نشریه پیکره
پیاپی 16 (تابستان 1398)

More than 80 years after the beginning of the modernist movement in Iran’s painting which according to Mojabi begins in 1936. Iranian painting witnessed significant developments due to social, political, and economic conditions. With the Islamic revolution in the 80s, Iranian painting underwent a sweeping change. The rapid pace of important developments, such as the "Islamic Revolution" and the "Iran-Iraq War" caused Iranian painters to have not enough opportunities to hypothesize and theorize. With the occurrence of these two events in Iran, the pre-Islamic revolution art movements stopped for a while. New conditions demanded new aesthetic structures that the pre-Islamic revolution movements did not meet those needs. In the meantime, new and young artists emerged as well. In addition, a number of old artists produced works in line with the new developments and conditions, the totality of the works produced under the new circumstances were indicative of a new perspective on the structure and content of the Iranian painting.This attitude in painting is known as "revolution painting." Four decades have passed since the beginning of these developments, now is a good time to criticize this attitude. How did the Islamic revolution and its subsequent events (e.g., the Iran-Iraq war and its end) alter the Iranian painting of the 80s and how did the aesthetic structures of the produced works in the 80s differ from those of earlier times? The present study aimed to answer this question. Regarding the background of the current research, Tabasi and Ansari (2006) in a research entitled as "A study of the content and form in painting of the first decade of the Islamic revolution" attempted to examine the content and structure of the paintings of the 80s and review the theorists' views, including "Mustafa Goodarzi", "Morteza Goodarzi", "Zahra Rahnavard", and others sought to categorize these works in terms of content and form; however, form analysis only examines the style of these works.

Defamiliarization is one of the most prominent ways to create creativity in graphics. This method is an attempt to disrupt the repetitive visual habits. Defamiliarization in the visual arts leads to the creation of completely new concepts that may draw more attention to the visual work. Defamiliarization is among the most efficient, effective, and creative ways to create communication in graphic design, especially posters. The graphic designer can use defamiliarization techniques to benefit from visual combinations and transformations deliberately and subtly to achieve a new meaning. These techniques which are called Visual figures of speech include fusion, alignment, substitution, change of function, deletion, personification, humor, and exaggeration. This study aimed to investigate the present works of "Michel Battori" to answer the following question: What visual figures of speech Michel Battori has employed most to create his posters? "Ahmadi" (1996) addresses the similarities between modernism and defamiliarization in his book titled "The Truth and Beauty "and considers defamiliarization as one of the most important aspects of modern art. Moreover, "Shafiei Kadkani" (2012), in an essay entitled "Defamiliarization," elaborates on the position of this approach in the literature and believes that all innovations in the field of literature and art, except in some rare cases, results from defamiliarization.  "Sedghi" (2010), in his doctoral thesis entitled "Analysis of Factors and Elements Influencing the Message in Illustration" deals with the effective role of visual figures of speech in graphic design. In the same line, the book "Blue Elephant's Guidelines for Seeking Idea" by "Niroomand"(2011) is among the rare books which help students seek ideas in creative ways. In addition, he briefly addresses visual figures of speech in this book.

Paul Cézanne, a prominent figure in nineteenth-century French paintings, has proposed a new perspective in his artistic creations leveling fresh criticism at the traditional representation of art. The present article aims to discuss the presence of mind and subjectivity in Cézanne's paintings. To this end, and in order to establish a coherent framework for the current study, this research is carried out based on the concept of "subjectivity" in Kant's thought (one of the eminent philosophers. On this basis, the rational discipline existing in Cézanne’s artwork is then analyzed to represent his mentality of nature. The hypothesis of this study is as follows: On the basis of Kant's perspective, it seems that fundamental role of subjectivity in the development of Cézanne's paintings as the father of modern art can be justified in relation to "understanding" and "subjectivity" in the field of philosophy. The results of this study indicated that Cézanne, as one of the influential figures in modern art represents a mentality which focuses on " Thinker ego (cogitator)", akin to Kant's philosophical quests  in opposition to the absolute imposition of outer reality. The research method in this paper is descriptive-analytical which is analyzed with reference to its data library resources.There are scattered writings on the background of the present study, the most important of which is the article published by "Merleau-Ponty ". Merleau-Ponty (1945), in an article entitled "Cézanne's Doubt “sought to bridge the gap between consciousness and the world with a phenomenological view.

Photography experts believe that Mehran Mohajer is a photographer who makes good use of the power of photography media, such as straightforwardness and even spontaneity (i.e., snapshots). He utilizes two approaches in his works, including documentary writing and formalistic attachments, both of which can be studied in Mehran Mohajer's works. All of the features of Mohajer's works at least in the field of photography represent unique works, and no one has been able to apply this method simultaneously. Therefore, it is possible to gain a better understanding of this artist's creative look by investigating his collection of works. This study aimed to discover the artistic expression in Mohajer’s photographs that reaches a specific expression with specific elements. To this end, it was attempted to identify the modes of expression in photography using linguistic possibilities. Since there is a dearth of research on criticizing Mehran Mohajer's works, the literature on the topic was investigated in this study. The article entitled "Investigation of the Importance of Semiotics (Semantic Implications) in Conceptual Photographs" by "Freshteh Dianat" (2017) addressed the role and position of photography as one of the fundamental and expressive elements of conceptual art. This study seeks to highlight the role of semantic implications in conceptual art by evaluation and analyses of the position of semantics in conceptual photographs based on Pierce's theory. Therefore, the main question is: what position does the photograph have in the semantic implications of conceptual art?

Ancient Iranian astronomers with strong astronomical motives and divine prophecies have always sought to relate celestial phenomena to human behaviors. They believed that there was a strong relationship between what was in the sky and what happened in their lives. About 6,000 years ago, the ancient astronomers recorded celestial movements. It is obvious that their attention to the sky has been manifested in various ancient art forms. Accordingly, the research questions of the present study are as follows: How did the astrological symbols (e.g., the sun, moon, sky, change of the seasons, and thirty days of each month) have changed and used since the Medes period to the end of the Achaemenian period? Why cosmic symbols were used repeatedly in ancient art? Is the continuous use of astronomical symbols and the existence of constellation in ancient Iranian art can be associated with the people's concern for their livelihood? The most relevant sources for the current study include a study entitled "Analysis of constellation patterns in Iranian paintings" in which the researchers examined the remaining patterns of the ancient Persia until the Qajar period. In addition, the origins of astronomy in religions and ancient traditions were studied. Moreover, the researchers' main focus was to know the place of astronomy in ancient visual art and painting and did not explore other artistic aspects. The present study aimed at examining the same issue (Sabetkar, 2011).

Calligraphy is the manifestation of aesthetic beauty in the world of art which has recently crossed the traditional boundaries and has found its way into computer-generated writing. The present study examined the aesthetic aspects of traditional calligraphy in historical texts with an emphasis on three types of sensory, reasonable, and esoteric aesthetic. Thereafter, the traditional calligraphy was compared to computer-generated writing to find commonalities between traditional art and technological contexts. With an emphasis on Nastaliq script, the current research aimed to answer the following questions: How sensory, reasonable, and esoteric aesthetic can be manifested in Nastaliq script? On what commonalities are these aspects of aesthetic expressed in computer-generated writing?  For the purpose of the current research, the book titled “Beauty and Art in View of Islam” by Allameh Mohammad Taqi Ja'fari(1999) was used as the most useful and practical source of different opinions on aesthetics and its related concepts and questions.  This book categorizes the aspects of calligraphy into three types of aesthetics, including sensory, reasonable, and esoteric aesthetics. Sensory aesthetics derives from five senses and the general atmosphere of the artwork. Reasonable aesthetics is related to the form and the constituent elements of calligraphic work and esoteric aesthetics hinges on the content and theme of the script. Another source used in the current study was the book entitled "Truth and Beauty" written by Babak Ahmadi (2008) which deals with the philosophy of beauty and the origins of aesthetics from different perspectives.