نشریه فردوس هنر
پیاپی 7 (زمستان 1400)

Conceptually, the category of "social capital" has a history as old as the formation of a human settlement. That is, the need of humans for each other's abilities and productions was and is the main factor in the formation of social relations and social participation of the type of "cooperation". Throughout history and with the formation and expansion of these communities, the interactive processes required by the social man have led to the formation of "community relations". Sociologists consider two major reasons for this in addition to the material needs of social man: firstly, the need for support against life's adversities and secondly, the issue of the need for recognition, which means social acceptance and respect for one's person as a human being. It seems that such a psychological root was the basis of the formation of social personality and turning it into a reliable capital for the governance of the society during different eras, of the type of cohesion, trust and participation. On the other hand, for the participating people, it will be a lever to influence (simultaneous participation and monitoring) on social "policy making and decision making". In the different decades of the 20th century, attention to social capital followed a path that led to its expansion in humanities fields and the formation of different aspects and forms of social capital. Because according to many theoreticians, participation arising from social capital is a normative category and a constant need for "social development plans and programs." The breadth of its practical and conceptual context has caused complexity, breadth, and ambiguity in its comprehensive definition. But in general, it can be said that social capital is the values and norms institutionalized in people for collective relations, which defines their social personality in "group action" and "common goals". Although social capital is a multi-faceted concept between social, cultural and economic studies and it is considered in sustainable development along with and more important than natural, physical (artificial) and human capital, but it is also the main message of Quranic social orders. Because in this perspective, in accordance with the social perspective of the Qur'an, sustainable development has been achieved based on people's participation based on social sensitivity and attention. The use of these views for the architecture and urban planning community of Muslim nations is important from several aspects. First, it is science and knowledge and it becomes the source of their knowledge towards the audience who intend to build housing for their lives. On the other hand, architecture and urban planning remain like a living organism that relies on the achievements of other fields as content or method knowledge in the fields of knowledge and understanding of this social and human context. Therefore, in the position of matching these achievements with Quranic instructions, knowing the viewpoint of the thinkers of these fields is an example of curiosity to know the situation of the individual and society, to understand their "Thinckimg style" and "Life Style".Also, in strengthening social relations and people's sociability, a role of solutions is suggested to help solve the problems of urban areas. In the meantime, the problem of synchronization between the environment and the basis of human physical life (which is provided by architecture and urban planning), with the social planning of the Qur'an, is a very important issue. Because according to many thinkers in this field, the implementation of religious orders, activities and rituals is related to mechanisms in the field of improving the quality of their family and social relationships. Because according to many thinkers in this field, the implementation of religious orders, activities and rituals is related to mechanisms in the field of improving the quality of their family and social relationships. As a result, it can be said that in case of inconsistency between the spatial quality and the relationships defined in the building elements, with religious orders in Islamic societies, a kind of conflict between opinion and action is formed in people's lives. Based on this, all the factors that play a role in creating or strengthening this social capital are considered by social theorists to provide a comprehensive solution. Based on this, the main goal of this article is to present the theoretical foundations of using this social capital in the form of a social theory and at the same time try to integrate it with the concept of the theoretical foundations of Islamic architecture and urban planning. Because transformation in macro-levels, including supreme governance (from local to international level), requires progress in all related aspects. Based on this, the main question raised in this research is to achieve a general content framework to move from social capital to social theory.

Statement of the problem: 

The Timurid period is one of the brilliant periods of Islamic art and architecture. In this period, significant progress is made in various fields of architectural decoration. The way of decorating with mosaic tiles in the Timurid period shows that the artists of this period had achieved the highest level of skill in decorations. Decorations in this period have undergone a fundamental change under several factors. Timurid architecture achieved a solid and complete structure and principles by using Ilkhanate and Seljuk architecture and using Iranian architects and artists, and the buildings left from this period have these characteristics, including: greatness, progress In all kinds of decorations, they show growth and excellence in arching techniques and cross arches. If we list Timurid buildings in terms of their artistic importance, strength and fame, the first place is occupied by mosques, followed by schools, monasteries, shrines, etc. The mosque is one of the buildings that has always been of interest and importance throughout the history of Iranian architecture and was welcomed by many architects and artists during the Timurid period. The art, culture, and literature of the Timurid period have registered two magnificent mosques in their record. Two mosques with the same name, which were built by the order of one person (Goharshad Khatun) and with the architecture of a master craftsman. One of these two complexes is located in Mashhad and the other is in Herat, and both mosques are very magnificent and magnificent, and each of them has differences in motifs.

One of the main purposes of this research is to compare the decorations of the Timurid period, including the decorative lines, motifs and colors used in the tiling of case examples (Goharshad mosques in Mashhad and Herat).

Research question:

 What are the similarities and differences between Goharshad and Herat mosques, which were built by the same person during the period?

This descriptive-analytical study was conducted and the required data and data were collected through library-documentary studies.

The results of this study show that the powerful juxtaposition of plant motifs and geometric motifs is one of the characteristics that started in this period. Also, the architecture of the Timurid period can be considered the peak of the use of color in architecture, which can be seen in the Kufic and Thulet manuscripts in golden inscriptions on blue tiles. It seems that the motifs worked in Herat's Goharshad Mosque are more developed than Mashhad's Goharshad. Perhaps the reason for this is the construction of the Herat Mosque after Mashhad and Herat being the capital during the Timurid period. Also, in the Goharshad Mosque of Mashhad, color has the greatest impact on the viewer and everyone who enters the mosque admires its wonder. The contrast of complementary colors can be seen in the tiles, in the inscriptions and in the motifs. Regarding the used script, which is considered a kind of pattern, the lines of Tholt, Nastaliq and Kufi are common in both mosques, but the beauty of the Nastaliq script in the Goharshad Mosque of Mashhad can be clearly shown. It seems that due to the wide spread of architecture in the Timurid period and the distance between Goharshad Mosque in Mashhad and Goharshad in Herat, the difference in climate and to some extent cultural issues and ethnic characteristics, we should witness more differences than what we see in these two. Mosques with the studies and investigations done, due to the religious participation in this region which can be a determining factor, not only there is no significant difference, but there is a kind of unity and coherence in the plans and roles. What is interesting among the inscriptions is the existence of an inscription in Persian language in Herat's Goharshad Mosque, which cannot be seen in Mashhad. Perhaps the reason for this can be considered the greater literacy of the people of Herat than the people of Khorasan at that time and the presence of literate and well-known people like Jami. What is important in these two mosques is the independence of the decorations in them, which do not follow the main lines because of the past, and the decorations have made both buildings unified as a complete unit.

The design of the user interface of the website does not have a registered and specific standard, but it has an order and a method that arose from the experiences gained since the creation of the websites until today, and in a way it has become a standard and model. Optimum experiences by combining technology with psychological and aesthetic approaches. Considering that there has been no research in this field in the past, this article tries to discover an effective model and method for designing the user interface of art websites, especially the websites of graphic designers. It also tries to design the user interface of the website in order to study and understand Gestalt theory. Although the main purpose of this research is not to teach the construction and operation of the website and the design and implementation of the user interface, and these trainings can be obtained through various classes and textbooks, but an attempt has been made to discover a suitable site. a practical model for improving and optimizing the user interface of graphic designer websites. A pattern that can create the most positive impact in the mind of the audience by following it and also has the most harmony with the artistic style of the graphic designer of the website owner. In order to better understand the concept and purpose of this research, it has been tried to fully and comprehensively explain the things that are needed to create and launch a website and can be used in the analysis and review of the website and user interface. Obviously, in this research, the factors that are related to graphic art in the process of creating a website and have a role in creating the user interface of the website have been further analyzed and investigated. Browsing and searching in different sources in the field of the subject of study shows that in Iran, no research has been done in the field of analyzing and reviewing the design of the user interface of graphic designer websites. Communication with features and principles of user interface design for online stores, news and entertainment websites and government bodies with a general audience or comparing the characteristics of visual elements and user interface in order to attract the audience, between two or more websites. There are many theories from the past to the present that can be used to optimize the user interface design of a website or any other application. But in this research, with emphasis on Gestalt theory, the factors affecting the optimization of user interface design have been analyzed and investigated. Obviously, for a better understanding, one must first understand Gestalt theory. In the same way, the effective factors in the success of a website centered on art and graphic design have been investigated, which are optimized based on Gestalt theory. Nowadays, due to the advancement of technology and the digital world, people's connection with the Internet, especially websites, has increased. There are few people who do not turn to the Internet to watch movies, listen to new music or even read and act in traditional ways. All these facilities can be used with minimal cost and time loss. But it should be noted that the use of websites is not limited to these few cases and it can be safely said that the infinite use of websites is beyond the study scope of this research. Based on the Gestalt theory and its rules, to design a good user interface, users and their personality traits should be identified as much as possible. It is possible to take advantage of the smallest features and characteristics that a user can have to design a user interface. The components that can be examined are: place of residence, average age of the clients, occupation and profession, taste, lifestyle, recreation and leisure time, nutrition and all the characteristics that a person can have.

The purpose of this research is to investigate a method for designing and optimizing a suitable user interface with the influence of Gestalt theory. In the same way, the effective factors in the success of a website based on graphic design that is optimized based on Gestalt theory have been investigated.

Research Hypothesis:

 It is an attempt to find a way and a method to improve the user interface of websites, especially the user interface of graphic designer websites, by studying and following Gestalt theory.

In this research, information processing has been analyzed analytically and also by studying and understanding Gestalt theory. This research is descriptive and analytical and the method of collecting information is sampling from articles, books and encyclopedias.

Graphic designer websites like art galleries help to introduce and understand the artistic style of the artist to the audience. It is better that the user interface of the graphic designer's website is designed by the artist himself and created and implemented in cooperation with the web development specialist. In building a website, the first step should be to pay special attention to the ease of use of the website and its content, and then combine it with psychological and aesthetic approaches so that the result is as simple as possible with attractiveness and a positive mind. Website Effectiveness Also, websites should be updated constantly to provide better services and optimization.

Myths and heroes are elements that are very attractive to the audience in art. The audience can take the hero's wishes, disabilities and even motivation for life. Myths are part of the identity of any country. Finding the components of a hero in art helps the artist on one hand and the audience on the other hand in creating and discovering it. Since the past, myth has been very important for humans. The construction of statues of gods, paintings of caves and actions of this kind were done with the purpose of creating myths. This matter gradually became a social function that formed its collective identity in every society. Artists also started creating myths in different artistic formats. By examining the works of artists, you can discover the spirit of that era. Over time, myths became national or ethnic heroes that the people of every society felt proud by seeing them or hearing their stories. Therefore, the problem of knowing the myth and then the hero in works of art can lead to knowing the identity of a society. The components of the hero in the art of painting have not been scientifically explained, so this research aims to recognize the hero and the myth in the painting by taking the help of the theoretical foundations of other arts such as story writing, cinema, etc. and by examining the proposition found in the painting "Washington's Crossing Delaware", find out what characteristics the hero and legend have in the art of painting. For this reason, the assumption of the research is based on the fact that the characteristics of heroes and legends are probably the same in all arts. To investigate this assumption, the question that is raised is, what are the components of the hero's journey archetype in the painting? For this purpose and based on the purpose of the research, the research method is applied. The research has been done by referring to library sources and using the descriptive-analytical method. One of the types of descriptive research is content analysis descriptive research. This research is done in order to objectively and qualitatively describe the content of concepts, texts, phenomena and spaces in a systematic way. In fact, the scope of this type of research consists of written, oral, visual and spatial texts about a specific topic, such as books, newspapers, magazines, tapes and films, lectures, exam papers and the like. Gives. Also, in content analysis, the desired elements and materials are collected and classified and analyzed. Content analysis methods are used in fields such as the study of artistic cultural productions such as film, music, theater and painting and their use. In this method, there is a special emphasis on analyzing the characteristics of hidden messages in the texts, and today the scope of this method has expanded. At the end of the research and by finding the components of hero and myth in the fields of literature, cinema, as well as mythology and their analysis in Emmanuel Lutz's painting, we find out that this work, although it may be compared to known works, is not considered one of the masterpieces of art history; But it contains most of the components of a hero and even a legend, and this makes it valuable to the American people and creates a sense of national pride. The tight composition especially in the boat, the fortitude of General Washington, the effort to preserve the flag and the bright light spread along the general's gaze and the boat's path, when juxtaposed with its historical background - the true story of General George Washington's division. creates a mythical hero for the people of the United States. This work awakens the sense of patriotism, courage and unity in the audience, which are important statements in the United States. Also, the way of selecting the people present in the boat and the purpose of this expedition makes a collective hero for the audience. It can be said that this heroism, which has become an American myth, provides justification and motivation for the campaigns of American statesmen. A hero in any art form has the same characteristics. The difference between the hero of painting and other fields of art is not in the features, but in how it is presented. Literature can create the moral characteristics of a hero in the mind of the audience, cinema can objectify the hero. But in the painting canvas, the same features should be depicted in a moment and mentally. How General Washington stands and his focus on the goal, his opponents and enemies, which are the ice and atmospheric conditions, on the other hand, the effort of his companions to reach that goal, creates nothing but the image of a hero and the creation of a myth in the mind of the audience. slow The union of the United States of America, which was realized after the hard wars, is one of the national issues of this country, and one of the essentials of this union is to unite the different races and thoughts that entered that country over the years. This union was built on General Washington's boat. This issue has caused this work to be noticed by some presidents of the United States.

Myths are generally full of narratives about gods, superhuman beings and amazing events that happened in the structure of the first civilizations, with qualities different from the qualities of our time, and they refer to the creation of the wo rld and its administration. Or they will occur in the distant future. Ferdowsi's Shahnameh, as the most prominent epic work of Iran, represents many myths and beliefs of ancient Iranians, which has been the subject of many cultural and artistic discourses common in this land until today. Especially since a large part of the history of painting in Iran is devoted to Shahnameh painting, and many Iranian artists and painters in different historical periods have been engaged in interpreting the themes of the Shahnameh in visual expression. Dealing with the symbolic aspects of Iranian mythology and how these symbols are represented in the visual arts of Iran is important because it can lead to a better understanding of the art and culture of Iran during the Safavid period. In addition to these, examining the implicit concepts and underlying layers of Iranian visual and cultural elements can lead to new and dynamic ideas in the field of visual arts. It is necessary to pay attention to the fact that sometimes symbols and visual signs are able to convey information that words cannot. The image is more aggressive than the text; The image is a more accurate indication. Its meaning is often closer to the subject. The image becomes a text from the moment it signifies something, and for this reason, like writing, it is called a readable unit. The image in different works can only bring a moment of narrative and writing to the eye. In search of the chain relationship between this moment of narration and writing, it is possible to identify different symbolic systems. Therefore, the goal of image semiotics is to discover the rules of image reading and understanding its meanings through the recognition of visual elements or the appearance of the image, which leads to the analysis of the configuration of the image elements, and in the next step, it leads to the analysis of the forms and recognition of the signified meanings. In the history of Iran after Islam, the Safavid era is considered a turning point in terms of important political-social developments, which begins with the revolutionary government of Shah Ismail Safavid. Safavid painting, like other branches of art, was not exempted from this influence, and perhaps more than other branches, signs of social changes can be observed in it. The battle of Rostam and the White Devil is the seventh book of Rostam's books in Ferdowsi's Shahnameh, whose events have been illustrated many times by Iranian painters. According to Ferdowsi's narrative, the White Devil has a black face, white hair, and a large and powerful body, and lives in a dark and terrifying cave. These characteristics have found various manifestations in the paintings related to the story of the battle of Rostam and the White Devil, and considering their symbolic nature, it seems that they have been depicted in each period according to the current interpretations in the social and cultural relations of the time. Although various interpretations of the metaphors and symbols used in the story of the battle between Rostam and the White Devil in the Shahnameh have been presented so far, this issue has not been addressed in the semiotics of the image and researches in the field of painting. Discusses the portrayal of the White Devil in various paintings of the Safavid period in Iran and analyzes the symbolic functions of this myth in the illustrations of the Shahnameh of Tahmasbi, the Shahnameh of Shah Abbasi and the Shahnameh of Qavam Ibn Mohammad Shirazi, the Shahnameh of Shah Ismail II, the Shahnameh of Shamlu and the Shahnameh of 953 AH. Pay Paris. Therefore, considering the importance of the relationship between text and image in the studies of this field, the main problem of the upcoming research is how to represent the symbolic aspects of the White Devil in Iranian pictorial culture and especially the Shahnameh of the Safavid era in Iran. The results of the studies carried out in this article indicate that the white devil in these paintings is a symbol of evil, helplessness and ill-temper, which was defeated by the Iranian epic hero Rostam in the 7th century. The way of drawing the figure of the White Devil has a more or less identical pattern to most of the paintings of this era, which is rooted in the painting tradition of Timurid Iran and is largely consistent with Ferdowsi's description of it in the narrative of the Shahnameh.

Statement of the problem: 

The Saqaqhana school is one of the most important artistic movements of the 1940s in Iran, which was formed with a traditionalist and at the same time innovative approach and was inspired by the global art method and the artists attributed to this movement are respected. Incorporating old visual elements, they created works that looked for differences in their art. The mentioned art can be studied from the field of culture, identity, art, etc., with structural, semiotic, psychological, etc. approaches. Many artists are active in this field, one of them is Nasser Owaisi, who can be considered as one of the prominent artists of this school.

Importance and necessity of conducting research:

 The present article aims to introduce and examine the visual characteristics and symbolic aspects of decorative motifs in selected works of the Saqaqhana school of painting by Nasser Owais, which is analyzed with the tools of structuralism and semiotics based on Peirce's point of view. They are explained.

Objectives of the article: 

The objective of this article is to analyze the symbolic aspects of decorative motifs in the works of Nasser Owaisi from Peirce's point of view.

Research question: 

Therefore, this article seeks to answer two basic questions: What are the visual characteristics of Naser Owaisi's Saqakhane paintings and what are the meanings of the decorative motifs? What is the performance of the semiotic approach in the selected works of Nasser Owaisi?

This research has been researched with a descriptive-analytical method. This article is a qualitative research and study samples are collected from library sources.

The results of this paper indicate that motifs are classified into six categories: abstract, human, animal, plant, and geometric motifs. written The painter has used motifs such as chamomile flowers, pomegranates, horses, women, shapes (squares, circles, triangles and rhombuses) and improvisational lines, objects such as three strings in his works, which are associated with concepts such as power , tolerance, pleasure, fertility, creation and freedom are related. Balance, equilibrium, movement are among the visual characteristics of these works. The signs of the decorative motifs of the above-mentioned artist's works are mostly symbolic and indexical and are considered figurative-abstract and abstract-similatory signs.