نشریه نامه هنرهای تجسمی و کاربردی
پیاپی 32 (تابستان 1400)

Intuition is a mental ability based on unconscious knowledge structures which plays a key role in creative processes and intertwined with conscious reasoning, they form the foundation of human thinking. Design, as a complex cognitive process, requires proper use of both of these mental abilities; but unfortunately due to the mere emphasis on using reasoning abilities for solving design problems in academic society, designers do not have appropriate knowledge about intuition. Intuition, as one of the fundamental cognitive capacities, has been less systematically studied as a reliable means for problem-solving processes, which emphasizes the importance of the present study. The advantage of intuitive thinking over logical thinking is its ability to solve complex problems in difficult situations, and since "design" is now considered as a way of problem solving ability, intuitive thinking will have a valuable capacity to play a role in this activity. The main objective of this research is to identify and introduce the factors which influence intuition as a valuable mental ability in the field of design. In other words, the factors that affect intuition of designers in ideation and problem solving during design processes have been identified and introduced to be used as a basis for developing methods to empower intuitive thinking in the design process. The statistical population consists of 60 industrial designers in Tehran, who were randomly selected. The criterion for selecting the sample is having a university degree in industrial design, general familiarity with design methodology and activity in one of the specialized fields as an industrial designer. Among the target population, 75 designers were identified with the mentioned specifications and 60 of them were selected as a statistical sample using Cochran's formula. In order to identify the factors affecting intuition, a questionnaire consisting of 3 descriptive questions and 27 multiple choice questions was used. The validity and reliability of this questionnaire were evaluated and confirmed according to the content analysis method and Cronbach's alpha test, respectively (Cronbach's alpha = 0.72). The method of data analysis in this study is descriptive and inferential and frequency distribution tables and chi-square have been used. Statistical analyzes were performed using SPSS software version 22. The study of the factors which affect intuition of designers in the design process confirms the possibility of strengthening intuitive thinking and consciously paving the way for the occurrence of intuitive events. The results of the research include the introduction of eleven factors which affect intuition of designers in design process in four categories: Circumstance and context, Individual characteristics, knowing and mental processing and synthesis. In the continuation of the research, 11 identified factors affecting intuition, after being introduced to designers, were approved and emphasized, and based on their experiences regarding intuitive events and solving design problems with the help of intuition, 21 related and effective sub-variables affecting intuition of designers identified. These variables can be used for creation and development of methods and tools to empower intuitive thinking and providing conditions for occurrence of intuitive perceptions in design.

Mathematical disability is one of learning disorders which affects some of students. These children, despite having a normal IQ, are weak in skills such as reading and writing, or math. This weakness sometimes leads to the failure of these students. As according to official annual statistics in our country, 85 billion Tomans are spent for failure of these students and, of course, the psychological damage is far more than this. The purpose of this study is to identify the needs of the children with math learning disability during the period of occupational Therapy; also, to extract the principals which can be used at designing of an educational assistance product in order to meet these needs. As a sample, 58 students have been chosen (48 students with Mathematical weakness and 10 students with math learning disability). 3 therapists have been observed and interviewed and 48 parents of these children have been answered to the proposed questionnaire. Also 20 children’s taste in choosing the educational assistance products has been examined. The reliability of the survey was approved by intra-rater reliability (correlation coefficient=0.784) and Cronbach’s Alpha coefficient (0.812). For analyzing the data, we used Chi-squared test by SPSS22. The results showed that while using the educational assistance products has been emphasized by the therapists, %79.17 of the parents never used these products and %16.67 used them rarely, and instead of this, they have imposed a binary pressure on the child (p < 0.05). In this study, 10 features of training equipment were extracted in order to optimize mathematical learning (for LD children) and applied strategies for using them in design of such a product. We found that there must be visual attraction in form and shape, so the colors should be warm and bright. The product should create a desire for play so rounded and polished forms should be used. How the product works should be understood so transparent materials should be used as much as possible. The therapist needs to teach mathematical expressions; therefore, it is necessary to train addition and subtraction through the product. The tool should not be decentralized so it should have a simple structure. It should have ease of use for teachers and therapists so it should be easy to install. The product must create the desire to reuse so it should be fun. Also, it should enhance visual and perceptual skills so it must have a color distinction in the product body. This product should enhance eye and eye skills too, so it is imperative that the process of the game requires the use of hands and fingers and also the ability to handle the child. This tool should not hurt the student’s body so anthropometrical data of 6-8 years old children is required.

Qajar rule, dominated by the long reigns of Fath Ali Shah and his great-grandson, Nasir ad-Din Shah, provided a relatively stable political environment favorable to the encouragement of ambitious architectural programs and the decorative arts. Here, two concepts of “eclecticism” and “innovation” are among the many intriguing influences that contribute to an understanding of the richness of Qajar cultural life, especially as revealed in the visual arts, where fresh inspiration was possible through the impact of new technology and an expanded iconographic repertoire. All this was supported by the cumulative inheritance of the deep-rooted, colorful, and pictorial tradition of Iran’s arts and crafts, which extend back to the pre-Islamic past of the Achaemenids, Parthians, and Sasanians. The strength of this tradition was such that it survived the period of unrest and civil dispute that interrupted the sequence of Iranian history between the collapse of the Safavids in 1722 and the emergence of the Qajars by 1785. The resources and techniques of architecture and its associated decoration of sculptured stone relief, polychrome tilework, and carved and molded stucco, and of arts and crafts such as book illustration, painted lacquer, knotted pile carpet weaving, painting, printing and embroidering of textiles were at their disposal to be revived, adapted, and exploited. Emphasizing ancestral themes with a look at past heritage was a conscious policy followed by the Qajars to continue and legitimize their reign in the 19th century. Apart from poetry and literature, such a matter manifested itself visually in the portraits and figures of mythological rulers and heroes in different art media, including tilework. After a period of decline in tile production during the 18th century, there was a remarkable revival of tilework decoration during the Qajar period where craftsmen continued the traditional techniques of mosaic, overglaze and underglaze-painting. They experimented with new treatments and themes and introduced a range of bright colors in this period. Rostam, the mythical hero of Ferdowsi’s Shahnameh (Books of Kings) was a subject frequently depicted on Qajar pictorial tiles in public and private spheres, like royal palaces, residences, mansions, houses, bathrooms, bazaars, gates and portals more than any other mythological figures. This constant, growing presence raises some questions as follows: What political and social backgrounds facilitated such heroic manifestation on Qajar tiles? What are the distinct physical features of Rostam in these works? And what other fields could be connected to this subject? Results of the research indicate that the revival of ancient ideology concerning the pre-Islamic Persian great kingships, and that of the ancestral themes by Qajars, especially in the first half of this dynasty, as well as the promotion of folk art foundations and nationalism among the ordinary people created optimal conditions for a visible manifestation of Rostam figure and the Shahnameh stories, most specifically those from Haft Khan (the Seven Labors of Rostam), on the pictorial tiles in architectural decorations of Qajar era.

The continuity of the two fields of reading and the creation of works of art always indicates that the promotion of each of them leads to the qualitative growth of the other field. The process of creating and evolving various artistic branches shows that proper reading and how to create works of art can promote future artistic creations. Assuming that genetic criticism seems to have the capabilities and components that can be effective in reading graphic design works, and as a result, a step is taken towards the qualitative growth of these works and consequently the visual culture of Iranian society, this query deals with this research and in its path, it will seek to find the answer to the main question: "Which capabilities and characteristics of the genetic criticism approach can act as an effective and key tool for reading and critique of Iranian graphic design artworks?" And two sub-questions: "What are the goals and usage of the genetic criticism process?" And "How is the process of creating graphic design and addressing the issue of graphic design works?" In the course of this research, they will be examined and answered.The present study is practical in terms of purpose and descriptive-analytical in terms of method. In the process of research, literature and theoretical foundations of the field of critical criticism on the one hand and the fields of graphic design, design thinking and consequently visual thinking on the other hand, through the study of written documents and sources, has been studied and the required data have been collected. In order to answer the research questions through a qualitative approach, the collected data in the field of developmental reading and graphic design were first analyzed and then evaluated. In this regard, a work from the branch of cultural graphics by Majid Abbasi, a contemporary Iranian graphic designer, selected as a study example, and reviewed in a developmental manner. The desired artwork is the cover of the novel "The Bread of Those Early Years" written by Henriche Bell, which was published in 2001 by Cheshmeh Publishing. Findings show that comparing the trend and matching the volume and type of documents and evidence that the graphic designer leaves in all stages of creating an artwork, as well as other factors affecting the process of producing and creating a graphic artwork, shows that the ability to form a rich developmental file for graphic artwork includes pretext, meta text, para text, and hyper text documents. As a result, the capabilities and functions of genetic criticism, such as focusing on the process and providing a better understanding of the text, the recognition author, his or her creativity and artistic imagination, performance methods and styles, are consistent with the path taken in graphic design and extracted results from the genetic approach can lead to qualitative growth of various aspects of future graphic design works.

This article is a textual analysis of two paintings by the contemporary artist Yaghoub Emdadian based on a traditional painting hypertexuality with usage of library sources and direct observation of works of art and their analysis and semiotics with an approach more than Genette’s text. . The research method of this article is descriptive based on the intertextual approach of Gerard Genette. In the 1960s, it was Julia Kristeva who used "Intertextuality" for the first time, indicating any relation between different texts.Thereafter, Gerard Genette expanded the study domain of Kristeva, and called relation between a text with other texts or different from its own as "transtextuality" and subdivided this type into five categories where intertextuality was only one type. Other categories were called "arcitextuality", "paratextuality", "metatextuality" and "hypertextuality", each with their own subcategories. Of all these categories ,Intertextuality and Hypertextuality study the relationship between two artistic texts ,whereas Transtextualites is the study of the relation of a text to the related hypertext. On the other hand, Paratextuality probes into the relation of a text to other connected or separated texts. Metatextuality investigates the analytical elation of a text in respect to another one. And Arcitextuality deals with the relation between a text and a text of its kind. This article deals with only one type of Gerard Genette’s transtextuality, i.e. hypertextuality, and will attempt to survey the potentiality of this notion in the history of illustrations, in Iran and then make a critical analysis of Persian paintings based on the hypertextual approach. The hypertext relationship explores the relationship between two texts, the existence of the second text depends on the first text On this basis, the original text and the preceding one are called the "hypotext" and the later and the new text "hypertext" The gene divides the transactional relationship into two types of the same (imitation) and metamorphism (the variation of the original).Based on the function of hypertext, Genette divides it in to six major types, of which transposition is one of the most important. The present article focuses on the type of transpotition and intends to use its capabilities to analyse and read two contemporary Iranian paintings. And to study the question of how the adaptation of traditional painting is reflected in Emdadian paintings and has formed this visual system? What is the formal and content relationship between the over-text and the pre-text, and how is the artist's invention and inspiration manifested in this form? The result of the study shows that Yaghoub Emdadian consciously with usage of hypertexuality and appropriate and copying a part of it and transposition and changing the style, quality and quantity of the two paintings have been able to create works in their personal format and style that refer to traditional Iranian painting, it is modern and contemporary.

In the production of any work of art, illustrators are undoubtedly influenced by a set of pre-texts and paratexts, which often appear in the text (image) for a variety of reasons with a variable effect factor, as such trend is examined in the Qajar period (simultaneously with the arrival of the lithography industry). During this time, many books were illustrated, during which Tufan al-Boka' was reprinted several times due to the growing popularity of the audience. Relying on the descriptive-analytical method, the main question raised is the extent to which Mirza Ali-Qoli Xu’i (Activity period 1847-1855), as one of the first artists known in the field of illustration of lithographic books, was influenced by the norms of the society in the creation of the Karbala Ashqis Qisas Majlis by Mukhtar in Tufan al-Boka'. The findings from the study of individual versions of Tufan al-Boka' by Xu’i (7 lithographic versions: 1849, 1852, 1854, 1856a, 1856b, Dateless a, Dateless b) indicate that regarding the existing pretexts of this event as a written discourse (base: Early Century Sources, contemporary: Tufan al-Boka'), they considered the nature of three norms (judicial: corporal punishment, military: military cover and tools, political: court iconography), and were distributed and welcomed using the image, as a dynamic media, seeking to connect the audience more with this event with a special attitude and analyzable based on the theory of reflection and shaping - first by showing everyday topics and then, while visually replacing Fath Ali Shah with Mukhtar, he intended to gain relative acceptance for the ruling power. In the production of any work of art, illustrators are undoubtedly influenced by a set of pre-texts and paratexts, which often appear in the text (image) for a variety of reasons with a variable effect factor, as such trend is examined in the Qajar period (simultaneously with the arrival of the lithography industry). During this time, many books were illustrated, during which Tufan al-Boka' was reprinted several times due to the growing popularity of the audience. Relying on the descriptive-analytical method, the main question raised is the extent to which Mirza Ali-Qoli Xu’i (Activity period 1847-1855), as one of the first artists known in the field of illustration of lithographic books, was influenced by the norms of the society in the creation of the Karbala Ashqis Qisas Majlis by Mukhtar in Tufan al-Boka'. The findings from the study of individual versions of Tufan al-Boka' by Xu’i (7 lithographic versions: 1849, 1852, 1854, 1856a, 1856b, Dateless a, Dateless b) indicate that regarding the existing pretexts of this event as a written discourse (base: Early Century Sources, contemporary: Tufan al-Boka'), they considered the nature of three norms (judicial: corporal punishment, military: military cover and tools, political: court iconography), and were distributed and welcomed using the image, as a dynamic media, seeking to connect the audience more with this event with a special attitude and analyzable based on the theory of reflection and shaping - ...