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

Manichaean art is one of the rich and influential arts that began in the third century AD at the beginning of the Sassanid rule and continued until several centuries after Islam. Mani and his followers have left very exquisite works of visual arts, the most prominent of which is the art of painting. With an overview of the structural features of Manichaean works reveals symbolic elements that are often repeated in most paintings and have specific meanings. These symbolic elements are: pearl, tree of life, lotus flower, ship, blue sky and halo of light. All these symbolic elements are related to Manichaean religion and are designed for the pure truth of human existence. The purpose of this study is to investigate the symbolic elements in Manichaean paintings and to find out the evolution of the halo of light and to understand its visual similarities. Question of this research: what elements are used in Manichaean painting and what are their meanings? Why did the Manichaean use the halo of light in their paintings and what are the characteristics of this halo of light? In Manichaean paintings, pearls symbolize the saved soul, the tree of life symbolizes life and righteousness, the lotus flower symbolizes purity and transcendence, the ship symbolizes the journey of the soul, the blue sky symbolizes the source of light and the place of gods, and halo symbolizes light and holiness. By examining and analyzing these symbolic elements, we can understand the concepts of Manichaean paintings. Some of the pictorial symbols, such as the lotus flower, the halo of light and the pearl, are seen more in the drawings together, as if they are intertwined. The lotus flower, on which the gods appear sitting or standing with a halo of light, and the pearls, which are sometimes part of motifs inside the halo and sometimes around the gods, seem to complement each other. Therefore, these three elements are related both visually and semantically because all three refer to purity and excellence. Some of these elements alone have specific themes, such as the ship, which has the theme of soul travel. Wrestling is the story of the ways that Manichaean man goes through to reach his ultimate transcendence and salvation. In general, the set of these symbols are common in meaning and concept and refer to the salvation of the human soul and reaching the realm of light and liberation from darkness and gloom. Among these elements, the sacred halo was one of the most important and frequent elements among other symbolic elements, which was located around the head of a heavenly person in Manichaean paintings. The sacred halo has long been used as a manifestation of light and divinity, which In Manichaean painting, in addition to having a sacred and spiritual aspect, is one of the ways to recognize the position and role of Manichean gods. The design, colors, and size of the light halo help us to understand this. In Manichaean art, the halo of light was always depicted in circle but in different sizes, patterns and colors. The halo of light in Manichaean paintings is red, orange, white, brown, blue, green, gold and other colors and there were no restrictions in choosing the color of the halo for them, but the most widely used color in most Manichaean halos it is a golden color that was used both to display light and to decorate their paintings. Also, if there is more golden color in the halo of light, it means that the person holding the halo is more important. The design and color of the halo of light changed according to the position of each person; The more important a person was, the more glorious his halo of light was drawn. The present research has been done by descriptive- analytical method using library resources. The statistical population of this study is five Manichaean paintings that have a sacred halo and are analyzed by deductive method. Reflecting and searching in Manichaean painting, it becomes clear that these paintings have been formed in a reasoned and firm way with a symbolic expression, and the main elements used are influenced by Mani concepts and commands and have an obvious clarity. However, despite the simple appearance of Manichaean painting, symbolic elements open a new meaning to the painting of this period. In the present study, after expressing and looking at Manichaean elements, first Manichaean art and Manichaean living conditions were expressed and it was determined that these elements used were related to Manichaean religion and were used in Manichaean  painting for various purposes and not only decorative aspects. As a result, the main purpose of designing these symbolic elements is to show the purity and spirituality of human existence and ways to get rid of darkness and achieve salvation and paradise of light.

"Urban elements" are parts of "urban furniture" with a variety of dimensions and features, and according to the definition, "abstract or integral 3D synthetic elements to buildings are in such a way that they can convey concepts from the environment to users of urban space." Symbols and statues commonly represent artistic reflections of memories, human beings, events, beliefs, etc. These urban elements have sometimes been referred to as a socio-cultural symbol. The origin of the urban symbols is yet unknown. The symbol as the main linguistic axis has been with humans from a long time ago and has always taken on the color or present of any occasion or situation. Urban symbolism is a phenomenon within the city that is signified in a conventional experience. This meaning assignment or semantic load can take many different forms. That is, it can come out of a free contract and people's subconscious gradually brings something closer to one another in a biological experience, or it can fit into their minds, or this contract can be the result of power. In the case of urban symbolism, the first point we come across is the dynamism or high flexibility of these symbols. Symbols change over time and are not understood in the same way. People's different perspectives also make this symbolism different. On the other hand, the environment contains a set of behaviors that are interconnected and have common seasons. These settings have two basic elements: (i) a behavioral indicator paradigm, and (ii) a physical setting. A physical location may be part of several behavioral settings if current behavioral paradigms occur in one behavioral setting at different times. A behavioral setting enables one to achieve satisfaction, which is different for various individuals. A set of environmental capabilities in a particular situation creates a potential environment for human behavior in that location. However, not all of these capabilities are perceived by people. Processes of spatial perception, cognition, and behavior are influenced by individual and group competences as well as the structure of the environment. According to differences in individual competencies, some competencies are biological and some are sociocultural. These differences affect how the environment is perceived. The less qualified one is, the more pressure he will tolerate. The more qualified a person is, the more freedom he will experience and the social and physical environments limit his behavior less. This study aims to find the relationship between emotional intelligence and urban symbols. The term emotional intelligence was first introduced as a form of social intelligence by Sullivan and Meyer (1990). However, the precise term of emotional intelligence was introduced by Daniel Goleman (1995) that ignited many arguments. Researchers identify and describe emotional intelligence by evaluating concepts such as social skills, interpersonal abilities, mental development, and awareness of one's own emotions and the ability to control emotions. The research methodology is correlative and analytical through this study. Library resources, as well as field data, were used to collect data. The statistical population of this study consists of the young individuals in Tehran and the sampling method of research is random sampling. The data were collected through two questionnaires. The standard questionnaire "Emotional Intelligence Bar-On" was used to measure emotional intelligence and the questionnaire was designed with the help of studies and expert comments to assess environmental preferences and other required aspects. Cronbach's alpha was used to assess the validity and reliability of the questionnaires, which was 91% for the emotional intelligence questionnaire and 87% for the environmental preference questionnaire. The collected data were then analyzed quantitatively using SPSS software. The present study concluded that there is a direct and significant correlation between the components of emotional intelligence including emotional self-awareness, self-assertiveness, self-esteem, and independence, as well as the total amount of emotional intelligence of the respondents and their desire to have symbolic elements in architecture and urbanization. According to the psychological research on emotional intelligence and its enhancement and promotion strategies, it can be promised that the symbolic architecture provides a platform for enhancing the level of emotional intelligence of users of architectural and urban spaces, improving the level of social interactions in urban spaces, and enriching activities by increasing users' emotional self-awareness and challenging their aesthetic perceptions.

Gathering places of towns should have a strong and special identity and be visually more different, recognizable, memorable and vivid from other places. In fact, gathering spaces should be in harmony and unity with other urban spaces of the city in order to make them a memorable and at the same time effective in forming the city's overall identity. Today a main part of citizen's perception of the city and urban spaces, takes place at night. Therefore, the nightlife of the city has become a major concern for the urban planners and managers. A major part of gathering place's identity also depends on their nightscape in the city. One of the most complicated and sensitive parts in designing nightscapes for the city is planning and designing a lighting master plan, an issue that is more important than specialty and knowledge of technical and aesthetic aspects of lighting. This needs a sufficient and precise understanding of the city, its identity and its qualifications which forms its landscape. And what West 8, landscape architects has done in Helsinki, more than anything else is emphasizing on the identity of place thorough use of its natural heritage. Use of light in West 8 proposed master plan is completely objective and light is used only in special spaces to make signs and symbols. West 8 work in Helsinki is a complete sample of Light Art.

Developments in the Persian painting enjoy a relative continuity and progression despite historic interruptions and the influence of foreign cultures, and many visual and thematic commonalities are observed in the works of different ages of the Persian painting. Symbolism as one of the tools of visual expression and a representation of concepts has brought many works of the Persian panting together both in terms of form and concept. Therefore, a survey on the symbolic elements and semiotics in the Persian painting is considerable with regards to the status of the symbols and the method of their application in various eras. Evaluation of the various symbolic elements through their categorization into geometrical, composed and natural symbols has prepared the ground for a better and more accurate process of studying the function of the elements, the symbolic setting and symbolism in general in the Persian paintings. The symbolic elements as representations of exalted and remote concepts and have evident and remarkable manifestations which have often maintained their connections with tangible reality. The Persian artist has exposed symbolic paintings with different functions, sometimes through a completely immaterial and abstract method, sometimes inspired by the reality, sometimes by exaggerating the actual characteristics and sometimes by composing different characteristics, which have facilitated the bounds and relations with intangible concepts and meanings in the picture setting by means of symbolic composition. In fact, the Persian painter in various eras uses the valuable background of Persian poem and literature as well as deep concepts of Iranian Wisdom and Islamic Mysticism, not to represent the tangible nature but to express the symbolic significance. Therefore, innovation and application of the symbolic elements in the visual language of the Persian painting in various eras have gone through a complementary process in terms of form and content.