نشریه دانش هنرهای تجسمی
سال ششم شماره 1 (پیاپی 7، بهار و تابستان 1400)

This study involves analyzing the interaction of photography and literature in conjunction with each other. Researchers have already compared photography with painting or cinema, but the relationship between photography and literature is not addressed properly. This relationship goes back to the days of the invention of photography and has been evolving since then. With this intention, after describing the various aspects of the relationship between photography and literature in the world and Iran, the focus is on printed books in which a conjunction of photography and a kind of literary writing can be observed. In this research, documentary method for data collection and descriptive-analytical method for analyzing the samples have been used. The scope of this research includes the books published in Tehran from 1385 to 1395. Samples have been chosen selectively.In this study, it has been attempted to discover the specific features of photographs which were chosen to be juxtaposed with literary texts. Theories of "intertextuality" and "nature of photographs" have been used to analyze the samples and reach a conclusion. The intertextual attribute of the texts (in this case, the literature and the photos) allows them to be juxtaposed with each other, and the result of this conjunction is a new text and a new meaning. The findings of the research show that among the four levels defined in the theory of "the nature of photographs" for a photo, (namely physical level, level of presentation, mental level and mental design), an active and generative "mental level" is in common between all the photographs which are selected to accompany literary texts. In this accompaniment, the main elements of the "mental level" of the photograph can also be found in the theme of the literary text.

The effective presence of women in political and religious power as well as its doctrinal role in the ancient world as a symbol of fertility can be seen both in the form of the virgin princess of heaven and the wicked woman in artistic designs. One of these ancient civilizations is Ilam, in which women and the construction of their statues along with the gods had a special and superior position, which had both magical power and ruling power. The above research is a descriptive-analytical method with the aim of examining female figures from an aesthetic and doctrinal point of view in order to achieve a better visual and artistic understanding of this period as well as special conditions and characteristics affecting the artist of that period and Influence of Mesopotamian neighbors to create such works and on the other hand can be an answer to the reason for the formation of this type of statue and its symbolic functions. The result is the achievement of the functions and ways of thinking of the Elamites about women and their social status at the foundation of Elamite thought.

In the Persian traditional painting, especially schools during the 4th to 11th centuries A.H, we confront a method of attitude. It changes the coordinates of our visual comprehension in order to abstraction from mater and representation of realities which are cryptographic behind that, and it challenges the known rules of visual intake and accepting. In a fantastic atmosphere such as Persian painting, there is a special system which the whole of qualities and quantites are affected by it. The “Movement“ as an important element is one of those elements. Persian painter who is affected by rich Persian philosophy and literature, notes the “Movement” as an important matter and although he hasn’t any tools for actual ideogram of “Movement“, he tries to portray his sightly moves in 2D paper, that’s his equipment in best conditions. All of the exaggerates and abstracts which applied on the human figures are special movement creators. One of the prominent Iranian painters who has embodied spaces full of fantasy and pure imagination in his paintings, Sultan Mohammad Naghash, is one of the painters of Tabriz II school. In this research, an attempt has been made to examine these images from the perspective of movement fantasy. The author's question is “how the animated effects of human characters in the works of Sultan Muhammad are expressed?”. The purpose of this study is to achieve a meaningful structure and purposeful methods in drawing human figures and also to achieve a coherent and generalizable method in the body of contemporary Iranian visual arts. The research method is based on the descriptive-analytical study of Sultan Mohammad's iconography and adopts a structuralist-semantic two-way approach. This research has led to understanding and receiving the method of exaggeration and special transformation of Sultan Mohammad in drawing the statues based on the intended meaning of the drawing and predicting the way of movement for the mentioned statues.

The skill and initiative of Iranians in the art of weaving has a very long history. Iranian and Indian artists have had artistic relations for a long time and they influenced each other's artistic styles. This similarity can be seen between the textile motifs of these two countries. In the present article, meanwhile identifying the woven textiles of Iran and India, the peacock pattern is classified and analyzed based on the themes and topics used in the context of the two countries.. therefore, the question arises, what is the meaning of the peacock design in both countries and what visual factors have been used? The present research is descriptive-analytical and also, data has been  collected with reference to reliable library and visual sources. The statistical population of the peacock design in Textiles of Iran and India and the sample size are two pieces of fabric from these two countries that are kept in Antique center in Manhattan, USA. The results of this study  indicate, Peacock design in Indian and Iranian gold fabrics have a lot of similarity. The peacock design on the Zarbaft fabrics, is a symbol of beauty, sky and blessing in both cultures. Visual factors as well as symmetrical and static composition using horizontal and vertical elements, rhythm, repetition and color contrast show the closeness and synchrony of these two countries.

The present study has been conducted based on the grotesque approach in the works of a few contemporary Iranian painters  ( Bahman Mohases, Parvene Etemadi & Ahmad Amin Nazar) with the aim to find out how to apply this artistic methodin their paintings. As an initiative step, a few modern  grotesque artists were selected and then some paintings among their works has been studied. Grotesque components which are introduced in this study include: 1. Disharmony,2. Satire & fear,3. Exaggeration,4. Anomaly ,5. Criticism, objection and social expression. The related data was collected according to documentary method and thearticle is written in descriptive-analytic  method. The statistical data of the study  have been selected   through purposive samples of the works of some of the contemporary Iranian artists since 1958 .This study is restricted to introducing a few prominentpainters whosestrange tendencies and weird subjects in their works are more tangible than others.. The results of this study indicate that thought of modernity and achieving modern visual  methodsin an era of contemporary artistic evolutions in Iran, has become one of the artists’ concerns In the meantime, painters have been emerged that each of whom in a period of artistic life, by ignoring traditions, have been seeking new ways to express their mentalityand imaginationsand  in this way  they have created distinctive and strange works.

Many arts in Qajar era ,including tileworks, show ancient motifs of Iranian art Although, the first Pahlavi era is introduced as the historical period of archaism in contemporary Iranian art, but this phenomenon is affected by the historical and social conditions of the Qajar era The influence of Orientalism and the activities of European archeologists in this thematic trend has been effective in Qajar art. The semiotic approach of Qajar archaeological motifs will help to identify oriental components in the case sample of this study. Qajar tiles are the best context for tracking archaeological trends in Qajar architecture. Examples of ancient tiles from five Qajar mansions in Shiraz have been investigated in this study. The aim of this study was to categorize the archaeological signs of Qajar tiles in order to extract its Oriental components. The Question of this research is, What factors can be considered effective in creating tiles with archaic designs of the Qajar era? Can the current of Orientalism of the Qajar era be considered effective in the appearance of archeology of tile paintings of Qajar era? According to the research hypothesis, probably the flow of Oriental studies during the Qajar period has led to an oriental tendencies on the art of this era. The findings of this study confirmed the hypothesis and determined that orientalistic components and signs in the studied samples include ancient decorative motifs, prominent roles and ancient monuments, ancient figurative components, legitimizing components and components of mythological personalities. In addition, direct observation of the results of archaeologists' activities in the ancient areas of Shiraz can be considered as one of the factors in the prevalence of archeological motifs in Qajar mansions of Shiraz. In This study, with analytical and descriptive method and emphasis on layered semiotics, the sample of the considered works of Shiraz mansions has been studied. The method of collecting data was library studies along with the author's observations of the sample of Qajar archeological tiles from Shiraz mansions.

In the early 10th century AH-15 AD, the textile industry in the Safavid rule had reached its peak, this prosperity and development had many reasons, the support of Safavid kings (Shah Ismail, Shah Tahmasb, Shah Abbas) of the art of weaving, empowerment and commercial prosperity of Iran in Europe The skill and theoretical arrogance of the professors and the appropriate materials used in the weaving workshops resulted in exquisite and exquisite products that made the name of the Safavid government and Iranian artists famous in the world forever. Velvet, gold, and dibaj were the most exquisite and important products of Safavid workshops. In this research, the patterns and designs used in Safavid velvet fabric are examined from different angles. Including the introduction of the history of velvet and types of velvet of the Safavid era, the use of human, plant, Islamic and Vakhtai patterns in velvet fabrics, and finally the causes and factors of degeneration and decline of the texture of this exquisite textile are examined. This research is a review method and is based on library resources. In the end, it seems that in the time of Shah Tahmasb, due to strong religious tendencies, woven images were more like paintings, but in the time of Shah Abbas, with the arrival and cooperation of Europeans in the field of trade and art, in addition to Islamic gilding The image of Europeans is also woven in velvet.

As the Iranian thinking puts it, the etiology of art and crafts has never, per se, been regarded an independent branch of wisdom; rather, it falls in the category of virtues and manliness. This train of thought was transformed by Iranian artists and craftsmen into an arena for the sake of closeness to the Supreme Divinity with the advent of Islam and by means of such transcendental concepts as goodness, beauty, order and embodiment of existential levels in the light of Divine Unity. Thus, the main research question was: In what moments is the origin of this transformation toward a transcendental view concealed as regards the working manner of the Iranian artists and craftsmen? In this connection, it is concluded that Iranian arts and crafts were transformed into a context for experiencing the aesthetics of a transcendental thinking by bright-minded professionals via such components as Fotovat-Nameh, i.e., books on Manliness and learning and teachings manners of techniques and craftsmanship. This research used a descriptive-analytical method and gathered data through library methods.

Realism claims the explicit and immediate explanation of the fact. The variety of methods, materials, the role of philosophy and notion has changed the approach of humans to the facts and has led to a lack of definition and definitive formulation of the style of realism. With the transformation of relations between production and the proletariat, which was based on the production of major industries, to the world of Cagnitaria, which relies on the mass production of information, software, and computers, the artists' view of realism has also changed. American artist, Jasper Johns, is one of the artists whose work has been explored by art critics of realism. On the other hand, several articles related to the definition of realism have been presented, one of the most complete of them is Mehdi Hosseini's article, which stands out based on the evidence of art history and analysis of works, formulated in the article "Realism In Definition,” and in seven paragraphs Introduces realism. The question is, given the fundamental changes in the concept of realism in the contemporary world, how can Jasper's flag explain current realism based on Mehdi Hosseini's definitions? This article has been done by descriptive-analytical and comparative method, using library studies and adapting the seven components of the above definition to the contemporary work of Jasper Johns to benefit from indigenous views and theories about art schools. The results show that based on the four components of "realist expression, raising the quality of objectivity, and opposition to the concept of form deformation,” "realist expression in opposition to overt and covert idealism,” "realism with political content in the service of the ruling system" and " Exaggeration in the objective expression of reality »The contemporary realism in this work can be expressed