جستجوی مقالات مرتبط با کلیدواژه « هنرهای تجسمی » در نشریات گروه « هنر و معماری »

In Islamic civilization, some elements and fields have caused the elevation and progress of Islamic civilization and have influenced the dynamics and progress of those elements in other civilizations and cultures. The field of art is one of these fields that has been less discussed. Especially the fact that some of the manifestations of Islamic art, without any history in other civilizations, are related to high knowledge that does not exist in any religion and civilization, and therefore visual arts have been able to introduce advance, and the development of Islamic civilization an effective application. The art of calligraphy, painting, enameling, carpet weaving, and sculpture are among the effective visual arts that play an effective role in Islamic culture, art, and civilization. Of course, colors, decorations, geometric shapes, visual effects, and even architecture, urban planning, and many other artistic elements are among the visual arts that are usually neglected or sidelined by highlighting other topics. have been driven, in this research, in addition to examining the history and crystallization of visual arts and the application of this type of art in Islamic civilization, it will be answered that even according to Western scholars, Islamic art brought a new and new way of interpretation to its followers and the Muslim artist in all the works he creates, he displays the spirit of the new religion and its civilization. It also created some unique effects that even today, despite its remarkable progress, Western civilization benefits from these artistic fronts.

The purpose of this research is to examine the history and crystallization of visual arts and the application of this type of art. Therefore, in this research, the question is, what is the place of art, especially visual arts, in Islamic civilization? To what extent have visual arts played a role in the development and progress of Islamic civilization? And to what extent have visual arts been influential in other cultures and civilizations?

Many writings and works have been organized in the field of art and its role in Islamic civilization, but there is less writing about the subject of this article.The book "History of Art in Islamic Civilization" written by Hassan Bolkhari Qahi (1388), mentions the brief history of two top Islamic disciplines, namely architecture and music, with philosophical and mystical approaches. This book consists of three parts with the titles of the history of music in Islamic civilization, the history of architecture in Islamic civilization, and the mystical foundations of Islamic art. The third part is a response to one of the professors at Harvard University who criticized the foundations of Islamic art. The book "The Shape of Islamic Art" written by Aleg Grabar (1396) and translated by Mehdi Golchin Arefi in 398 pages was published by Sina Publishing House. Islam's view of art, religious art of Islam, mosque, court art, city art, advanced Islamic decorations, a concept called arabesque, and the formation of Islamic art are the topics of this book. Another article, the article "The Image of Art in Islamic Civilization" written by Abbas Rahbari and Maryam Kalhori (1394), in the Second International Congress of Culture and Religious Thought in 1394, has expressed the concept of art and Islamic civilization and shows that great artists And scientists have made a lot of efforts in the field of art, and Islamic civilization reached its peak in the field of art and artists, and it was displayed in the best way from Bukhara to Córdoba in Spain. The writings that were mentioned, as well as many other writings and articles that are organized with similar titles or exist on the Internet, none of them are related to the subject of art from the perspective of the role of visual arts, which is the subject of this writing. They have not paid.

This research, referring to the manifestations of visual arts, has been carried out by using the opinions of scientists in the two fields of Islam and the West, and with the descriptive-analytical method and the method of collecting its contents based on library studies. The data analysis of this research was done with a qualitative method.

It will be clear that visual arts have a prominent position in various fields of Islamic civilization and it will also be clear that especially visual arts not only by renovating and completing artistic elements cause the dynamism and progress of Islamic civilization in various fields. It became artistic, but at times, it has also influenced the dynamics and progress of art in other civilizations and cultures.

From all the discussions that were raised, the conclusion is that art, especially sublime and sacred art, has been associated with Islam since the beginning of Islam and with the revelation of revelation in the form of words, and later periods due to its importance and prominent position. The one whom Islam and Islamic civilization valued for art, especially visual arts, created special and pure effects in various artistic fields, which in some cases have not been matched until today. The function of art as a pillar of civilization and civility, both caused the dynamism and progress of Islamic civilization and was able to influence other cultures, including Western culture, and created some unique effects that even today Western civilization. The existence of its significant progress benefits from these artistic fronts. This is even though Islamic art has been able to maintain its strength and power with its characteristics and in some cases, influence the art of other cultures. Features such as the centrality of Islamic art on the oneness and oneness of God, avoiding the embodiment and representation of sensations and the desire for abstraction and spirituality, and as a result, providing the basis for the growth of imagination and spiritual inspirations, glorification and expression of indestructibility and inexhaustibility. , great precision and total skill to the point of miracle, looking at art like worship, ambition, creation of the most delicate decorations that are a drawing of infinity with their endless repetitions, the beauty of Arabic calligraphy that amazes the viewer. Slowness, having the right to freedom of expression, and diversity of arts, some of which were discussed in the text of the research, are among the mentioned characteristics.

Problem:

 A look at the history of the presence of art in public spaces shows that with the change of the paradigm of public art from artist-oriented art to the creation of society-oriented art and audience-oriented art, the choice of the type of public art and the environmental qualities affected by it appear more important. What threatens urban spaces today is the weak connection between the building components of a place, which cannot meet the needs of citizens.

Target: 

The current research aims to investigate the effect of visual art on environmental quality and tries to create the necessary environmental quality in the design of future urban spaces by experts.

This research is developmental-applied in terms of type, and in terms of method, it has a nest-to-nest combination. To answer the research question, the qualitative research method is used in a nest-by-nest quantity. The statistical population is divided into two quantitative and qualitative parts. In the qualitative group of the statistical population, there were 14 experts who were selected by the snowball method. In the statistical population of quantitative research, the sample size is 180 people based on Cochran's formula and random sampling.

The analysis of the results indicates that according to the results of multivariate regression, the component of visual richness with the value of (1.000) has the highest factor contribution, in the second order, the component of enjoying the environment with the value of (0.920) And the lowest is related to the component of improving the individual sense of belonging with the value (0.244). The special attention of urban designers regarding the structure of spaces and the use of extraction measures from the impact of visual arts components in urban spaces in different scales can increase the quality of urban environments.

Native elements are one of the most important components of the formation of visual texture in culture. The texture of the image of Iranian culture is full of symbols and signs that have emerged from the heart of native elements. Symbolic anthropology deals with the understanding and interpretation of culture with the help of symbols and signs. Throughout history, symbols and signs have used media such as images and writing to express their values. Typography is one of the powerful image and writing branches in today's world, which has been able to communicate with the roots of image and writing and has achieved an independent function in this connection. The purpose of this article is to find the impact of native elements on Iranian typography from the perspective of symbolic anthropology and what consequences this impact had on Iranian typography. The method of examining the findings is descriptive-analytical and based on library study and case examples of Burjamaneh's works from Iranian civilization. From this, 7 cultural symbols of Iran have been examined as findings in this article. The findings show that native elements have played an essential role in shaping human constructions and his knowledge of his surroundings. Typography in its various forms is affected by these knowledge and constructions. In the most basic form of knowing the environment around him, the intelligent man has gone to the creation of symbols and signs. In the examination of symbols in Iranian art, traces of native elements can be searched. These elements are expressed in the form of symbols and signs in the image and text. The body of Iranian art is full of these signs, which in each period has adapted itself to a different thought of the time and has emerged as a unique Iranian art from the heart of the thought of each time. Native elements can be considered as the characteristic of every culture and civilization that forms the cultural context. Native elements have a significant impact on the shaping of ethnic aspirations, far and near. Desires that are mixed with life, death, creation, cosmology, totem, pilgrimage, rituals, marriage, the world after death, etc. Therefore, native elements should be considered a turning point in the formation of these concepts. Today we look at the image with a deep attitude. The image for us, whether written or in the form of a pure image, has many meanings that we can interpret through our knowledge and understanding of the image. Symbolic anthropology is the methodology of our interpretation of these signs. A bird in a stamp that looks up, a hexagonal captive ram, or the writing of Bab al-Hawaij, which has a hand association with science, all have a specific definition according to our bio-ecological understanding of the image. Typography is the art of designing a message (concept) in the form of an image or writing or both, which conveys a specific meaning according to the geographical location where the designer and the audience live.

In today's world, with the fast development of technology, ease of access to works of art, cultural pluralism, and the emergence of new styles and schools, it seems that the previous standards and definitions of art have lost their effectiveness. Moreover, the field of art is changing every moment while its scope is expanding. On the other hand, the distinction between works of art and everyday objects, due to the use of non-artistic objects by artists in creating their works, requires a review of the standards and definitions of art. Therefore, it seems necessary to find a way to reject or accept these works as a work of art. George Dickie (1926-2020), a philosopher and art theorist, defined the work of art by presenting and compiling the institutional theory in order to be able to keep up with the aforementioned changes in contemporary art. On the other hand, in the field of contemporary art, works created by imitating precedents may classify as adapted or illegal reproduced copies. The works have been the subject of many critical and analytical debates regarding their authenticity and have raised many disagreements among theorists, historians, and art critics. Regarding the authenticity of adapted works with concepts and ideas behind them, less might be doubted. Still, the dispute on authentication of reproductions such as kitsch, pastiche, high copy and restored works of art can hardly be settled. Evaluating art reproduction and determining its authenticity then requires a model based on which the meaning of art and its representations can be determined, especially in the contemporary period. "Institutional Theory" as one of the most prominent and recent theories for valuing art can be among the best options for appointing the mentioned model. Although it has been criticized by a number of philosophers and some theorists labeled it elitism in art; Dickie, over the years, has always tried to fix these flaws by developing "Institutional Theory". Dickie calls the three initial formulations of "Institutional Theory", "the first narrative of institutional theory" which was introduced between 1969 and 1974. He calls the fourth formulation, "the next narrative of institutional theory." The followings, which are the main and final components of the "Institutional Theory" of art, were presented by Dickie:1- An artist means a person who participates with understanding in the making of a work of art. 2- A work of art is an artifact of a kind created to be presented to an art world public. 3- A public is a set of persons the members of which are prepared in some degree to understand an object which is presented to them. 4- The art world is the totality of all art world systems. 5- An art world system is a framework for the presenting of a work of art by an artist to an art world public. This article aims to categorize the types of art reproductions and verify the authenticity of each based on the five main components of the institutional theory. In this process, the extensive literature is reviewed with a descriptive-analytical research method. This study thus seeks to answer the question that which of the types of art reproductions might be original in a sense to be considered works of art in accordance with the main components of the institutional theory. In order to achieve the results of this qualitative study, first the reproduction works were classified into different types such as forgeries, high copies, kitsch, as well as replicas for the purposes of education, restoration and reproduction. After examining each type, the following results were obtained based on the components of "Institutional Theory". The most important reason that may reject art reproductions with the purpose of "re-producing" from the institutional theory standpoint is that the artist's "understanding" of their production was not to create a work of art, and the artist knows that he deals to reproduce someone else's work. However, today, by over aging or for the fame of their creators, some of the old art replicas are labeled and stored at museums or art institutions, therefore, have gained material and spiritual values. According to the conditions mentioned in the institutional theory, such works are exceptions and can be considered works of art. In the "replica works for the purpose of education", because the "artist's understanding" of what he does is just learning, they cannot be considered works of art. In addition, these works do not have an audience from the "art world". However, amongst there are few works that, like the previous case, have made their way to galleries and museums with aging, and perhaps not considering such exceptions in "institutional theory" can be considered a weakness for this view. In the case of the "replica with the purpose of restoration", because the "understanding" of the restorer is only to preserve and maintain the original work, it is not considered art from the "institutional theory" point of view. In the "replica for the purpose of glorification", the condition of "being an artifact of a kind" is met, but the "artist's understanding" of what he does is outside the scope of creating an original work of art; although the purpose of this work is to present that work to the "art world." In market art replicas, despite being an artifact of a kind, the artist does not intend to produce a work of art, and the public is not from the art world and has no understanding of the art world. If they have a possible understanding of art, they know that the works are just copies. Therefore, such works are not considered authentic in the framework of institutional theory. "Kitsch" works, except for the condition of being an artifact of a kind, do not per se include any of the theoretical and institutional conditions and are not considered original works of art; but a type of "kitsch", called "sweet kitsch" and also the works created in the field of "pop art" due to the existence of conditions such as being an artifact, "artist's understanding" of what he does (such as creating an arrangement, framing or presentation) is to present original works to the "art world public” In "high copy" works, we are faced with the coercion of artists in performance, and as mentioned earlier, performance techniques in arts cannot be faked. Also, the result of this work is an artifact. Therefore, if the artist's understanding is to create a work of art to present to the art world, it can be accepted as an authentic work of art. "Pasteish"s belong to this type that, despite being similar to the original work, is considered a new work of art with an excellent performance technique. Fake works are not considered works of art due to not having all the conditions of "institutional theory" except being an artifact of a kind. Finally, the findings of this article, in order to answer the main research question, reveal that among reproductions, only the works that are placed in the kitsch, Artist’s Self Copies, pop art and pastiche groups might be considered works of art. The rest, according to institutional theory is rejected except for some exceptions mentioned.

Aesthetics emerged in the views of eighteenth-century Western philosophers as a branch of philosophy that judges the beautiful and focuses on the arts. From that time, these philosophers also paid attention to architecture. However, the term entered architectural theory about a century later. Theorists have mentioned the two main factors that have given rise to the emergence of architectural aesthetics in this period: the achievement in "visual arts" and the dominance of "rational-logical" thinking on the theory and practice of architecture. An issue that has received less attention in this research is the different roles of these two factors in the emergence of architectural aesthetics. The question of the research is "What role have each of these factors played in the emergence of architectural aesthetics?" The methodology of the research is that first, we expressed the origin and basic concepts of aesthetics in the eyes of the founders. Then, we express the conflict between Aestheticians' approach and the views of architects and architectural theorists about beauty. Afterward, we show how the reaction to the rational-logical method created a desire among architects and theorists to relate to aesthetics. Finally, we argued about how the mediation of the visual arts paved the way for the relationship between architecture and aesthetics.
The result shows that under the influence of rational-logical thinking, architects and theorists tried to explain the place of architecture as a science and not a kind of art. The purpose of architecture, to create a place for the perfect way of living with all complicated aspects, was reduced to fulfilling the physical functions and aspects of architecture that can be expressed in the program and structure. In response to the reductionist approach, a desire to go beyond emerged among architects and theorists. They thought that if the task of architecture is anything more than serving the practical needs of everyday life, we could find the answer to the relationship between art and architecture. However, due to differences in architects' view of beauty and Aestheticians' view about the relationship between arts and beauty, the aesthetics of architecture was not made by referring to philosophical topics. Aesthetics of architecture requires a shift in judging beauty from the role of practical and moral functions to the mere form. This paradigm shift was mediated by the visual arts which do not belong to the practical and moral considerations. As a result, we approve of the idea that the dominance of "rational-logical" thinking and the "visual arts", played different roles in the rise of aesthetics of architecture. The reaction to the first one created a desire for architects to relate to aesthetics. The second provided the means to fulfill this desire.

The semantic structure in a film is an interconnected structure of visual and auditory elements that are used to advance the narrative, the transmission of meaning, concept and feeling. This requires the director to be familiar with the basics of the visual arts in order to be successful in achieving the lofty goals of the media, which are also its mission and integral, by being aware of the various aspects of image frame arrangement, in addition to preventing boredom of the audience. In this research, using analytical-descriptive method, the mezzanine elements of narratives in the of Dariush Mehrjoui”s films as a social director have been analyzed. Analysis of the composition of scenes of "Hamoon" and "Parri" as hero-centric films which have the most role in defining the characters, show that Mehrjoui descriptively uses geometric principles, light, color and artistic concepts such as symmetry, balance and golden angles of vision to express spiritual concepts. Also, he uses this approach in the creative design of scenes, in accordance with the theme of his films, to create a multi-sensory perception in the audience to acquaint them with characters. Research Objectives1-Analysis of the use of mezzanine in Dariush Mehrjoui's films2- Explaining the role of visual elements in expressing the concepts and implications of Dariush Mehrjoui's filmsResearch Questions1- How is the background of meanings and concepts in Mehrjoui’s films?2-Which artistic elements and techniques are used by Dariush Mehrjoui to convey his intended meaning to audience?

Among the unprecedented diversity of the use of different materials in contemporary art, fibers have been able to present themselves as a branch of postmodern art. Producing artwork with fibers is important and has a rich history in all world cultures. However, until the modern era, the use of this artistic material was only possible in the context of handicrafts and applied arts and was not considered a part of fine arts. At the beginning of the 20th century, with the formation of postmodern approaches, a group of female artists in America stood against this type of division, and their activities led to this artistic material being recognized as a part of fine arts and entering new art museums. Considering this paradigm shift, this paper intends to answer the question of what capabilities sewing and fibers offer in visual arts, including installation art. And how can these features reflect postmodern components? To reach the unique capabilities of fibers in contemporary art, this article analyzes the works of several famous female artists in this field and tries to read the postmodern elements in their works. This research is of a qualitative type and descriptive-analytical, and the collection of information in it is by library method and document study. The result of the research shows that by removing the predetermined frameworks, a new window of the capabilities of fibers has been made available to artists, which has led to the creation of diverse works that have no direct precedent in the past and artificial arts. The most important of these features is the unique expression, the possibility of presenting and arranging the works in the form of installation art, the ability to communicate by touch, the presence of the work without intermediaries for the general public, and the possibility of the audience entering the work and the direct perception of the work of art by the viewer.

The opening of the first art college in Iran in 1940 decade and after that, the establishment of the Museum of Contemporary Art in Tehran in 1983 was the beginning of the presence and background of the activities of artists, especially Iranian painters in the world arena. Leading research intends to examine the position of Iranian painters in international art events in the last decade, taking into account the socio-cultural developments in Iran, and to compare this level of presence with artists from neighboring countries. The results show that in the most prestigious international art events between 2010 and 2020, the presence of male painters was more than women, while the average age of female painters was higher than men. The majority of Iranian painters participating in these events resided abroad and were mainly academically educated. The presence of painters is also more significant than that of artists working in various fields of visual arts. Finally, in the last decade, the growth of the participation of young Iranian artists and self-taught painters in the statistical results of world events is evident. The type of works presented in the selected events shows the presence of 52.7% of artists with paintings and 47.2% of artists with other visual works. The year 2015 shows the highest presence of artists with visual works and paintings compared to other periods, and on the other hand, the years 2016, 2018 and 2020 show a sharp decrease in the display of visual works and paintings. In most events, we see the presence of female artists with a higher average age than male artists. In total, the average age of women was 49 years and men 47 years. The youngest average age for women for the BP Prize event and for men belongs to the Berlin Biennale, and the oldest average age for women belongs to the Sharjah Biennale and for men to the Venice event. The highest average age of women in 2010 and men in 2013 can be seen The lowest average age of men belongs to 2018 and women to 2020. In general, the average age of artists has gradually decreased, which shows the trend of young artists and the new generation towards overseas activities. According to the obtained results, the total number of Iranian artists participating in international events in the mentioned time period is 170, Turkish artists 207 and Indian artists 176 that the artists of Turkey have had a stronger presence than those of Iran and India. The number of male artists from the two countries of Iran and India was more than that of women, but Turkish female artists with 63.28% were more active than men with 36.72%.

 Stylistic terms are concepts that are constantly used in art discussions. The similarity and semantic uniformity of these concepts, as well as the lack of a clear demarcation between them, have paved the way for a kind of conceptual clutter and confusion. Therefore, determining the position of each of them and their relationship helps to read artistic texts and understand the position of works and artists.

This study focuses on the concept of style, based on the relationship of other stylistic concepts with it, it has also sought to explain the semantic boundaries of stylistic concepts that are constantly confused with each other and are used interchangeably.

This research is library source-based, and the presentation method is descriptive and analytical. Using library resources, concepts similar to that of style were examined, and the relationship between them and the concept of style was determined.

This study concluded that concepts such as school, movement, artistic method, visual style, form, content, mode, technique, and genre are constantly misused instead of each other. Therefore, by explaining the exact meaning of each of these terms and examining their relationship with the concept of style, we conclude that style, genre, and mode are different artistic methods. Moreover, depending on its approach, each is influenced by components and sub-categories such as techniques, forms, content, etc. In addition, it was found that although school and movement have close conceptual boundaries, the main root of their difference is in their location.

This study has compared Meaning interaction of opposition in Maurits Escher's "Day and Night".oppositions are the dominant principles of the material world and the mankind is also a combination of body and soul.Undoubtedly,the meaning can't be without reflection in human art,The art sometimes reflects the oppositions and picture then in frame of symbols and signs.Oppositions in artistic works don't mean oppositions and in some works can complete each other and can gain meaning alongside. For comparative study of means of opposition with visual arts,it was necessary to choose an indicator artistic work.Hence, this work was selected as the most opposing artistic work of contemporary age by Maurits Escher's.The main objective of this study is to understand the concept of opposition and deriving that in "Day and Night" painting, which shows the artistic functions of the theory in adjustment with visual artistic works.This is because; the form and content of this work has abundant oppositions and is wonderfully full of opposing values in terms of form,expression,structure,color,images and motifs and illustrations.The main research question is the amount of adjustability of the theory of binary opposition of Derrida on visual illustration works and how to analyze its visual functions?The results of this study,which is done using comparative and analytical method,shows that the number of binary opposition in Day and Night Painting reaches to 7 items and includes content and narrative binary opposition and can be adjusted with Derrida's theory in terms of generalization of them to artistic functions of basis of visual arts

Qajar art” in some way is the art of a transition period. Its themes and contents refer to an unborn future and merely depict the past. The art of this period shows a transient (ephemeral) condition caused by various but significant factors including the beginning of modernism in Iran, the advent of the publishing industry, the propagation of intellectualism, the establishment of “Dar ul Funun”, and the popularity of individualism. In recent decades, Iranian contemporary artists have shown a great interest in Qajar art. The major concern of this study is to understand why Qajar art has been the topic of interest. To this end, this study examines the pertinent samples and employs a descriptive-analytical method to investigate the hidden elements and signs of the works of contemporary and modern Iranian artists associated with the Qajar period. Preliminary analysis shows that most of the elements and features of Qajar art are still present in today’s art. These elements can fall into three categories:1) Works that have directly benefited from Qajar art, 2) Works that have been affected by the motifs and symbols of the Qajar period, 3) Works whose hidden layers trace back to Qajar art. The use of Qajar art by contemporary artists includes various reasons such as, but not limited to, the arrival of the camera and picture video archives. In addition, the existence of art markets beyond Iran has had an impact on this trend.

Works of art are one of the most important issues that are protected by intellectual property rights. In expressing the concept of works of art in intellectual property laws, it is generally mentioned in the literary and artistic property law or copyright of countries. These works also have various examples, including the visual arts and the seven arts, which themselves include two sub-categories of fine arts and applied arts. Given that the issue of intellectual property is a matter of credit, intangible and intangible, it is necessary in the form of descriptive-analytical research, concepts and how to support it in systems of intellectual property rights and due to the emergence and import of intellectual property rights are clearly explained in Our country does not have a jurisprudential background and law in this field. Given the subject matter of this matter, it is necessary to explain issues such as the separation of literary works from works of art, as well as to examine the existence of classification among works of art in the laws in question. The distinction, fragmentation and lack of precise and logical conflict in the laws under consideration, the lack of protection of some works of art in the current system of intellectual property and the need to create special protection systems under the protection systems in intellectual property rights are among the items considered.

Works of art are one of the most important issues that are protected by intellectual property rights. In expressing the concept of works of art in intellectual property laws, it is generally mentioned in the literary and artistic property law or copyright of countries. These works also have various examples, including the visual arts and the seven arts, which themselves include two sub-categories of fine arts and applied arts. Given that the issue of intellectual property is a matter of credit, intangible and intangible, it is necessary in the form of descriptive-analytical research, concepts and how to support it in systems of intellectual property rights and due to the emergence and import of intellectual property rights are clearly explained in Our country does not have a jurisprudential background and law in this field. Given the subject matter of this matter, it is necessary to explain issues such as the separation of literary works from works of art, as well as to examine the existence of classification among works of art in the laws in question. The distinction, fragmentation and lack of precise and logical conflict in the laws under consideration, the lack of protection of some works of art in the current system of intellectual property and the need to create special protection systems under the protection systems in intellectual property rights are among the items considered.

The aim of this study investigated the effect of aesthetics on exposure to artworks.

This study was a causal-comparative study. The statistical population of this study was all male students of Islamic Art University of Tabriz in the year 2019. At first, randomly, 30 people were selected from those who were eligible for testing, then three group of images presented in three stages (one of the group have images are without aesthetics' rules and next the images were photographs in history of photography and the end, important painting's in history of art) At the same time, quantitative electroencephalography was recorded in the delta, theta, alpha and beta frequency bands. The data were analyzed by multivariate analysis of variance and all stages were calculated using SPSS version 23 software.

The findings showed that there was a significant difference in alpha frequency in three group images presentation (P <0.01).

Based on the findings of this research, it can be said that the aesthetic rules are efficient when viewers is looking to art works.

Art and expression are intertwined. Art has consistently represented the conditions of the society in which it has been formed, and today, what mankind knows about the past societies is largely based on the works of art from each civilization. Exploring works of art is of particular importance, acquainting us with the identity of past societies. It can be said that the remnants of any civilization represent its identity, mood, prevailing social conditions, laws and traditions. Among the variety of themes, the theme this article is looking for is ethics in the works of art in Mesopotamia. As ethics encompasses a wide range of areas, and it is impossible to study this general concept in works of art; so, among the many dimensions of good or bad morals, we have considered violence. First, today's definition of violence is discussed, and then, what was called violence in Mesopotamian civilization is studied. In the present paper, the visual works of Mesopotamian civilization have been studied. Although we take a look at all periods, in fact the emphasis will be on the periods more closely related to the theme of violence which their works represent, although symbolically, violence. What is certain is that it will be impossible to analyze works of art without studying the social, cultural, and religious contexts of society, but since the breadth of Mesopotamian civilization prevents us from discussing the details of kings and the social conditions of society of that timeless civilization, we have just concentrated on the evidence directly related to the theme of this article. The main concern of the present article is the current definition of violence, the definition of what had been called violence in Mesopotamian society, and the study of the works remained from this ancient civilization with the theme of violence. It is noteworthy that all the themes of violence have been examined, including violence against animals. Examining the instances of violence in Mesopotamian society and their representation in their works of art leads to the logical classification of violence in Mesopotamian society and how it is represented in that society. In the present article, which is based on descriptive-analytical method and documentary data, questions have been answered such as: Can the existing violence in Mesopotamian civilization be classified? And which of the violence types existing in Mesopotamian society has an artistic representation, and why? By examining the works of art studied in this article, as a small representative of the remaining works of Mesopotamian civilization, it can be concluded that one of the most colorful themes in the works of art in this civilization is violence, and this theme can be seen in different forms in works of art. What is certain is that the representation of violence in the works of art reflects the violence in Mesopotamian society, which stems directly from the context of society. Based on the results from the study of these works, the violence in Mesopotamian civilization can be classified into the following types: - Violence against animals (hunting scenes in works of art) - Social violence (including: violent laws, violence against slaves and residents of enemy cities) - War violence - Psychological violence (confession to the arrogant killings by kings, psychological stimulation of the inhabitants of the besieged cities, etc.) The point about psychological violence is that it refers to violence that is insanely described by kings in inscriptions, and that kings have proudly immortalized their killings, assassinations, and bloodshed through the inscriptions and perpetuated them for future generations. Now we come to the answer of the question: which of the existing violence has had an artistic representation and why? By studying the works, it became clear that violence against animals and war violence had a more prominent artistic representation than any other types of violence. However, social violence had almost no artistic representation, except for a small number of slaves, and had only been palpable in society at the time. It can be inferred that although social violence existed in their laws, it had not been severely realized and had occasionally been modified by other conditions, such as fines. Religious beliefs in Mesopotamia are the main reason for the colorful representation of war violence. The kings considered war a kind of jihad against evil forces and did not hesitate to do anything to achieve victory. No surprise that they recorded their victories in the works of art with full authority. According to the World Health Organization on group violence, group violence can have social, economic, and political factors, and we have seen the same effect in the study of the works of Mesopotamian civilization. War violence is considered a form of group violence which was applied under religious and doctrinal pretexts and with real political motivations.

The preservation of the authenticity of artworks in the art history and contemporary era has been always important and necessary. In the present era, the return to the traditions of the past has made it necessary to understand the concept of originality in relation to topics such as inspiration and adaptation in the art visual works. Reading past works in the artist's minds reveals their impact in two different ways, one is an inspiration (unconscious influence) and the other is adaptation. In inspiration, the artist without prior intention is affected by the elements and practices of his predecessors, and repeats their form and style work in their artwork. In the second figure, the artist, having full conscious of the origin of the method, engages in it. Of course, these readings sometimes question the notions of authenticity of artwork. Therefore, the importance of understanding the concept of authenticity in relation between two topics such as inspiration and adaptation in the works of visual arts is important and significant. From ancient times to today, we have seen the many artists’ works of the past to this day using various adaptations and references. Of course, the scope of these adaptations is not just limited to visual arts, but we have also seen valuable adaptations in literature, theater and scriptwriting. It is also important to note that, given the fact that any valuable traditional artist in his past finds, the achievement of superb creativity, if not based on innate genius, requires familiarity with artistic tradition and the form inherited by the artist. That is the way to significance the role of inspiration shows. This article aims to explain the position and role of authenticity in visual arts in answer to the main question of whether the artist that inspired and adapted from other visual artworks, can preserve authenticity of artworks. Another issue that is addressed here is the role of artist's individual creativity in the authentication of work. Considering the results of research about the inspiration and adaptation of art works and art history, if artists achieve a new personal and creative statement in accordance with the principles and knowledge, they do not cause destructive effects on authenticity while the new work preserving the authenticity of the earlier work. It can also count as a new authenticity and a genuine artist's expression. In the contemporary era, the division of the artwork’s authenticity into absolute and relative authenticity can allow understanding and preservation of the authenticity’s concept in view of the present age’s complexities. In addition to, an artwork that introduces familiar and well-known issues is not authentic, however the art work that expresses the new perspective and initiative on a subject or content count authentic. Therefore, in the present article, it has been tried to mention the role of inspiration and adaptation concepts separately by introducing samples of some artists’ works and the discussions in relation to the authenticity of the artwork. Research methodology is descriptive analytical method with library studies and using Internet resources.

The creation of a work of art by an artist and the supremacy of the creation of a unique work, has caused thought to always seek the originality and credibility of the art of creation. During the period of the emergence of modernism, these measures underwent significant changes, and the change in the minds and views of artists caused the artist, as an author, to display concepts such as non-representational art, abstraction, conceptual art, etc. in his works. With the advent of the postmodern era and the extra-textual reference, the issue of intertextuality was raised in literary and artistic critique to explain and explain it, and a new reading of a work of art entitled "From Self-Making 1" came to the attention of postmodern art. Since the beginning of this period, the difference between self-creation in art and art theft and how to evaluate the originality of a work that has been created in the way of self-creation,One of the most challenging issues has been the valuation of works of art. This paper seeks to examine and evaluate the characteristics of self-creation and the originality of visual works of art created during the postmodern process and to answer the question of how much of that self-creation is in conflict with the criteria of originality. . This research is theoretical and fundamental and the required information is collected by library method. The originality of works of art, relying on the method of self-creation in the postmodern era and its intertextuality, does not have the characteristic of unity in determining the originality of applied art, but the intellectual originality and value of the artist's reflection is considered to measure the originality of the work of art.

The visual arts are those creations that are seen instead of being heard. These include such forms as painting, drawing, printmaking, sculpture, ceramics, photography, video, filmmaking, design, handicrafts, architecture, etc. Architecture is the process and product of planning, designing, and constructing buildings or any other structures. Architectural works, in the material form of buildings, are often considered cultural symbols and works of art. Historical civilizations are often identified with their surviving architectural achievements. As a form of visual art, Architecture has always been accompanied by beauty and one of the methods of creating beauty in Iranian architecture is the use of decorations, which has played an extensive and valuable role in the emergence of Islamic architecture. These decorations are mostly combined with visual qualities and fundamentals of visual arts and thus, they create a beautiful and pleasing appearance.
Architectural ornaments have been among the most ancient components of Islamic art. Since the eighth century onwards, partial and, more often, overall decoration of buildings has been a characteristic feature of Islamic architecture. Religious monuments as well as secular complexes have been decorated with an array of styles and techniques that reflected the multiplicity of Muslim societies and their cultural expressions.Until the eleventh century, most decorative techniques such as the use of ornamental brickwork or moulded stucco and mosaics in the Muslim world were inherited from pre‐Islamic cultures and societies. As one of the main ornamental elements of Iranian and Islamic architecture, brickwork is evident in most traditional buildings in Iran particularly the mosques, and considering this issue, the mosques of Maragheh city, as one of the cultural and historical cities of Iran, are very important.This article aims to analyze the brickworks of Maragheh mosque based on the theoretical principles of visual arts and answer this question that how the brickworks of Maragheh mosques have been used and how they inspire the viewers.The research has been conducted employing a combination of field study and descriptive-analytical method. The tools used to this purpose include observation and imaging of mosques and their brick decorations and desk study of library resources. The statistical population are the traditional Maragheh monuments and Maragheh traditional mosques are statistical samples.A look at the history of the mosques in the city of Marghah reveals that almost all of them were constructed during the Safavid era which is one of the periods when Iranian art flourished and religious buildings such as mosques became more important. During the Safavid period, the Seljuk style of brick decoration expanded in scope from the pure structure stage to the first level mediator.Bricks are used in the vast majority of mosque's facade and the photos taken indicate that the they are one of the visual features of beauty. Two of the items of visual quality are significant in this structure: one is rhythm and two, are the fine movements in the decoration therein which inspires its invisible and sacred unity.Contrary to the above, the contrast principle in decoration is not used to prevent tension and instability and conflict with the viewer of the building. Generally, artist's feelings are delivered with using the visual principles in the interior decoration of the building and can be transmitted internally and externally.

Illustration and architecture are two important expressing media of the Islamic Revolution of Iran and the Holy Defense. The Iran-Iraq war, known as the “Imposed War” and the “Holy Defense”, began in September 1980 when Iraq invaded Iran simultaneously by air and land and lasted until August 1988. The Islamic Republic stressed its moral superiority by couching its military engagements (both defensive and offensive) as a sacred, collective effort to protect the Iranian homeland and ensure its survival. In the meantime, the illustration was initially used as a medium of revolution; however, the architecture was made after the end of the war as museum and memorial or monument. It is believed that these two arts have also benefited from common elements in terms of the content of expression tools. The purpose of this research is to answer the following questions: how can one obtain the common expression ways and literature in arts which are influenced by the Islamic Revolution and Sacred Defense culture? What are the common elements and interconnected linguistic grammar between the arts related to the concept of the Sacred Defense? Here, the meaning of Islamic culture suggests the Holy Defense culture. The research is a comparative study and the research method is analytical-interpretive. For content analysis, the method of morphology and Erwin Panofsky’s iconography method have been used. Erwin Panofsky was a specialist in Renaissance art, but in keeping with the humanist tradition of the period, the term ‘Renaissance’ must be applied to his work in its broadest sense. In Studies in Iconology he set up a system of three distinct levels. The first level, termed pre-iconographical, consists of primary or natural subject matter. Although identification on this level can generally be achieved through practical experience, accurate assessment of some kinds of representations, realistic versus unrealistic for instance, depends on an awareness of the conditions and principles related to a specific historical style. The second level, iconography in its usual sense, consists of secondary or conventional subject matter, and is achieved by connecting artistic motifs with themes or concepts. The third level is identified as Iconography in a deeper sense, or iconology. It consists of intrinsic meaning or content and is intent upon building an understanding of the relationship between one work and the larger context in which it was created. Hence, after examining 26 examples in visual arts and 15 examples of Holy Defense memorials and museums, it is attempted to analyze the content and expression of these two arts. To examine the forms of Sacred Defense illustration, the main and secondary themes and ways of expressing each of the works are analyzed, following which they were compared to the architectural forms. In architectural research, concepts include elements used in the form of shells and walls, sign elements, the type and quality of functional spaces, the velocity paths and their quality, historical references and types of decorations, the way of interaction between artifacts and natural environment. The performed studies show that the way of expression in the Sacred Defense illustrations is devoted to the symbolic style.70 percent of the works are done symbolically and 30 percent in a realistic style. After comparing the elements of illustration and architecture, the results show that despite the lack of overlap between the symbols in the two arts of architecture and illustration, these arts are aligned with symbolism. Illustrations and architectures have many common interests in the Sacred Defense such as human, animal, vegetative, linear, and geometric, architectural and artistic elements, which emphasize the remembrance of symbols in the collective memory of people. These elements are (human element (statue and image of warriors and the Mother), Animal element (White Bird) Vegetative decorations (tulip, palm tree and cypress), Linear and geometric elements (candlestick, eight and eight octagonal stars, Slavic motifs and inscriptions), Architectural elements (dome and reconstruction of some spaces such as mosques, trenches, schools and ruined walls) Ammunitions (tank, boot, hat, plaque, stern and flag). The huge number of people killed or injured in the fight against Saddam Hussein's troops is the foundation on which Iranian identity and the country′s historical self-image rests. Honoring martyrs has been an integral part of the Shia Islam. Iran’s war memorials in the landscape partially reflect the nation’s political history. Commemoration through Iran-Iraq war memorials mirrors not only what Iranian society wants to remember, but also what it wishes to forget. In Iran today, societal expectations structure the appropriateness of Sacred Defense memorials. People feel more than an obligation to have Sacred War memorials; war memorials may even be a necessity. The brutal fact that husbands, sons, friends and neighbors fought, suffered and often were killed, brings forth genuine feelings of remorse and a need to somehow remember them.