نشریه نامه هنرهای تجسمی و کاربردی
پیاپی 27 (بهار 1399)

Technological progress and Industrializing in cities in recent years have caused devastating effects in natural habitats followed by a gradual decline in biodiversity. So environmentalists and non-governmental organizations have realized the necessity of informing people about negative consequences of environmental damages. WWF is one of the active non-governmental organizations in the context of environments which has brought really great results in solving environmental issues all over the world since 1960. WWF in different countries in order to fulfill their goals and promote a culture of conservation, launched various campaigns and promotional campaigns tailored approaches that are designed and implemented. Global warming, endangered animals and a gradual decline in the forest area of issues that are seriously taken into consideration in the organization's campaigns. In this research the overall characteristics of WWF campaigns and then the affecting factors in design of the campaigns are studied and visual characteristics of these campaigns are extracted. Analyzing the broad advertisements that this organization uses to reach its goals, can be helpful in improving the use of advertisement in the context of environment in Iran. So this study's goal is specifically determining the visual features of environmental campaigns designed by WWF. The research method of this study is qualitative and its target population is all campaigns of WWF organization. Four campaign to be chosen and then 11 samples of them have been analyzed. The data collection tool was precise and structural observation. The samples have been chosen purposefully. It should be noted that this study is part of a broader research that has been done with a multimethode. In fact, the selection criteria in the Qualitative study reported in this paper, have been extracted from quantitative tests conducted on all samples. Finally the visual characteristics of each campaign were compared. Comparison of the effects of campaigns shows similarities and differences in relation to the type of composition, frame, texture, color, form, text, the position of the text and the logo of the organization. The results of sample analysis showed that in two cases of the four campaigns, all works have the same composition and in two campaigns in some of the works have been different. In three campaigns form of works are similar and in one campaign is different. In three campaigns, color combinations of works are the same and in another one is different. In all three printed campaigns similar position of logo and text can be seen in the works of campaigns. In one case of printed campaigns, the type of frame is different and the remaining two were similar. In all campaigns none of the cases have similar texture. In general, in the samples were analyzed, samples that belong to a campaign in most cases have similarity or proximity in the type of frame, form, color and composition and organization's logo and text messages are in the same framework and in a similar position.

By collecting and reviewing quantitative data in this research, through 105 questionnaires in relation to the Qasr Prison Museum and 108 questionnaires related to the Abbas Abad Park Collection, and the results of this, it should be noted that the main role In readings of the city as a text, are the citizen’s readers of that city (specialy women). Therefore, if we consider the goal of the producting and creating of urban art, the excellence of living in the city we need to pay attention to the role of women and their place in the city and the signs of their living. and provide equal conditions for their presence in urban space . This research has focused on the effects of urban sculpture on mental health of residences of a city specifically women, were investigated as artists and at the same time as the work of arts' addressees. In this regard, Tehran's sculpture was proposed as the impression of personal and urban identity recognition; in this way, the city as a semiotic system, always being written by its own citizens. The proposed questions of the research are as follows: whether women can find out a clear picture of themselves and their environment by the presence of work arts (symbols) of the city or not? Whether these symbols can represent the women and their city or not? How is the effect of urban identity on mental health of the women? The research is a descriptive and qualitative case study of arts work of Garden Qasr Prison Museum with a historical and cultural identity and Abbas Abad Parks Collection as the most popular place of Tehran. By collecting and reviewing quantitative data in this research, through 105 questionnaires in relation to the Qasr Prison Museum and 108 questionnaires related to the Abbas Abad Park Collection, and the results of this, it should be noted that the main role In readings of the city as a text, are the citizen’s readers of that city (specialy women). Therefore, if we consider the goal of the producting and creating of urban art, the excellence of living in the city we need to pay attention to the role of women and their place in the city and the signs of their living. And provide equal conditions for their presence in urban space. So, no doubt, the artworks installed in the city have a role more important than creating of the Stetique. The results will proof that the main role of sculptures of the city with their distinctive approaches, offers a common identity to the women which in turn will cause dependency and subjective memory that results in creating security , peace and mental health of the society.

According to a triadic divisions in different periods of Cy Tombly`s career with a concentration on Writing & space, We analyze the role of synesthesia in aesthetic action of the artist. Tombly`s interest in classic poems, Mythology and history will turn to express in contemporary language.Formation of synesthesia that means changes in the function of senses derived from multitask organs with multi capacity depends on sensation. Synesthesia will happen as the sensation will affect on the surfaces and threshold of body without organ. So the sensation as a pure intensity will intervene in the flow of the artist`s mind. Sensation changes the order and function of senses of body without organ.To facilitate the study of the role of Synesthesia in Tombly's aesthetic action, we categorized and grouped three works in his work and art. An analysis of the first group's paintings, Tombly's Blackboard Works, shows the use of letter or text in the form of intertwined letters, and the lines indicate a touch of aesthetic action. The artist has mastered what is temporal, audible in a visual and tactile way. So we come across works that sometimes do not need to be read but need to be seen and make our sense of reading and listening become tactile. Reflecting on Deleuze's views on the works of Trombly's first group,he merely considered the artist's aesthetic action, and for him at this stage was not merely a matter of looking of eye, but the eye falls out of hand, and the hand does not follow the eye, so blackboard paintings show, The artist is in the stage of Deleuze's chaos, and he has yet to find a way through the chaos of possibilities. We claimed that the first group of artist`s works means blackboard ones are the manual works. we consider in the second group the duality of text /image they are like poems that confront with the intervention of sensation. synesthesia of sensation will change the words or title to the special index or mark that is presented image, in which is in opposition to our associated mind & cliched image or familiar pictures in the history of art. In the third works, He instead of representation, with relying on body without organ records the intensity of sensation. the marks, the traces, the codes, titles, palindromic words, clapping of lines, Cartesian coordinates play the role of outlines in front of the invasion of chaotic background. And then they help the artist to find a ground for escaping from the chaos of background which is not void. it is full of possibilities. The first splashes, patches or touches according to that basis make a ground for distancing from the chaos of the world or it`s Necessities in spite of proximity. The sensitive and aesthetic relations in and out of artwork in dominance of sensation, will shape the space. Because of shallow depth and way of colorizing the third type of Tombly`s works, synesthesia and sensation make our eye to sense haptic.

Michel Foucault (1926-1984), French philosopher, is among dominant theoreticians on the relation of visible and sayable. Deleuze, his friend and commentator, describes Foucault’s archaeology as an audiovisual archive because he was fascinated by what he saw as much as by what he read. Foucault’s writings on paintings, and his visual references in his books was first considered as supplements to his well-known ideas. His influence on arts, in theory and practice, flourished in the beginning of 21st century. In fact, his writings on power, modernity and body fascinated the art world more than his dispersed comments on particular works of art (specially paintings). By the way, some art historians and philosophers, investigated his writings on painting to find its theoretical roots or to extract a philosophy of contemporary art. But, besides many other things, what makes his writings on paintings so considerable, is exactly the way he separates visibility from discursivity. His idea on the problematic relation of visible and sayable made him to claim that linguistic methods should not be used in picture analysis. So, by exploring his writings and conferences on paintings, this article, tries to find out the practical method of archaeological picture analysis. Foucault’s notes on paintings consist a paragraph to a complete book: from occasional references to painters such as Bosch and Breughel in history and civilization (1961), a complete chapter on Velazquez’s las meninas in Order of Things (1966), a conference on Manet (1971), to a complete book on Magritte (1973) and essays on his contemporary French artists. Listing these particular writings on paintings show that his engagement with paintings is somewhat time sequential; from renaissance to his own era. By this time ordered method he tries to see the differences which makes the specialty of each work. He also uses paintings to clarify his other theories, especially on the relation of word and image in different epistemic regimes. In somewhere at the end of Archaeology of Knowledge, Foucault introduces painting as a potential case for archaeological analysis. In this way, he suggests that it may be a special discursive practice that is embodied in a painting’s techniques and effects. painting, In Foucault’s archaeological approach, is considered as a form of knowledge, but different from philosophical knowledge or science. So it can be conceived that painting is a part of visible knowledge which should be studied by its special visible character. It doesn’t mean that we can’t say anything about paintings in words. Actually, the archaeology of painting as a method is concerned with the visible materiality of the work (composition, light, space, size…) and the visible condition of its presentation to vision. The way in which a painting may accept or reject established principles is the main point of this method.

De-familiarization is one of the most important practical concepts in artistic and literary theory which was first coined by the Russian thinker, Viktor Shklovsky in his essay “Art as Device”. The objects and structures are drowned in everyday life and thus the rules of perception, actions, and speech become automatized for us. Therefore, it seems that we can transfer the intended messages in the form of signs that are effective in revitalizing a new sense of life and objects in individuals and boosting their health. A sign has a material form and refers to something outside of itself; it is the material expression of a substitute for objects, phenomena and concepts used in the process of conscious exchange. Among different kinds of signs, visual sign is the representation of something possessing a hidden and implicit meaning that needs to be interpreted and deciphered by the audience. It is crucial to note that considering the sign system in visual signs not only links its relation to different processes of individual perception, but also amplifies the significance of utilizing it in order to create and improve health communication. Health communication is the study and practice of communicative techniques to promote awareness and influence the individual and collective behaviors that improve health in society. Meanwhile, health communication provides the appropriate space for health promotions that will pave the way for educating, convincing, and raising awareness of individuals in their encounter with different subjects. The category of media messages that addresses individual and collective health including healthy lifestyle is known as health promotion. This study attempts to create the significant role of visual and conceptual signs by de-familiarizing and examining the relationship between them. This always includes two distinct fields of mind and behavior: behavioral health refers to the effects of observable actions and the behaviors that are revealed through external factors; mental health includes the effects resulting from unobservable factors which are completely subjective and internal. It is essential to note that the relation between behavioral and mental health is always complementary because behavioral health depends on mental health and reveals different results in the encounter with various communicative fields and aspects and processes of perception. In all communicative fields, the movement is from recognition to perception and values and beliefs change before the behavior changes. Here the question is that on which visual approaches, de-familiarization based on the principle of making the visual signs different is founded and by which aspects of individual perception its effects on health promotion are explained in relation to the type of message?The results showed that familiarity with the shape of the sign, the position of the sign and especially the sign, has a significant positive relationship and a direct effect on strengthening the health message. Also Familiarity with the role of mediators of mental and objective perception also has a significant positive relationship and indirect effect on strengthening the health message.

A vast group of artworks remained from Samanid period is the Collection of bowls and plates of which decorated by illustrations and Arabic and Persian inscriptions. This works, remained from 3 and 4th Century of Hegira, are very attractive to scholar from the point of decoration and illustration apart from various techniques of production. This collection classifies to two groups from the point of decorations: inscribed potteries and illustrated potteries. Illustrated works which seem to be earlier contained motives of birds, animals and human with unclear meaning. Although some of scholars tried to discover their meanings, it seems to it is very complicated since they might relate to the ancient believes and regions such as Manichæism, Zoroastrianism, or even Zurvanism; a hypothesis which needs to be evaluated. In this paper we concentrated on the illustration of a Samanid Bowl of Nishabur contained a ship which several men are on Board. The meaning of the image is very vague and complicated. evaluated on the basis of Iconography, the image needs to be studied in a historical context. Iconography is a branch of art history which is based on interpretation of the content of the images in three steps: pre-iconographical description, iconographical analysis, and iconological interpretation. Iconography tries to achieve the fundamental meaning of the work or the symbolic spirit which was common in the culture through placing emphasis on the visual features of the image and its history. A widespread historical and cultural interpretation of the image (such as Noah Ship, crossing of Kaykhusro and Farangis from Jayhun, and ancient ceremonial services and beliefs demonstrated the manichaism roots in shaping the meaning of the image. It seems the ligh column (Sotun-i roshani or Srōšahrāy xwadāy) is the basis of the story of the image. refering to the stage after death in Manichaism, the term is related to the rout of the dead people should pass from earth to the moon and sun. A widespread historical and cultural interpretation of the image (such as Noah Ship, crossing of Kaykhusro and Farangis from Jayhun, and ancient ceremonial services and beliefs demonstrated the manichaism roots in shaping the meaning of the image. It seems the ligh column (Sotun-i roshani or Srōšahrāy xwadāy) is the basis of the story of the image. refering to the stage after death in Manichaism, the term is related to the rout of the dead people should pass from earth to the moon and sun. It seems the ligh column (Sotun-i roshani or Srōšahrāy xwadāy) is the basis of the story of the image. refering to the stage after death in Manichaism, the term is related to the rout of the dead people should pass from earth to the moon and sun.