نشریه نامه هنرهای تجسمی و کاربردی
پیاپی 36 (تابستان 1401)

Problem Statement: 

This essay is about the furniture of the Simin and Jalal’s house-museum. We know that the new lifestyle has been spread through buying new the products during 1960’s and 1970’s Ad. . In this essay we have observed how Simin Daneshvar and Jalal Al-ahmad have faced with the spreading of new lifestyle in ads. First, we have gathered the data of this assay through visiting this house-museum, then by reading Simin and Jalal’s writings and letters we found their idea about the furniture, and finally, we asked from the archive of Tehran Beautification Organization for more data.

Finding the impact of the ads on the Simin and Jalal’s lifestyle is the main idea of this assay and observing the Simin add Jalal’s manners for dealing with the new life style is another aim of this essay. We want to know whether they had been buying new products for their house or not and how they had faced with modernity as an intellectual couple.

We have used the theories of Baudrillard and Harre about objects as our theoretical structure. Then, we have used the narrative inquiry method from Webster and Mertova for analyzing details. So, we have gathered the ads of furniture and products from 60’s to 70’s, the letters of Simin and Jalal, and some photo from the archive of Tehran Beautification Organization. We found out some furniture had been mentioned in Simin or Jalal’s letters. By following the narration of each pieces of furniture we could observe the role of new furniture in their lives.

We have found out that we can divide the furniture and objects of this house-museum according to the Harre’s idea. He suggested to divide objects according to their usages in the narration. So, some objects have potential usages. These objects can be used in future situation. Other objects have practical usages, they are used just for their usages. In addition, some of the furniture belongs to inner happenings. Some personal events are inner happenings that are marked with some objects. But other objects take part into outer happenings. Meanwhile, other objects try change the narration path. These objects can change lifestyle and the social class. The results showed that although ads and propagandas were affected the residents of this house, they have bought a piece of furniture for personal reasons, usually. In fact, Simin and Jalal were care about returning to self-values and preventing from consumerism. Finally, we have understood that although Simin and Jalal used to buy modern furniture and change their social class, they also bought according to their needs at inner or outer happenings. They less care about ads or propaganda for spreading new lifestyle during 1960’s and 1970’s years.

In examining the portraits of Qajar kings, we see profound changes in their representation patterns. So it is assumed that we are witnessing a transformation from icons to portraits. This article tries to examine the source of the differences between these two concepts from the perspective of using traditional patterns in contrast to using new patterns. For this purpose, images from Fath Ali Shah Qajar to Muzaffar al-Din Shah will be described, analyzed, and also compared with similar images in two other courts in the same era. The results show that in the era of Fath Ali Shah, according to a planned cultural policy, the image of "Shah Qajar" was represented by using a symbolic view of the position of power and relying on historical texts, beliefs, and cultural traditions. For three consecutive generations, the Qajar tribe engaged in internal power struggles with other rivals until it finally won the throne. But in the war with Russia, the Qajar military organization, which had a non-modern structure, was confronted with the relatively modern army of Tsarist Russia. Among the tribal communities, courage and fighting spirit were praised, and in this case, the role of the king-father as the highest official of these communities was very important. Considering the civil wars and the war with Russia, the emphasis on the display of royal weapons in a significant number of icons can be considered as the emergence of the aesthetics of war in works of art. During the reign of Mohammad Shah, the extreme use of symbolic markings was avoided. Facial features became closer to the subject's physical characteristics. Reducing the use of jewelry and the tendency to display Western features, including in clothing, are among the other tendencies seen in Mohammad Shah's portraits. The portraits of the fourth Qajar king have considerable variety; this diversity covers the period from adolescence to the last years of Nasser al-Din Shah's life, and in addition to the popular media of previous periods, it also includes lithographs and photography. Finally, likeness should be considered as a distinctive feature of representation patterns in the second half of the Naser al-din shah era. In addition to looking closely at the subject, the court artist has used photographic power in an attempt to capture the likeness. In the period of Muzaffar al-Din Shah, we see the complete rupture of the patterns of royal representation from all that the tradition of court painting had already determined in this field. For example, in one of the portraits of Muzaffar al-Din Shah, the use of any royal symbolism or the display of the smallest static symbols has been avoided. The court artist has recorded a passing moment of the walk of Muzaffar al-Din Shah and the Prime Minister. The result of this representation is in complete contrast with the iconic figures of the era of Fath Ali Shah. The king is depicted in his old age in the most ordinary way possible, regardless of any formal ceremony or royal luxuries and belongings.

Bahram Mirza Artist and patron Key words: Bahram Mirza, Murraqqa, Album, painting, calligraphy, Dust Muhammad, Shah Tahmasb,Safavid Abstraction:Bahram Mirza (923-956/1517-49) is the youngest son of Shah Ismail, and a patronage of the art of Safavid era, his passion for painting, calligraphy and the support he gave to the artists and writers, has made way to production of great cultural works. This article is a study and an account on Bahram Mirza’s life, and an introduction to his art works, his position as a patronage of art, manuscript master and a collector.In this paper his albums, especially Album(muraqqa) (TSKH.2154) (951/1544-45) with introduction from Dust Muhammad and two other Albums(muraqqa) (TSK.B410) and (B615) kept in Topkapi Saray library, is studied and presented.As though these works are out of rich and kept in museums outside Iran, researching on this topic has been very difficult, and access the images of the works has also been another issue. It might be for the same reason that this patronage identity and position has not been clear and his works are unknown to us, and have not been studied as they deserve.With the study and review of resources this paper is an introduction and cognition about the artist, the analysis is by assessment on the work. This research is a monography with art history formal analysis method.The conclusion of this research shows that this art patronage has also been devoted to art at the same time that he was also ruling the country and being political figure. His albums can be considered as part of the visual history of painting and calligraphy. Bahram Mirza in addition to restoration of the works has approached a new way of reading in visual art by putting the works of different periods together. He has connected the past to his own time and draws a new history of Persian visual art.The outlook of this research can be instrumental for researcher also for cultural institutions and museum The conclusion of this research shows that this art patronage has also been devoted to art at the same time that he was also ruling the country and being political figure. His albums can be considered as part of the visual history of painting and calligraphy. Bahram Mirza in addition to restoration of the works has approached a new way of reading in visual art by putting the works of different periods together. He has connected the past to his own time and draws a new history of Persian visual art.The outlook of this research can be instrumental for researcher also for cultural institutions and museum and those having interest in this subject area.and those having interest in this subject area.

Years before cinema, photography has been known as an influential art among the people. An art that is unique in recording events, moments and memories. With its content, technical, and instrumental features, this art was able to affect cinema, which was originally considered a social phenomenon, and cinema owes much in achieving artistic status and creating an independent language to this industry art. After getting the technical and artistic knowledge of photography, cinema is influenced by other arts and in order to attract the audience's attention, it needs storytelling. Hence it considered narration and the arrangement of elements in the frame. In its historical course and evolution, cinema has now been considered and used in the arts, including photography. Staged photography is one of these types of cinema exploitation that can be seen in various countries, including Iran. Gregory Crewdson is one of the world's leading photographers with high position in the world. Crewdson is Professor Adjunct in Graduate Photography at the Yale University School of Art and lives and works in New York. Gregory Crewdson was born in Brooklyn in 1962. Crewdson received a B.A. from the State University of New York at Purchase in 1985 and an M.F.A. in photography at Yale in 1988. He has exhibited widely in the United States and Europe and is represented by Gagosian Gallery in New York and White Cube in London. Crewdson is recognized for his elaborately staged scenes of small town American life. His photographs have dramatic and cinematic qualities, and he often has an extensive support crew on site for proper staging and lighting. Crewdson's work has been included in many public collections, most notably the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, the Brooklyn Museum, the Los Angeles County Museum, and the San Francisco Museum of Modern Art. A retrospective of his work from 1985–2005, was shown at major museums around Europe from 2005–08. Another exhibition of his work opened at the Kulturhuset Museum, Stockholm, in February 2011, followed by Sorte Diamant, Copenhagen and c/o Berlin, among others. Crewdson has received numerous awards including the Skowhegan Medal for Photography, the National Endowment for the Arts Visual Artists Fellowship and the Aaron Siskind Fellowship. The present study was applied and the perception of the importance of knowledge production is performed. The main problem of the research is the analysis of the staging characteristics and film narration in staged photography. It is a qualitative research method with a descriptive-analytical approach that with purposeful selection, three samples of Crewdson photographs have been investigated. The result shows that Crewdson acts like a film director in storytelling and staging the scene for his photographs, and the imaginary space generated by him is believable, natural, and real to the audience.

Manufacturing of handmade carpets has faced many challenges to date, and its growth and development have been dependent on various factors.There have been many centers of excellence in the field of carpet production so far, but for various reasons they have been gradually declining or even falling out of the carpet industry.There are also a number of carpet weaving areas in the country that have had a remarkable track record in recent years in the field of production and sales. One of the prominent centers is the Sarouk area of Arak city It can be considered one of the most important carpet weaving centers in Markazi province both in production and export in the past decades.The question now is what factors have contributed to the decline of carpet weaving in the region and what solutions can be proposed to improve the carpet weaving situation in the area.The main purpose of the present study is also to investigate the causes of declining carpet production in the Sarouk region, which is associated with Considering the amount of production and the important export position it has had in recent years, And has attempted to identify ways of coming out of the situation by identifying and examining the factors that have contributed to the downward trend of the area under review in the last few years. On the other hand, by recognizing the factors affecting the decline in the production of a carpet weaving area, we can understand the importance of each of these factors and use them to prevent possible decline in other areas and provide appropriate solutions.The purpose of this study is descriptive-analytical in terms of purpose and application. Data collection was done in two ways: library and field, using surveying, observing, interviewing and photographing tools.Based on research findings through interviews with experts, officials, producers, sellers, weavers, and observers in the study area,Seven factors were identified as the main causes of the decline in carpet production in Sarouq Including: rural migration (one of the major consequences of land reform and industrialization in the region), Getting older the Weavers and the decline of the young population in Sarouq, The carpet weaving profession and the physical and psychological damage it caused, The effects of subsidizing cash payments and stopping government support schemes such as carpet weaving, Reducing diversity and innovation in design and motifs, Paying little attention to marketing, taste and advertising issues, As well as the outflow of large producers and the decline in investment in Sarouq, And ultimately, the quality of life and well-being of the people will increase, each of which has had a direct and indirect impact on the downward trend in Sarouq carpet products.

Gesture is a tool by which a performer expresses his/her feelings, propensity, and personality. According to Michael Chekhov, the performer doesn’t embark on the basis of psychology to achieve his/her character but starts by using movement and Gesture. He alludes to a number of Gestures; Psychological Gesture, Archetypal Gesture, Daily Gesture and Nature-Inspired Gestures. These Gestures are quite rife in art works, and in everyday life. In this project, which has been achieved by descriptive analytics; by using Michael Chekhov’s views about Gesture, the paintings of the second half of Qajar’s era has been reviewed from pose recognition’s point of view and concentrates on the fact that which group of Gestures in the Iranian paintings of that era are recognisable according to Chekhov’s view point? On the one hand, the main hypothesis in this research is that there are a set of these Gestures in the paintings of the second half of the Qajar’s era that have cultural and social background, which influenced their shape and contents. In this research, first the concept of Gesture and body have been considered from the theorists’ point of view. Then, the paintings of the first and second half of Qajar’s eras and differences of these two artistic eras have been studied. Research findings show that all types of Gestures that Chekhov mentioned, is quite recognizable in the second-half of the Qajar’s era because the painter and Michael Chekhov both worked on the human nature, psychology and energy. Accordingly, both approaching towards Gesture is mostly psychological and sociological. Chekhov's approach is based on philosophical concepts based on Steiner's theories, as well as archetypal psychological concepts and the collective unconscious. Psychological and emotional aspects play a major role in the formation of Chekhov's psychological gestures. Also, the painter has not been indifferent to the psychological approaches in drawing the figure and gesture of people and also what can be seen first of all in his works are his social and historical approaches, which were formed under the influence of the socio-political conditions of Iran at that time. On the other hand, the people’s body and gesture in the paintings are closely related to the political, social and religious atmosphere around them, which has been influential in the design of figures and the content of gestures and is the most important factor in making all gestures, movements, behaviors and physical training. The ruling power has created a certain pattern of these behaviors, movements and gestures according to its own frameworks and has rejected other patterns. So people behave according to a defined and fixed gesture pattern. In many of the paintings of this period, factors such as location (indoor and outdoor environment), gender (female or male) and social class have been influential in the design of the figures. Location, gender, and class are very important factors in interpreting physical behaviors, gestures, and nonverbal communication between different groups during this period.