مجله جلوه هنر
سال یازدهم شماره 1 (بهار 1398)

Chahar Bagh mosque-school is of significant importance in the art and architecture of the Safavid era because of its superb ornamentations and inscriptions. The present study attempts to examine the existing Handycraft arts and their position using a typological perspective. The mentioned procedures help to answer the two underlying questions of this paper which are: 1) what role do the Handycraft arts play? And 2) In what types can we categorize them? This developmental study is descriptive-analytical and data was collected through field and desk study. Through detailed qualitative and quantitative analysis of the data, it was realized that in addition to outstanding architectural structure, the monument also includes several types of arts that are related to architecture of which Handycraft arts is but one. In the performance technique dimension, they include tiling, stone engraving, fantastic metal working and scolding and in the typology of design we can see the most eminent examples of geometric patterns, plant designs and calligraphy. Alongside these ornamentations, the building is adorned with various inscriptions on metal, wood, stone and even Hand-woven carpet. These inscriptions were written by famous calligraphers of the Safavid era among whom are such masters as Mohammad Saleh and Abdolrahim Jazayeri who wrote in Kufi (Banai and moalaghi), Nastaliq and Tholth. As far as content is concerned, the inscriptions include subjects like Quran verses, Hadiths, praising the Imams, specially Imam Ali (peace be upon him) and praising the supporters of the monument. Considering all the afore mentioned factors, the Chahar Bagh mosque-school can be considered as a treasury of handy crafts in terms of content and physical structure.

One of the fields of logo design, usually undertaken by capable and experienced graphic designers, is logotype design of world five-star hotels. Study and Research of these logos can lead to better performance in the field of logo design and ultimately graphic design for hotels. The present research has been conducted to study the visual features of logotypes of the world five-star hotels. The main hypothesis of the present paper is that 'serif' lettering has been used in the logotype design of the hotels.
The research method is quantitative-descriptive and library resources were consulted and field studies made to acquire data. The target society is the logos of the world's five star hotels. A number of 110 logos, meant for this research, have been selected on random, unpredictable manner and statistically checked through quantative methods. The research tool in this study is a questionnaire using which the visual elements of the sample logos have been tested. Finally, the results have been reflected using figures and statistics.
The result of this research indicate the following: the overall shape of the logos are horizontal and rectangular in shape and mostly asymmetrical in composition; the dominant lines are generally curved and the logo designs mostly belong to serif lettering group; the spaces between the letters are compressed; approximately three-quarters of logos are monochromatic and golden color are mostly found therein.

Beginning in the late 13th century A.D, decorative motifs were employed differently by the Iranian painters in illustrated literary books. This new illumination technique gradually became popular during the 15th A.D under the Timurid rule. The illumination used in the most important literary works of the era, i.e. Baisonqori Shahnameh and the Shahnameh of Shah Tahmasb, indicate the existing ties and progress of the art of book illumination during the two aforesaid periods, and their distinctive features provide ample basis for their study.
Employing desk study of library resources, the study has been conducted using comparative-descriptive method of research aiming to investigate the visual features of the two epopees dating to Timurid and Safavid eras and identify the similarities and differences in their illumination components. Questions in the survey include: What colors are more used in illumination of these two epopees? In what direction and to what extent is the development of Illumination? What is the different between shapes, motifs and forms used in these two epopees?
The results indicated that in the illumination of Baisonqori Shahnameh, foral patterns (Khatai) and arabesques designs have been employed in separate frames with the arabesque designs used in the margins. The floral patterns (Khatai) and arabesques designs in illumination of Shahnameh of Shah Tahmasb show a high diversity and have been used alongside each other in regular curves. Gold and blue color constitutes the dominant colors in this work of art as well while the use of colors such as red and black have increased. As compared to Baisonqori Shahnameh, the decorations used in the context of Shahnameh of Shah Tahmasb are more detailed and its tables are more comprehensive. In general, despite being influenced by the art of the pervious eras, the illumination of Shahnameh of Shah Tahmasp have more delicate motifs and designs and more diverse templates.

The Hollywood has always represented the western philosophy and thought and has endeavored to promote their materialistic approaches through paganism. To this purpose, one of the best Hollywood tools is the production of superhero movies because the popularity of these types of movies facilitates the delivery of the message to the audience. Color stereotyping is one of the main methods used to this end. Focusing on the appearance of Hollywood superheroes, we find out that most of these characters wear red, blue and yellow clothes. These superheroes claim to defend the human rights and social freedom and are ready to wipe the earth of sins and corruption through any violent action. They stand against those enemies with religious thoughts who are displayed wearing green, brown and purple colors. This way of stereotyping colors can facilitate the process of transferring messages and the audience mind may relate these colors with what they see in reality and thus, the Hollywood studio owners achieve the aimed results. In fact, watching these clichés and checking in into their subconscious minds, the audience come to this prejudgment that anyone wearing green clothes is enemy while those in red are the saviors. This research conducted aiming to shed light on the atmosphere for cinema activists, will first cover paganism and the history of superheroes through a descriptive method followed by analyzing the process of color stereotype making by Hollywood superhero movies and the way in which characterization, dialogue and script is trying to demonstrate its anti-religious, superheroes as protectors of human rights, and the enemies of this western superheroes as some extremists whom, with their religious beliefs and for the sake of God, are ready to do anything against humans.

In every society, mythology exists and for sure it’s one the most important outputs of human culture. The study and analysis of mythology have a significant position among researchers and passage of time has never lessened its importance or attraction. One of the components which make myths interesting and appealing is its view and belief towards gods in ethnicities and nationalities. In this research by using descriptive research method and also by using qualitative analysis, the impact of mythological belief in Iran was studied. Since there are numerous factors and elements which had influences on myths, the main idea of this research is to study the impact and the reflection of nature on Iran’s mythology. Based on obtained results, it can be mentioned that natural elements have a significant impact on Iran’s mythology and have a special position on ideologies of these ethnicities. In the ideology of ancient Iran nature has both good and evil factors. Sometime it is a god or a part of god or even the living place of evil. In Iranian mythology nature has a significant role. The two main features which have been achieved by studying the nature of Iran are: the issue of low-water supply and dryness of Iran and natural contrasts. These two important features had an important role on Iran’s mythology and we can see their manifestations in two famous and ancient myths of “Tishtar” and “Vay”.

Throughout the centuries, Iranian artists have created arts with their clever and refined taste, which at the same time are both sensual and spiritual. In the monograph (Sima Dervishyan) of the works of Kamal al-Din Behzad, there are irrelevant layers that the analysis and interpretation of these hidden and unknown layers is the object of this research. It is assumed that with the view of the foundations of visual arts and design of clothes, we can find a meaningful relationship between the concepts of form, theme, composition, and color in the writing (Sema Dervishian). The present research seeks to answer the following questions: Are the elements and elements used in the desired work for a particular purpose and destination? What techniques did the painters of the Muslim artist use to introduce their thinking?  The method of this research is descriptive-analytical and is carried out using documentary and library data. Investigation of the figure and cover of the pictures in (Sema Dervishin) Behzad and analysis of the visual attributes of the form, composition, color, light and darkness have shown that in the design of the clothing of the dervish from the symbol of loose and long looms with longer sleeves Of size, reflects the respect for the beloved divine status, and the state of devotion and authority, and the abandoned scarves in the neck and even abandoned in the text, each with specific content. The presentation of human and spiritual modes in combining and designing the clothes is also in line with the innovative symbolism for sensing the audience.

The design of abstract vases with Khatai flowers (One of the major schemes and contractual Decorative Arts of Iran that is used gilding carpet and tile, and it is the horn chart layout, tree or shrub with flowers and leaves and buds), in Safavid period, and realistic vase with Qajar’s fresh flowers, are among the designs which widely used in tiling in these two periods.An abstract vase design, and eleven realistic vases with fresh flowers, in the tiling of historical bathrooms have been remained. What are the flower motifs in the tiling of Iranian bathrooms? What is the position of vase designs of the Princesses bathrooms in the turning of abstract vase motifs in the Safavid era? This article aims to introduce and study designs of vase in the tiling of bathrooms, especially the existing vase design in Princesses bathrooms. According to studies, vase design of Princesses bathrooms, has a structure similar to that of the mid-Safavid period and probably, is the oldest remaining example of the application of abstract vases In the Iranian tiling of bathroom. The realistic drawing of the body of the vases, low-twist stems and importance of flowers, design of vase, and emphasis on the central branch, are from the features of this sample. It is also appear that vase design in different cities, has its own unique features, such as the difference in the form of vases, framing the tile and a way of drawing the flowers. Over time, the motifs have become more crowded and busier. Flower Vases related to Qajar era in the bathroom, in cases such as form of body, how to paint, framing style of the tile painting, floral differences in terms of type, size and color scheme and the application of European Art makes the possibility of a certain local style to design and draw the vases motifs in the bathroom. This article is done with the descriptive and analytical approach and field and library style.

Curtain design is one of the common forms of textile design during the Qajar era. Knitting methods, types of dying designs, application of specific mediums for decoration, crochet works, the type of stories to be narrated and the place where the curtains were used all added to the curtain's validity. Today, some samples of this art is being kept at Iran and world museums. Two narrative curtains of Qajar period kept at Malek and Niavaran Museums have human and other figures with almost similar sizes. Therefore, the authors intend to compare them in order to check similarities and differences in their patterns and textures. The study aims to answer these questions: What are visual and conceptual properties in the two aforesaid curtains? And what are their similarities and differences in narrative content? The main objectives of the study include the survey of the content of the two narrative curtains and elaborate upon the thoughts and ideas of Iranian artists in creating these arts of the Qajar era. The results indicate that in this era, the narrative illustration of the approved historical and mythological fables based on the principles of clothing and set design of Qajar era has been very common. Enlargement of the main characters and the use of printing along with knitting and crochet work, the way of placing the authorities in the composition of the narration is outstanding in the art of Qajar period. The study employs historical-analytical method of research with a qualitative approach. Data has been collected using desk study of primary resources as well as the historical accounts available at the museums.