جستجوی مقالات مرتبط با کلیدواژه « آثار هنری » در نشریات گروه « هنر و معماری »

Numerous documents emphasize on the importance of clothing to cover defects in body organs and to enhance beauty. In order to understand the social and cultural functions of clothes and its role in giving identity to the members of society, clothes in different societies can be analyzed as a set of linguistic signs embodied in the type, shape and cover, reflecting values hidden in the Iranian thought system. Iranian clothing reflects the identity that originates in Iranian culture. At the same time, paying attention to semantic indicators is important. Examining the link between clothing and meaning in the studied time period--the ancient period and Zoroastrianism--is one of the cases that represent the association of clothing with humans as a guide or a warning in the path of life.

Although the current research relies on historical investigations, a historical study cannot fully express the nature of phenomena in the context of time and, thus, it is not very useful. Transhistorical approaches are formed from examining elements and signs, which add or integrate various elements related to different historical periods and styles to a specific context. Art works, visual sources, and written sources are studied under the analysis of historical clothes, and along that all religious, moral, cultural connections are evaluated and analyzed. As a rule, the examination of the written and visual sources represents those patterns that shape the structure of Iranian clothing in the ancient period while showing the relationship between the appearance of clothing and meanings. Finally, as a witness and example, one can refer to the followers of Zoroastrianism, who construct a trans-historical connections with their culture and daily life that led to the formation of symbols, signs, and of course certain clothes—including Sedra and Koshti--which represented their values, beliefs, and cultural principles. The method of collecting information in this research was library study. The review and analysis of written and visual sources proved the patterns that formed the structure of Iranian clothing in the ancient period as well as the relationship between the appearance of clothing and concepts and meanings.

The historical heritage of Iranian clothing refers to the cultural and identity roots and represents the lifestyle, thinking, customs, and rituals that are symbolic and represent special aesthetic effects, norms, beliefs, and convictions. It shows dignity and beauty, cleanliness, thoughtfulness, flexibility, and excellence; at the same time, it narrates the beliefs that are alive in the depth of Iranian clothing. Examining the cover of ancient Iran shows strength, culture, tact, attention to ethnic and regional culture, purity and chastity, and attention to beauty with a mixture with religion, history, and identity. Iranian clothing carries many symbols that express the relationship between human being and his living environment. Clothing in Iranian culture is a display of superiority. The examples presented in this article indicate adherence to humane and sublime values of Iran. In Avesta and the related texts of ancient Iran, clothing is mentioned for various reasons. Historical texts related to ancient and later periods have described Iranians as a well-dressed, graceful nation. Iranians adhere to their cultural characteristics and beliefs through their clothing; stone carvings and dressed figures left over from the past are the narrator of this story. Thus, to know the implications of clothing in Iran, one must go through history.

Iranian clothing with all its features alone is a rich cultural carrier. Since clothing can be designed as an artistic text, its evaluation and exploration can be realized through the study of historical development, artistic viewpoints, and the use of artistic concepts. In this way, visual and written sources were illuminating the connections between clothing and people’s identities. They have introduced clothing as an identity-building phenomenon. The heritage of Iran's clothing history is indebted to the thoughts, religious and spiritual values, values as well as dignity, social status, decency, and chastity. The cultural essence of clothing includes both the material and the spiritual aspects of clothing, where the movement towards excellence, connection with nature, modesty, shame, and social status can be seen in it.

In Islam, legal payments refer to khums and zakat whose scope and sources are determined according to the state of Islam. Now, the question raised can khums and zakat be used for drama productions with the religious theme. The present study seeks to address the question in terms of fiqhi views and analytical- ijtihadi method. In zakat, the phrase fī sabīli llāhi (literally means "for the sake of Allah") is a general term that some jurists interpret in a way that zakat is dedicated to using for the benefit of the fighters in jihad or buying military equipment. Others, however, interpret the term broadly as a religious cause which can include Islamic missionary works as well as works in the service of Muslims. khums was always collected by Islam prophet and Imams directly, during the period of occultation, however, the share of the Present Imam must be used for the causes with which the most learned and trustworthy mujtahid would agree. If such a mujtahid agrees the legal payments can be used for media and drama productions. Perhaps, the mujtahid permits to use of khums and zakat for other priorities.

Derrida's groundbreaking critique of meaning is contrasted with the dominant philosophies of the West. Derrida puts the negation of metaphysics and the negation of dual contrasts, the negation of the central logos and the central axis in the main definition of the foundation of solidity. In this view, although Derrida speaks of the negation of word-centeredness in relation to writing, absence in opposition to presence, truth in opposition to what is permissible, etc., his aim is not to write on speech, what is permissible on truth. Or prefer absence to presence; Rather, he believes that the text can achieve new and numerous meanings by denying the metaphysical components. In this research, based on the descriptive-analytical method, some of these groundbreaking features such as negation of the definition of the unit of truth and negation of truth versus permissible, author death, dominant ideology of the text through negation of confrontations and values such as negation We have examined the opposition of Iblis against Prophet Mohammad (PBUH), the denial of disbelief against faith ...

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.

In Imami jurisprudence, purity has been considered as a means of dominating other people's property and is similar to intercession. Some consider it as a cause of falling obligations and others consider it as a sale and its rulings are attached to the rulings on the sale of faith to religion and guarantee. However, some have considered the use of purity instead of vengeance to be correct, because if the conditions of purity exist, each of the two religions will reject and abrogate each other. Imam Khomeini's view is also based on the fact that purity is one of the causes of falling commitment and is not considered as a guarantee. The research method of this paper is descriptive-analytical, and information is gathered by the study of books, articles, publications, reputable legal sites in main and secondary sources. The research findings indicate that due to the lack of differences in nature between contractual, judicial and statutory purifications, all of them eventually return to coercive purity. The final result of the research indicates that the jurists in their interpretations have often described purity by force. Therefore, from Imam Khomeini's point of view, purity is also coercive, and in the presentation of works of art and products, this act becomes elementary, and finally, there is a difference between purity and retribution.

Examining the theories of jurists and judges with emphasis on the view of Imam Khomeini on the issue of purity with emphasis on the supply and sale of works of art. Creating insight, awareness and enlightenment of public opinion, as well as with the aim of examining the views of jurists and jurists about purity as one of the causes of falling obligations.

Research questions:

How is the truth of purity and its types analyzed from the point of view of jurisprudence and law with emphasis on the opinion of Imam Khomeini? What effect do the views of jurists and jurists have on the supply and sale of works of art, with a special emphasis on Imam Khomeini's view on purity?

Problem definition: 

Comparing the concept of artwork in both modern and postmodern periods, the present study deals with the effect of these two currents on the museumization process of the work. The questions of this research are as follows: Given the vastness of the contemporary art field and formation of conceptual art with various materials, what are the criteria for selecting an artwork in contemporary art museums and how social conditions and artistic discourses such as modernism and postmodernism affect the museumization of the work?

The aim of this study is to propose specific criteria for the selection of artworks in contemporary art museums and the research scope includes the works in the field of visual arts.

The current research has been conducted based on a qualitative approach, and the results have been presented in a descriptive and analytical manner by comparing the concept of an artwork in the modern and postmodern periods. The data collection has been also performed using library resources and databases.

The art museums play an active role in the satisfaction of people as well as the global attitude towards art. For this reason, they should have obvious criteria for selecting artworks and defining the masterpiece of their collections. According to this points, museums, along with the artists and museum owners, should involve the socially active groups such as art teachers and sociologists in order to compile and define the art work and set policies for selecting them according to the subcultures with the participation of socially active groups such as art education professors and sociologists, and also contribute to the development of these cultures and not compare them with professional artists with the aim of strengthening indigenous cultures and preserving their values.

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.

"Symbol", "Keyword" or "Sign" are words that have diverse connotations. Symbols or mysteries (in its true sense) have enriched human life, so that no part of human life is free of the enigmatic. Symbol has long been used extensively in the arts and literature; furthermore, by the use of symbolism, the appearance of a word finds a hidden and symbolic meaning, which can diversify the expression of philosophies and ideas. Symbols in world arts and literature may have a diverse meaning depending on the culture and tradition of that nation, or in appropriate artistic and literary themes. Fish symbols have been widely used in mythical, religious and poetic literature as well as on the artworks of worldwide nations for various purposes. The artworks of Iran from the pre-Islamic era and beyond have hosted this pattern. The present research follows a descriptive-analytical approach and data collection is accomplished via library means. The results indicate that in mythology, fish are generally recognized as symbols of fertility and productiveness and have been applied in all faiths. In the Holy Qur'an, in the stories of Prophets Jonas, Moses and Khezr (PBUH), this symbol represents the search for the inner-self. From the study and comparison of the symbol of fish in mythology, Qur'an and the Masnavi on artworks, it appears that its implied meaning is related and in correlation with all the mentioned sources. In addition, from past eras, this symbol has long been used in decorative elements and handicrafts.

Research aims:

1-To identify the commonalities and symbolic distinction of the fish symbol in mythology, Holy Qur’an and the Masnavi Manavi. 2- To examine how fish symbols are applied in artworks.

Research questions:

1- How has the symbol of fish applied in mythology, Holy Qur’an and Masnavi Manavi? 2- How is the symbol of the fish applied in artworks?

Culture and human life has always been influenced by natural and human factors. Bow and arrow as a weapon, has always had a major role in this process. This tool is not only intended for hunting, which is one of the ways human subsistence economy, But also as a means of defense and military an important role in the political system of societies. Prices in archery, beyond history, which goes back to to the time of myths. These tools, this market is not only an effective role in the political and economic developments in the past but also an important place in the cultural system that period has also been prominent. The current research, archery evaluating the various eras in Iran, to the place and its role in the values of that era's artwork. evaluating the bow and arrow in different periods of Iranian history, As well as its reflection on how the role of values in different historical eras their artwork. This research has been conducted comparative historical approach and data collection is done using library resources. The results show that the archetype bow and arrow, a symbolic history has appeared in artwork and ritual associated with the ideas and values, reflected dramatically. in addition to the tools of prehistoric, represents a symbol of power and majesty. In the historical period addition to the military approach, refers to the status of the person carrying a bow. In the Islamic era, the importance of for hunting and royal entertainment with this war so far has been in the service showing the astronomical and symbolical images.

Among the genres, stories because of imagination, poetic descriptions and also due to their content always motivate imagination and the sense of beauty of artists. Artists with the study, diagnosis and assessment of artistic capacity and capability of content of this works adopted from them. The story of sheikh like whole of poem is full of symbolic aspects. In this survey with the descriptive- analytical method we compare the samples in various field of art. This survey in addition to introduce the visual examples of this story, is trying to answer the following questions: which scene of the story is used in creation of art works? To what extent is illustration consistent with the literary text? And to what extent is committed to literary text in representation of the story and its content? And to what extent did they have creativity? Results show that artists, due to their imager mind and due to the content of the story and with the aim of induction of message, the top scene of story are the most used. And also they used visualization features of their era in reinvented visual.