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

Bistoon relief is the only Achaemenid art-historical work that symbolically depicts the victory of the Achaemenid kings. This relief, along with its trilingual inscription, commemorates the victories of Darius I over his opponents and enemies, which are engraved on the wall of Mount Bistoon in the beginning of his reign (around 520 BC). Bistoon illustrated memorial is the first outstanding work of art of Darius's time in which some motifs and visual-symbolic features of Achaemenid art were displayed for the first time and were repeated and represented in their next works. Therefore, except for the early Achaemenid art that was created in Susa during the time of Cyrus, and now there is a little remnants of it, Bistoon relief can be considered as the foundation of Achaemenid formal art (except for statues). Many of Bistoon's motifs and visual features are taken from the motifs and art of previous civilizations and nations, which are shown in a new and different frame. The purpose of this study is to identify and track the visual and symbolic features of the Bistoon relief and how they are displayed. The questions of this research are as follows: The motifs and the visual and symbolic features of the Bistoon relief are more representations of the motifs and art of which of the earlier civilizations and nations, and which visual feature of the Bistoon’s carving distinguishes it from previous examples? According to the visual features included in the image of the winged circle’s body, which possible hypothesis does this symbol indicate? The research method of this article is descriptive-analytical with a comparative approach and the method of collecting information is library-based. The focus of this research is on the visual artistic aspect of Bistoon's relief (not the historical aspect (.This article is not written in opposition to previous research and opinions, but seeks to systematically examine some of the features that have received less attention in previous research and to examine new concerns from a particular angle. The method of analysis of this research is qualitative.Bistoon relief is a symbolic depiction of the victories of Darius I over his enemies, whose plan and narrative are influenced by Anubanini's relief plan. Despite this, several motifs and visual features can be seen in Bistoon's relief map, which have been taken from the motifs and art of other civilizations. The use of these different and numerous visual and symbolic elements together creates a distinct framework of the victory of the kings, which has unique features. This difference is in line with the characteristics of Achaemenid art and Darius's government-propaganda ideology.Figurative motif of stepping on the body of the enemy is a representation of this motif in Anubanini relief, but some visual features of Neo-Assyrian art are also included in it. The role of the winged circle with the body and the type of its relationship with Darius are a representation of the Neo-Assyrian art and motifs that is uniquely portrayed. The image of armed guards standing behind Darius has been a representation of the motifs of Neo-Assyrian art. The Captive Line is a combination of several different features assembled into a unique frame, which initially was focused on Anubanini's plan. Nevertheless, this frame is mostly influenced by the motifs and features of Egyptian art. The image of Darius, as a powerful emperor, who brought order to the rebellious leaders of various nations is influenced by Egyptian art.The results of the studies (in an overview) show that the motifs and the visual and symbolic features of the Bistoon relief were representations of the Anubanini reliefs, the motifs and art of Neo-Assyrian as well as the motifs and art of Egypt. In the meantime, there are two important visual features in Bistoon relief which distinguish it from previous examples. The first feature shows the victory of an Iranian king in the form of a powerful ruler of other lands. The Iranian character of this scene is created through the display of a Persian robe on the body of Darius, two armed soldiers and his great god. The second feature is not showing violence and humiliation in the image of defeated enemies. In Bistoon relief (unlike previous monuments) attention is not paid to showing a harsh image of the king and kingdom against enemies, and the captives are not shown humiliated and nude.Also, the visual and symbolic features that are included in the illustration of the body of the winged circle show that he is a God. Because Darius mentions Ahura Mazda as the supreme deity, protector and supporter of his kingdom in the inscription, the winged circle’s body belongs to Ahura Mazda.

Dervish curtain is a painting that deals with the events of Ashura and is different from a coffee house painting. The Dervish curtains were very large and were prepared for the official mourning of the Shah. One of the best examples of a dervish curtain is in the Astan Quds Razavi Museum. This painting has two parts and it is mentioned as the biggest curtain painting in Iran, and has not been researched yet. The right part of the painting has very accurate coloring, composition and design features, but the left part of the painting was later added and has paintings, engraving and coloring of lower quality and visual value. This painting has been worked on in the old part based on the official Qajar painting criteria, viewing angle, symbolic language, axial movement of the figures, geometric ratios, image realism, multifaceted view, coloring, humanistic elements, animal and plant elements, which are not seen in the subsequently added new part. The assumption of this research is the study of the structural elements and visual features of this painting and the comparison of both the old and the new parts in the painting. In this regard, the present study seeks to answer these two basic questions of what visual features and structural elements have been used in the Great Dervish Curtain? What is the difference between structural and visual features in the old and the new parts of the work? The content of the present study is qualitative and based on the analysis of structural elements in painting. This painting is based on descriptive-analytical methodology and library data collection method. The results indicate that the main and old part of the painting was worked by court painters and has the feature of Qajar official figurative painting, while the other part is newer, and having been later added to the work, displays a lower image quality compared to the older part.The qualities are lower. Analysis and evaluation of visual elements and structural features, including design, coloring, geometry, perspective, and the viewing angle of this painting show that it has a different structure in the old and the new sections, and the old section has a higher image quality. These include the focus point of the image, which in the old part has a movement mode in the whole image, but in the new part is unclear. Analytical geometry in the old part of the image is in the form of three main triangles based on the main figures of the image, but in the new part there is no specific geometry. The center of the image in the old part is Imam Hussein's blessed head, but in the new part, a focal point is not seen in the picture. In the old part, each narration is separated by a Qajar angel, but in the new part, this separation is not seen in the picture, however it is seen very clumsily with a few flowers, which are clear from under the color of the painting due to the erasure of the painting. In the old part, the view is multifaceted, but in the new part, the view can be seen from the side. In the old part, the color of the image is very clear, bright, symbolic and epic, while in the new part, it is dark and used inadvertently without distance and quality. The design of human figures, the composition and the large volume of figures in the old part of the image are brilliant and unique, but in the new part, these figures are very scattered, without a clear composition. The design of the horse is very strong in the old part, but in the new part, it is very common. In the old part of the angels, the clothes of the angels, and the decorations of the clothes depict the effects of the court painting of the early Qajar period, but in the old part, these rules do not exist. Before painting, the second painter probably "carved parts of the painting, added elements, such as flowers, to the picture, and tried to connect both parts. The inscription is around the picture with the poems of Mohtasham Kashani about the event of Karbala has been coordinated and the writings of Mohtasham's calligraphy are clear from the picture due to the erasure of the color. This is one of the reasons why this part of the painting was later added. Both parts of the painting were characterized by a symbolic language, viewing angle, axial movement of the figures, geometric ratios, visual realism, multifaceted vision, coloring, human, animal, and plant elements, while the old part has a higher quality and the new section, which was later added to the original painting, is of a lower quality.