilization. However, no research has been conducted on the artistic aspects of manuscript number 708, translated by Mohammad bin Dawood Alavi Shadiabadi.Consequently, this research, for the first time, the respective illustration is studied and analyzed to discover its artistic features and remove the dust of negligence from this valuable edition. The main question to be replied here is what are the characteristics of the illustrations of the manuscript No. 708? Other questions are raised during this study include how the does the illustrations of number 708 edition differs from the al-Jazari’s original book? And what are the specific features of this manuscript?Employing descriptive-analytic method of research, the study at hand has been conducted through desk study of library resources. All the illustrations and paintings of this manuscript comprise the study population of this research. After conducting a general study, an improbable, 10 illustrations of this book have been selected and reviewed for the statistical sample. The most important features of the illustrations in this manuscript include avoiding the use of human and animal images, decorating large colored surfaces with elegant plant and geometric motifs, preventing the creation of colorful backgrounds in the images, not using a separate frame for illustration, avoiding perspective, using few, flat and pure colors, predominance of warm colors in the ambience of images, employing black and sometimes red lines around the forms, applying simple and symmetrical or balanced compositions, and paying attention to details.  The examination of the illustrations of this manuscript also revealed that from among 135 illustrations, 36 images portray the main forms of devices, 27 ones deal with mechanisms and 72 pictures illustrate components and parts. In addition, as compared al-Jazari’s original book, there is a lack of 7 texts, 14 main forms, 9 mechanisms and 26 components, resulting in possible lack of some images and texts during the course of this study.

Badi' al-Zaman al-Jazari is a scientist, designer and engineer of Islamic civilization in the sixth century AH who lived in the Diyarbakir (South east of turkey), and has 50 new machines in his book “Al-Jami' bayn al-‘ilm wa 'l-‘amal al-nafi' fi sina'at al-hiyal (A Compendium on the Theory and Useful Practice of the Mechanical Arts)” has described and illustrated. This book, which is a documentary of his scientific, engineering and artistic abilities, has been copied and exploited many times, with at least 20 copies are available in the museums of the world, but in our country there are few studies, especially about the artistic aspects of this creative designer. In this descriptive-analytical study, library data and historical manuscripts have been observed, analyzed and adapted. The statistical population of this research is the illustrations of three manuscripts (715 AH edition, no. 3306 of Berlin and no. 2477 of Paris), which, for the statistical sample, have been selected in inaccurately 3 pictures of them and in trivial copies, has been studied comparatively. The main questions of the research, which sets out the purpose of the research, include what are the differences and similarities between the illustrations of the various copies of the book of al-Jazari? How do the illustrations of this book evolve over time? What are the features of various manuscripts? Therefore, the present manuscripts were examined and it became clear that the manuscript of 715 AH was fully artistic and based on the Abbasi painting school, but since the writing of this book was taken away, the artistic aspects of the images were reduced, so that the images of the two other versions have turned into technical and geometric illustrations, and have much less artistic value than the 715 AH version.

Family photography is a genre of photography which is created in the context of everyday life and includes the photographs that families produce and gather through their lifetime and often keep them in their homes، workplaces and family albums، they documentsome moments in family life. These collections include the photographs which are taken by the professional photographer or by one of the members of the family، a friend or a relative. The photographs which are taken by professional photographers in photo studios، represent a picture of a family based on a pre-exist pattern and they merely show the internal issues of the family life، but the photos which are taken in special family events and in the context of family life، give us more information about the situations and conditions of family life، but all of these photos are supposed to represent a pleased picture of family life and also with materializing to pleasant moments emphasize the importance of that moments، Therefore unpleasant events such as failures and fatalities merely record in the photographs. Emotional value and collective horizon of life experiences are the main features of family photography. Recording and protecting of memories and validation of our social identity are the most important personal functions of family photography. Family photos and albums operate as archives of memories and prompt to recall people، places and events. The makers of family photographs consider photographs as an exact and authenticated representation of what has been existed truly. For them the reality of photographs is one of the reasons of taking pictures. Whereas family photographs present a selective view of life and documentation means to document what people choose to preserve for the future. Despite this، the importance of family photographs is to show the people`s way of thinking and living in the past. The content of family albums and family collections reflects the social and cultural values of the family and the ideology of the family which is revered in the photographs. As it mentionedbefore، family photographs are taken from everyday life، so they involve important social realities. The rules and agreements of the family correspond to the patterns and manners of a community which family is surrounded by. photos assist to memory and give us a powerful sense of re-experiencing and re-living the situations which have been existed through our lives and also they tend to tell stories from the past. Therefor family photographs apart of their role in making our memories، involve social and cultural meanings which can be applicable in other broad areas. Photographs and personal memories of people who live in the certain historical period in the common social and cultural environment، despite their differences، are shared with the collective memories and social history of that society. This inquiry within introducing the family photography and its concepts and features، try to represent a public reading of family photographs and also study the role of photographs and personal memories in genesis of collective and public memories of a society.