نشریه نامه هنرهای تجسمی و کاربردی
پیاپی 25 (پاییز 1398)

Taq-e Bostan is located in near the city of Kermanshah. The Most researchers believe that the large porch designs belonging to the Sassanid king Khosro II period. The author first describes reliefs of the large Ivan Taq-e Bostan , and then to state of the art plasticity (volumetric technique) designs. The author of two narratives extracted from the stems, the first order of Bas-reliefs in the porch big idea is that Khosro II stages of his life since coming to power until his death in ceremonies such as the scene throne legal, war, hunting and feasting, your body image Khosro stautue. king be seen in the side walls of the hunting party hunting scene was the order of the king to hunt to feed Farvahar. It results in the best Khosro ancestors. Ancient music scene and it is a joy to weep for the dead.There are prominent symbols of the Mithraism in the ancient Mazdeanshan. The same is true of Roman monuments that Mitra has been sculpted in various forms and scenes like Mitra slaughtering cattle, Mitra being hunted and Mitra performing religious rituals. In the large porch of Khosrow's backdrop, it is depicted in four different scenes in various shapes and shapes. The author extracts two narratives from it. In the first thought, the purpose of the carvings of the motifs inside the great porch is that Khosroodum would have to take steps from his life from time to time to his death at a ceremony such as the crown scene Ancient, war, hunting, and body and figurative (symbol and symbol of the corpse of Kharsodom, like the shapuric figure in the Shapur Kazeroon cave). In the second commentary of Khosrow on a bed above the sky, he shows his coronation ceremony in the presence of Ahuramazda and Anahita, and is depicted on the surface of the earth for the king in the form of an armed man who is ready to fight evil and demonic spirits. . In the side walls where scenes of hunting and hunting are seen, the purpose of the scene was to hunt the king to go to hunt to provide the best food to feed Forohar's ancestors. Because the hungry furrows every year come to the ground when the New Year arrives in battle with the dress, so that the place of Gurshaw is distanced from the influence of evil forces and evil spirits, and on the other hand, the scene of music and the accompanying song is that in ancient Iran They would not have died on the dead, but for the lost, there was a need for a funeral ceremony to provide a pleasurable bed for the reception of Foruhar's ancestors, and likely at the end of each year and when the New Year arrived, in the arch Bastan Hamaspazamaedaya Celebration Celebration (this ceremony is one of the Ganhnarbah celebrations) .

Museum as a tourist destination is known as a place for interacting objects, concepts and visitors. Most museums exist in order to attract and serve visitors – as many as possible. If we knew who visited museums and what meanings they make, from the experience we would know something about the role that museums play in societyToday, considering the audience-centered approach of museums, they are after visitor’s experience, and consider it as their research priority.

The visitors’ experience of museum, even though it is mentioned by John H Falk and Lynn D Dierking as a scientific term less than two decades ago, still consists of a great deal of rupture and ambiguity in explaining the main components and factors influencing the concept of museum visitors experience. The present study is a descriptive research with a qualitative approach with the aim of presenting a conceptual model and an analytical framework of the visitors’ experience in the museum. The method used in the collection process is a systematic review of knowledge associated with visiting studies with an emphasis on the experience of the visitor. Referred sources in this regard generally over the period from 1922 to the present, and emphasize the use of first hand resources. Required data are collected by documentary and library studies. This paper, as a meta- study research, with meta synthesis and the analysis of the results of prior-art theories and research in this regard, seeks to answer the concept of the visitors’ museum experience, first the main concept associated with the subject of evaluation and definition and then, while monitoring the genealogy of the relationship between the subject and the museum, the importance and place of the museum’s experience, the satisfactory experience in this area is expand and explained. Then, using previous researches and scientists’ and scholars’ point of view, the factors of the emergence and evolution of the individual visitor experience have been analyzed.

Analyzing these findings, the conceptual framework of the Museum Visitor Experience and the formation of its factors and categories are presented. Hereby the triggering factors are divided into two groups, in-person and out-person. In-person factors include a set of previous knowledge and experiences, motivation, engagement, interests and expectations, personal identity and individual preferences. Out-person factors are divided into three groups of physical-environmental factors, socio - cultural factors and time. Physical-environmental factors include spatial and visual elements which are related to the individual sense of being in the environment, and socio - cultural factors include variables in social and the cultural contexts. In a sense, the sociocultural context described in the previous chapter serves as a bridge between the individual’s sense of self, the personal context, and the physical context, the individual must live within. Time as an external third factor is considered as an effective variable since it is a platform for the formation and survival of experience.

Jame mosque-school of Zoozan and Jame mosque of Foroumad were built during Saljooghi and Ilkhani dynasties in khorasan. These two historic buildings were built in the 5th to 7th centuries AH. The decorations of these mosques, especially the altar, are well known to the people of culture and art. The altars of both of the monuments include magnificent inscriptions and decorations. In this paper, we analyze features of inscriptions of these two monuments and investigate the differences and similarities between them. Also read the inscription of the altar is the others goals of the paper. The question of the research is this: What is the visual structure of the inscriptions and arrays in these two altar? The research method is descriptive, analytical and historical. Data collection was based on documentary and case studies. In this regard, at first, two altars were photographed. After planning the altar, its decorations were analyzed and the decorations and inscriptions were classified. Then, these data were set in the tables and a comparative study was made on the form and form on the decorations. In the final stage, the characteristics of the stucco of each period and the style of inscription were examined. The motives are divided into two parts: Inscription and motif. The motives are classified into geometric and vegetative forms. The structure of the words and letters of the inscriptions from the visual arts, It has a cross-sectional relationship with the component. The text of the inscriptions includes verses from the Holy Qur'an, which refer to matters concerning believers. The scrolls of the altar of the Zoozan Mosque include verses of Sura Ma'edeh and Mu'minoon of Quran. There are two other inscriptions called benefactor and the maker of the altar. It should be noted that the inscriptions of this altar have been written with the decorative Kofi calligraphy. The inscriptions used on the altar of the mosque of Froumad include verses of Surah Baqarah and Maryam. Of course, it should be noted that the arch inscription arch was not read due to confusion. These inscriptions are written with Kofi and sols Calligraphies. The findings show: The structure and composition of the altar of the mosque-school of Zoozan emphasizes the principle of harmony and in the altar of Foroumad mosque follows the principle of diversity. The altar decorations of Zoozan are merely decorative and the decorations of the Foroumad altar are in harmony with the text. In fact, it should be noted that the image and appearance of calligraphy is highlighted in the altar of Z00zan Mosque. This is while the decorations in the altar of the Masood Foroumad are more visibleCertainly, the artist and designer has used the space of the altar with tact. In terms of golden ratio, the altar of the mosque of Froud has a much more dynamic space than the altar of Foroumad mosque.

Visual art has been the most important mankind’s earliest art and recognizing its formation history and changes is vital for all nations. The vast range of pure and practical majors in visual art in the current society, importance of visual art. In order to reach this goal we have to study painted documents from the earliest imaging in Iran plateau. Most studies on numerous potteries found in archaeological excavations are aimed at understanding people s mentality and beliefs in that era, in case that these images are externally and naturally roots of our visual art. In recent decades, along with the development of archaeology and increase of experts inside the borders, the primary data for these researches is provided. Pottery is the reflection of many aspects of any culture.  It reflects technology, organization of production, and, often, food and cooking preferences.  By design, it can also reflect mental aspects like identity and ideology. It is one of the earliest forms of art. Potteries-in comparison- are the most frequent prehistory documents available in Iran plateau.These potteries have been studied more or less in a context based attitude .Therefore, their visual structure has been rarely investigated. The current study will review the visual language of the designs on potteries from the Iranian plateau in the third millennium B.C. This paper provides a case study of ChoghaMish Plate in south west of Iran based on 354 painted potteries in that era in an analytical-comparative method and asks how the visual elements and patterns in the aforementioned era were. Analyzing painted art in terms of design was done through use of library and museum sources in a form based attitude. This led to a general recognition of structure of images on painted potteries in Neolithic and Chalcolithic ages. These periods have been divided into archaic, early, middle and late Susiana in this area. The paper also clarifies the special features of each period as well as the similarities of all. Density of designs, structure of elements in composition, components of structure, types and number of motifs and how motifs are repeated, margins and visual elements and qualities are the criteria used in categorizing and distinguishing images on painted potteries in ChoghaMish with respect to priority. The structure of composition can be divided in three methods. These methods are either band based, circular or singular. And they had been performed by different characteristics and details in each period. Different geometrics, abstract plants and animal motifs were seen in all periods of Chogha Mish and real animal and human motifs were seen in Middle ChoghaMish. Finally, variety in composition structure and innovation in creating new motifs was increased from the beginning of Chalcolithic period in Middle ChoghaMish.

Studies have shown that older people are more likely to become infected with chronic diseases than other age groups. Medication is common in the elderly. The variety and routine changes in the lifestyle of the elderly also have a major impact on the way in which drugs are used. Taking medication is dependent on the association between the user and the drug more and more. Drug packaging is one of the most important factors that plays an important role in this interaction. The purpose of this study is to examine the drug container among elderly people using Kansei engineering and to improve the interaction of elderly people with medication. In this regard, according to the Kansei engineering process, all products related to the study were collected and, according to interactive design criteria, four products were selected from among the products in the market for the needs analysis of the elderly. Using variety of sources, 75 Kansei words were obtained. By selecting 24 Kansei words that expresses the properties of drug container, a questionnaire was developed in term of semantic differentiation. This questionnaire was distributed voluntarily among 21 women (female) from the members of the elderly community center in the city of Ghods in Tehran's 2nd district. Data were analyzed using SPSS software and correlation coefficient. The results of this study indicate that adjectives with semantic correlation coefficients are also related. The findings of this study can help to design the product according to the established criteria.

Figurative figures are often present in the artwork of human beings and can be said to have a pronounced role. In the realm of art, this is the self-image of the artist and his current situation, and it determines how the narrative of a figurative work is made of primitive human beings, in which the caveman of the Paleolithic age painted in the caves, to the disposable works of jugs, or On the plaques, the walls of the palaces and ... or the drawings used to illustrate the old books. Many of the human findings are perceived as intuitive, these findings are obtained beyond apparent appearance. So the figurine requires a superior statement of matter. For this reason, a lot of stories are used to express symbolic and symbolic expressions. It can be said that because the thought of the twin is a rumor, and since the artist's words appear in his work, then the thoughts of the artist are also in his work. The use of the symbol is a method used by Iranian painters to achieve that high meaning. It seems that the type of expression is related to the school of science, and each school will narrate the story in a different way, which forms certain definitions and expressions in the mind of the viewer, and in that work, seeing the form of these figures and the relationships between them, the same excitement and the identification of the subject matter that people have already felt, that is, the expression of the same narrative, but in the other expressions of the figures. According to Hegel, art represents the "spirit of the times", and the artist, without knowing himself, creates works that originate from the thoughts and issues of his day. Therefore, the work of art is in a historical position at the same time, which reflects the historical status of the same period. Whether it is figurative in the discussion of painting works; the particle discussion in the macro is also important. This means that the artist, in addition to addressing the original figure, also cares about every single detail, because it believes that the abstract details are of a single integer and that one part is important to the whole. For example, in the painting of Hushang's statue in the form of the Sadeh, the artist, in addition to addressing the whole body of the Shah, addresses the smallest designs on the figurine and its delicacies. Because it believes that the particle is the same, and each of these elements creates the exterior of the king in the image. This important result was that every school would narrate the story in another way, since the conditions prevailing at that time are different, and perhaps the painter is another person, so the entities are also changed in terms of various themes. These changes will vary in appearance, in the governing elationships between the entities, in giving meaning and concept related to the theme of the work, etc.