نشریه نامه هنرهای تجسمی و کاربردی
پیاپی 28 (تابستان 1399)

Phenomenology has been one of the most important and influential movements in the philosophy of 20th Century. This movement, which is an exclusive theoretical and practical approach to the phenomena in multiple branches, in the philosophy of Edmund Husserl, called classical or transcendental phenomenology, introduced a method of defining how to give a meaning of the universe in the consciousness and consistency of such a conception in mind; whereas phenomenology in the view of his genius former pupil: Martin Heidegger, another great German philosopher who was not fully committed to him, got shaped in a hermeneutic form (and so called “Hermeneutic Phenomenology”), in such a way of disclosure of existence (for any unique human being; from the beginning of history and all the time and places): Aletheia; the meaning of truth in ancient Greek belief, which Heidegger referred to it. Developing such an idea in analyzing works of art, in fact visual arts such as painting and architecture, Heidegger showed how a work of art can set up a world and how to disclose existence, a process called “Hermeneutic Phenomenology of Art”. However, philosophers and exporters in this philosophical topic, has extensively regarded historical and theoretical parts of phenomenology, but not the practical part, which pays attention to a concrete work of art, as the intended phenomena. The present essay introduces a new interpretation of a famous painting as a case study, chosen from the history of Iranian traditional painting, belongs to Tabriz from the era of Safavid period, in the title of “Fereydoun as a dragon, tests his sons” in such a sample of hermeneutic look of Heidegger to the “shoes” painting by: Vincent van Gogh, in the book of “The Origin of the Work of Art” in the middle of 20th Century, which belongs to the second period of Heidegger's philosophical work, wherein opposite to the earliest period, he was fascinated by art works. The ultimate conclusion can then give a method of interpreting and self-reading all kinds of paintings, regardless of the intention of the artist and the grounds (specified time and place) of the creation of the work of art (painting, in this topic), introducing a way how to set up funds of a world of any human being. And finally in this article, the concept of “Unworld”, which has been procreated from the concept of Heidegger’s famous term: “world” in it’s different meaning, is resulting from the conditions of the disclosure of existence, when the world is not in the mood that it has to be, and has been consolidated in the process of the intended painting’s hermeneutic phenomenology, and beyond that: in other works of art, based on the dasein’s situation in the world.

Eastern Kufic script, applied in copying of Qur`ans, was developed from early Kufic and was diversified between 4th to 7th /10th- 13th centuries in East of the world of Islam. Despite significance of the script in copying Qur`an, and also the large number of works remained with this script, there are rare research on the different styles of it. This may be due to lack of information about the script in the first hand resources or lack of colophon or any other information about the calligraphers and date of copying of many of the manuscripts. But for now a Qur`an held by Astan Quds Razawi that specifies date and place of production help us to cognition of a style of Eastern Kufic script and paves the way for knowing about a regional style in Persian calligraphy. According to the colophon, the Qur`an copied in Isfahan in 327 AH/993 AD. The Qur`an was endowed by an anonymous person, named Kashwad ibn Amlas, likely in 5th/11th century. Similarity among the script of the manuscript and some other Qur`an shows that the style was very common in the center of Iran probably through 4 and 5th/ 10-11th century. This article while introduces the Isfahan Qur`an and presenting a detailed survey on its script, takes a look on 5 similar Qur`ans. The conclusion of the article shows that the main characteristics of Isfahan style of Eastern Kufic are: a style on the basis of cursive forms, tiny “v” shaped and horizontal connections of the letters, short height of vertical letters (such as alif), and lack of oblong letters except at the end of the lines. Keywords: Isfahan, Eastern Kufic, Stylistics, Calligraphy, Kufic Script, Qur`a Eastern Kufic script, applied in copying of Qur`ans, was developed from early Kufic and was diversified between 4 th to 7 th /10 th- 13 th centuries in East of the world of Islam. Despite significance of the script in copying Qur`an, and also the large number of works remained with this script, there are rare research on the different styles of it. This may be due to lack of information about the script in the first hand resources or lack of colophon or any other information about the calligraphers and date of copying of many of the manuscripts. But for now a Qur`an held by Astan Quds Razawi that specifies date and place of production help us to cognition of a style of Eastern Kufic script and paves the way for knowing about a regional style in Persian calligraphy. According to the colophon, the Qur`an copied in Isfahan in 327 AH/993 AD. The Qur`an was endowed by an anonymous person, named Kashwad ibn Amlas, likely in 5 th/11 th century.

Tabriz, one of the most important cities in production and export of carpets in Iran, which is developed in the diversity of designs and colors based on the market demands, has been a leader in the carpet manufacturing centers in Iran. Factors such as geographical location, historical experiences and connoisseur human resources, underlie Tabriz’s position as the most innovative and influential platform in the visual components of Tabriz’s carpets. In recent decades Variation in design and painting of patterns and motives of carpet designs is the main aspects of Tabriz's carpets. This extensive innovations in the design and coloring of Tabriz contemporary carpet designs have led to the formation of wide criticism in describing of Tabriz contemporaneous carpets.  The main issue of this research is the critical description from design and coloring status of Tabriz contemporary carpets in researches of related scholars. The purpose of the research is to identify and evaluate the status of designing and coloring of Tabriz contemporary carpets in order to measure of the scientific validity of the views and criticisms raised about the deviation of Tabriz carpets from the traditional foundation of Iranian carpet designs. For this aim, 100 samples of woven carpets of Tabriz in the last four decades were selected by random sampling among 300 carpets and were studied in accordance with the research objects. The surviving of qualitative and quantitative data revealed a wide deviation in the visual components of Tabriz contemporary carpets. The results showed that in recent decades, on one hand, the expanding changes have occurred in Tabriz contemporary carpet designs in conflict with the well-known principles of Iranian carpet. Some of the most important alteration components in Tabriz contemporary carpets are, disarraying in composition and coordination of design and structure of carpet borders, utilization of equivalent mono-color tonality in design contexts, miss clarity in decorative motives, neglect to mirroring of motives, utilization of colored tonalities in context instead of decoration. On the other hand, extensive variety in traditional and original designing structures of Tabriz carpets is going to be bounded to just medallion structure in contemporary carpets. The results show the process of these alterations is ascending. Regarding these results, it can be found that continuing this trend will cause a cultural and traditional breakdown in Tabriz’s ongoing carpets. Overall it can be said that realism in the designing and coloring of motifs in various forms is emerging phenomena in Tabriz carpet designs that have caused disarray in style and identity of Tabriz contemporary carpets. This study is applied research, which uses both qualitative and quantitative methods for specifying and analyzing data.

Painting is known as one of the oldest arts and has an important place in the birth and even survival of one of the last humankind arts, cinema. The relationship, similarities and differences between these two arts are not only interesting but also controversial. German expressionism which is known as a style today, has an important role in evolution of artworks and styles. Expressionism is significant in cinema history as well as in painting. Expressionist cinema has had direct and indirect effects on the cinematic genres of horror, crime, and noir. The Cabinet of Dr. Caligari by Robert Wiene (1920) is the most famous and important expressionist film which includes all factors of expressionism. It seems that this genre is mainly based on expressionist painting. This study by library sources and descriptive- analytic method tries to survey the impact of expressionist painting on expressionist films and at the same time study the Cabinet of Dr. Caligari in the basis of expressionist factors in painting.

The Gonbad-e Sorkh is one of the most prominent buildings of the Seljuk period belonging 542 AH. The variety of brickwork, stucco and tile-making techniques in the execution of decorative forms, Gırıh tıles and Kufic inscriptions has such a manifestation in this building that has practically overshadowed other aspects of its architecture. Therefore, it is necessary to conduct further research in this field due to the variety of techniques and decorations in architecture. The main question of this article is what are the decorative features of letters and Golandazes of brick and tile used in the Gonbad-e Sorkh epigraphs? The main purpose of this study is to recognize and rediscover the ornaments and inscriptions of the Gonbad-e Sorkh. The mentioned study is in fact a qualitative research and using photographs of the actual monument, at first the building and its ornaments and decorations have been represented and described, then the data has been carefully analyzed. Collecting the data was accomplished through library studies and also all of the photographs have been taken from the original dome. The findings show that the most technical use of brickwork in this dome are the motifs and patterns known Golandaz (and various brick ornaments such as Ragchine Golandaz or Golchin) and Jenaghi, Girih tiles, Khefteh and Rasteh Kelookband and the Ragchin inscriptions of the building. In thıs building beside the molded bricks, Pishbor, engraved and stucco, turquoise and blue tiles are also used in its body. In other words, the integration of several types of materials in the decoration of the Gonbad-e Sorkh, such as the combination of "brick and tile" and "brick and plaster" in one role, has been from the other initiatives that have been used in this building. The writing and decorative system of the inscriptions of the Gonbad-e Sorkh has been executed in three ways without additional makeup and decoration, combined with geometric motifs and with geometric and Arabesque motifs. The making of Gereh (knot) is in two ways inside the frames and independent of the inscriptions and is divided by the continuation of the inscription letters. These inscriptions made of engraved bricks, along with plaster decorations are other forms of decorative features of this building.

Banksy is an anonymous British street artist and political activist, which is known for his satirical street art combine dark humor with graffiti executed in a distinctive stenciling technique. He displays his art on publicly visible surfaces and self-built physical prop pieces. He characterises graffiti as a form of underclass revenge, or guerrilla warfare that allows him to snatch away power, territory and glory from a bigger and better equipped enemy. Banksy’s works have dealt with various political and social themes, including anti-consumerism, anti-war, anti-imperialism, anti-fascism, anti-authoritarianism, nihilism, anarchism and existentialism. Additionally, the components of the human condition that his works commonly critique are greed, hypocrisy, poverty, absurdity, boredom, alienation and despair. His works usually rely on iconography and visual imagery to put forth their message. In January 2011, he was nominated for the Academy Award for Best Documentary for Exit Through the Gift Shop < /em>. In 2014, he was awarded Person of the Year at the Webby Awards. The main objective of this paper is to first to tracing defamiliarization and semioclasm in the artworks of Banksy. This research is a semiotic case study with a descriptive - analytical approach. Defamiliarization is the artistic technique of presenting common things in an unfamiliar or strange way in order to enhance perception of the familiar. Semioclasm begins when the creator of a cultural message, uses the signs with a different signification from their common meanings, with the aim of breaking the ruling conventions of a social context. By analyzing eleven artworks of Banksy, this paper attempts to reveal the methods of defamiliarization and semioclasm in his work. In this regard, we specified three categories: 1. Political defamiliarization and semioclasm: in Napalm Girl (2004, referring to the link between warfare and capitalism as two major tools of American hegemony); Unwelcome Intervention (2005, to protest against all the walls and barriers between people around the world); Rage, the Flower Thrower (2005, to complain about war, bellicosity and carnage); Crayola Shooter (2011, to blame child abuse on battlefields) and Missile instead of Javelin (2012, to protest against political interventions in sport). 2. Economic defamiliarization and semioclasm: in Paris Album (2006, mockery of the celebrities’ greed) and Coney Island Adventure (2018, protesting large companies from seizing property of the poor). 3. Religious defamiliarization and semioclasm: in Toxic Mary (2003, criticizing the ineffectiveness and profitability of the religious authorities); Christ with Shopping Bags (2004, to complain about consumerism); Grin Reaper (2005, to minimize death) and Sale Ends (2017, protesting against greed and shopaholism). The artist in these works, by removing the meaning of known symbols, has been attached a new concept to them. He used alternate codes as follows: Mickey Mouse and Ronald McDonald instead of soldiers, window instead of wall, flowers instead of grenade, Crayolas instead of bullets, missiles instead of javelin, dog’s head instead of Paris Hilton’s, growth charts instead of lashes, venom instead of Madonna’s milk, shopping bags instead of cross nails, smiling emoji instead of skulls, and auction-end billboards instead of crucifixion icon. The main objective of this paper is to first to tracing defamiliarization and semioclasm in the artworks of Banksy. This research is a semiotic case study with a descriptive - analytical approach. Defamiliarization is the artistic technique of presenting common things in an unfamiliar or strange way in order to enhance perception of the familiar. Semioclasm begins when the creator of a cultural message, uses the signs with a different signification from their common meanings, with the aim of breaking the ruling conventions of a social context. By analyzing eleven artworks of Banksy, this paper attempts to reveal the methods of defamiliarization and semioclasm in his work. In this regard, we specified three categories: 1. Political defamiliarization and semioclasm: in Napalm Girl (2004, referring to the link between warfare and capitalism as two major tools of American hegemony); Unwelcome Intervention (2005, to protest against all the walls and barriers between people around the world); Rage, the Flower Thrower (2005, to complain about war, bellicosity and carnage); Crayola Shooter (2011, to blame child abuse on battlefields) and Missile instead of Javelin (2012, to protest against political interventions in sport). 2. Economic defamiliarization and semioclasm: in Paris Album (2006, mockery of the celebrities’ greed) and Coney Island Adventure (2018, protesting large companies from seizing property of the poor). 3. Religious defamiliarization and semioclasm: in Toxic Mary (2003, criticizing the ineffectiveness and profitability of the religious authorities); Christ with Shopping Bags (2004, to complain about consumerism); Grin Reaper (2005, to minimize death) and Sale Ends (2017, protesting against greed and shopaholism). The artist in these works, by removing the meaning of known symbols, has been attached a new concept to them. He used alternate codes as follows: Mickey Mouse and Ronald McDonald instead of soldiers, window instead of wall, flowers instead of grenade, Crayolas instead of bullets, missiles instead of javelin, dog’s head instead of Paris Hilton’s, growth charts instead of lashes, venom instead of Madonna’s milk, shopping bags instead of cross nails, smiling emoji instead of skulls, and auction-end billboards instead of crucifixion icon.