نشریه نامه هنرهای تجسمی و کاربردی
پیاپی 37 (پاییز 1401)

In recent decades, psychoanalysis has been one of the main methods of interpretation in art criticism, philosophy and history of art. Today, the psychoanalytic view has enriched the field of aesthetics and achieved great success in the analysis of different types of images. After his precursor Sigmund Freud, the French psychoanalyst Jacques Lacan became the key figure in the science of psychoanalysis, impacting on various areas of arts and humanities. Lacan connected two realms of psychoanalysis and linguistics in the 1960s, considering the structure of the unconscious same as that of the language. Therefore, what is explained in Freud’s unconscious theory as the process of condensation and displacement were considered equal to metaphor and metonymy in the realm of language. Other key concepts such as the mirror stage, the gaze, and the idea of the lack as cause of desire are also prevalently utilized in many interdisciplinary fields of study. Accordingly, the multi-layered language of visual arts allows the psychoanalytical views being applied to the field. The three orders of mind in Lacanian system—the Real, the Imaginary, and the Symbolic—have frequently been used in the analysis of artistic practices in contemporary period.This article seeks the ways in which the articulation of unconsciousness in Lacanian psychoanalysis could explain the mental processes of contemporary artists. As Lacan has shown us, the nature of the unconscious in parole (speech) is in strong connection with the notions of ‘existence’ and ‘nothingness.’ He describes the unconscious in the phase of the Symbolic through the concepts of ‘projection’ and ‘interiority.’ These concepts are reflected in speech characteristics such as discontinuity, distribution, referencing, centrifugal, puncture, split, and emptiness. Among the contemporary artworks, those in line with the mentioned characteristics are chosen and analyzed, including works by David Salle, John Stezaker, Eva Hesse, Anish Kapoor. As manifested in conclusion, these artists' multi-faceted language from the 1960s onwards aptly match the Lacanian theory of psychoanalysis, associating with the Lacanian articulation of the unconscious in a subtle way. Their artworks associated with the concepts of ‘existence’ and ‘nothingness’ reflects the subject’s (artist’s) unconscious and thereby transfers the meaning to the beholder. Referring to the legacy of Marcel Duchamp whose ironic works refute representational art as well as modernist aesthetics, these artists attempt to address their unconscious within the linguistic structure of mind in different ways. This research examines the pictorial and textual documents to explore the layers of meaning in conceptual artworks and attempts to provide a model of analysis for the art in the post-1960s period. Needless to say, these samples are chosen to demonstrate the psychoanalytic traits of contemporary art in its larger sense and to provide a model of art criticism on the basis of psychoanalytic theory.

According to the decrease of reading rate in recent years, the decrease of general and specialized knowledge of the community can be predictable. Too many reasons are known as the causes of reading rate decrease, but one of the most important of them, according to the related researches, is lack of information about books. The low ability of users to search for books, can be another reason of the proposed problem. Furthermore, economic problems of the publishers in informing and advertising of new published documents can be listed in the main causes of reading rate changes.Thus, the main goal of this research is studying Iranian users for designing a mobile application in order to make an opportunity for them to search the academic and non- academic documents efficiently, effectively and in a new attractive experience. By using this service and application, the users can become aware of all kinds of book information, purchasing ways, the relevant publishers, books table of content, selling rate and the level of reader satisfaction. Moreover, a creative and cost effective solution for economic problems in book advertising is another purpose of this research.The research hypothesis is that user's needs assessment and designing this application in an effective and user- centered way can lead a useful book searching process as well as making a good purchasing facility for the users. This study by purpose is practical and the required information was collected in a library and field study manner through observation and questionnaire. Also, the process of data analysis has been done by qualitative and quantitative methods.According to UCD Process, the context of use has been specified and used in design process. Afterwards, user requirements have been recognized accurately in order to be utilized in ideation phase. The ideation process has been done according to research goals and user requirements. Subsequently, by using user- centered design approach and related tools, the process of idea development has been done precisely too. So, various tools such as brainstorming, task- function mapping, function allocation, scenarios of use, user journey map, and information architecture have been used wherever needed. In the following steps, paper prototype and wireframes were made and became ready for the test. In this section, an entire evaluation has been done by two different groups of users and publishers and the evaluation results were used to finalize the design. Thus, the latest version of the design was obtained. The results of this research show that design of this effective and user- centered application, facilitates advanced book searching process and book purchasing. This application provides various benefits to the publishers and users. Easy retrieval of academic and non-academic books and resources, view and access to useful features of each document, finding the interdisciplinary resources, and being able to purchase them using various means are some of the system’s accomplishments for the users. Also increase of sales rate, direct and indirect marketing, and decrease of advertising costs are some of the beneficial results for the publishers.

In this article, we examined the impact of the constitutional movement on the formation of the painting production field in Iran from a sociological perspective. in the meantime, by examining the effect of this movement on the formation of an independent painting field, emphasizing the role of treatises influencing the emergence of the constitutional movement, including the treatises "Speech in Method" by René Descartes translated by Afzal-ol-Molk Kermani, "Yek kalameh" by Mirza Yousef Khan Mostashar-ol-Dowleh, "Majdiyeh (Kashf-ol-Qarayeb)" by Mirza Mohammad Khan Majd-ol-molk Sinaki, "Madaniyeh (Asrar-ol-Qeybeh Alasbab-ol-Madaniyeh)" by Mirza Abbas Effendi Abd-ol-Baha و and "Farman Mashrouteh" addressed by Mozaffar-ol-Din Shah Qajar addressed to Mirza Nasrollah Khan Moshir-ol-Dowleh The Prime Minister has issued, from the theories of the sociology of art of Pierre Bourdieu, the late French sociologist, we sought to find appropriate answers to the following questions: what were the conditions of the field of power and the field of art production (painting) in the Qajar period? what effect did the reformist treatises published in the Nasserite era have on the emergence of the constitutional movement? what activists have indirectly played a role in the formation of the independent painting field in the Qajar period? has the emergence of the constitutional movement changed the attitude of the perfectionist and his transition from an "affiliated pole artist" to an "independent pole artist"? for this purpose, we used Pierre Bourdieu's formative formative structuralist method, which follows an integrated approach, and finally, after analyzing it, we came to the conclusion Kamal-ol-Molk, influenced by the constitutional revolution and in response to the resulting social changes, by passing through affiliated "has become an" independent pole artist "and this fundamental and important development can be considered the beginning of the formation of the independent painting field in Iran.

The pulpit as one of the practical, spiritual, and aesthetic tools has always had a special place in the Islamic era such as the Safavid period, so much so that one of the masterpieces of Islamic art is the skillful decoration of the pulpits. Meanwhile, in addition to the pulpits in mosques, the pulpit has been prominent in the Persian painting of this period, which can be considered as dependent on the reflection of objective realities in this art. Therefore, the purpose of this study is to identify and adapt the Fermi characteristics of Safavid pulpits in the two areas of Persian painting and the historical pulpits of Isfahan mosques, as one of the leading cities of this period. In this way, should be paid more attention to the influence of the pulpit in Persian painting from the real world. The main questions are: What are the Fermi features of the pulpit in the Persian paintings of the Safavid period and the mosques of Isfahan? What are the commonalities and differences between the pulpits in the Safavid period paintings and the pulpits in Isfahan mosques? Are the traces of realism recognizable in the pulpits of painting? The necessity and importance of this research are due to the fact that on the one hand, less research has been done on the formal and visual relations of the pulpit in painting. On the other hand, most of the pulpits in the mosques of Isfahan are made of wood, which over time, their designs disappear, and there is no doubt that all the collectible aesthetic elements are useful. As a result, with a careful look, in addition to identifying and introducing the features of these pulpits with the help of drawings, a source of them can be obtained, which is perhaps the most necessary thing that can and should be done. The research method is descriptive-analytical and comparative and the data collection has been done in the library, internet, and field methods. The method of data analysis is qualitative and sampling is purposeful. As a result, painters have paid more attention to the general shape and form (explicit form) of mosque pulpits compared to the hidden form (decoration). Which include the following similarities: the predominance of the use of geometric patterns in the bodies of pulpits and mosques, the use of motifs with base numbers six and eight and the Pattern of triangles and squares, the variable height of pulpits in both areas (short-medium-long) and the Common and stable part " seating ". But it must be borne in mind that the painter did not depict only the features perceptible through the senses, rather depending on the characteristics of the painting, they can still be considered different from the pulpits of mosques.

Theoretical foundations of the decorative arts were laid in the nineteenth century and in the ideas of people like Owen Jones . In Jones’ opinion cultural symbols are as general and timeless as natural symbols, and the nature of decorative patterns is language of form and absolute color. The Grammar of Ornament is a summary of his theories. Central to his thesis is the notion that anything that is conceived of as beautiful will be in harmony with the laws of nature .Arthur Pope’s decorative theory - In the first Pahlavi era - changed the prevailing artistic attitudes of the country, and the new decorative features appeared versus Dar ul- Funun’s representational feature . It seems that Pope’s transhistorical view focusing on some inherent and timeless characteristics of the Persian art, observing a strong identity for it, traced these characteristics back to the ancient history of Persia, and let the officials- protecting the culture and art- , misuse the identity images. On the other hand, the support and application of Pope’s decorative theory by the executive bodies of the government assured a kind of power concentration within the new government in the cultural arena. Hence the decorative theory, aiding the archaic nationalism, was established as the theoretical foundation of Iran’s official art in the first Pahlavi era.Although in Pope’s decorative theory the beauty of the Iranian art is manifested in the beauty of its pattern and design, Pope believes that terms like "Decorative" and "Ornamental" are not enough to describe the decorative quality of Persian art, and then he introduces “ pure form ” as the main material of the Persian art, and the proper order, accuracy, clarity, elegant designing, and the employment of bold designs as the “decorative ideals of the Persian art”. this analytical - descriptive research, using Library study methods, aims to study the decorative feature of the Persian art from Pope’s point of view. It is also seeking to answer this fundamental question that: what is the distinction between the definition of the decorative art in the West and the kind of pure formal art representing the decorative quality of Persian art from Pope’s point of view?It seems that Pope , influenced by the Traditionalists , describes the decorative quality of the Persian art - regarding the ornamental patterns , or considering its techniques or process - a meaningful collection , resulted from the uniqueness of the Persian art, not from some adoptable , general patterns , and meaningless symbols . In this framework, we put the idea of the significant form of the formalists as the equivalent of the decorative ideals of the Persian art, and also focus on formal discourse about the sacred art of the Traditionalists .

Countless artists have also appeared during the Islamic period of Iran, Although by the middle of this period, for various reasons, the dominant names of these masters have been hidden from us, what seems likely is that the tradition of teamwork has always existed among them. In other words, by transferring their skills and experiences to their children, the teachers, in addition to continuing their jobs or family careers, made them become master teachers and a suitable alternative for themselves. Today, the identification of these master artists is mainly done by their signatures on their works. One of the anonymous areas in which less attention is paid to the creators and artists of the masterpiece is wooden works. One of the areas in the country where we are faced with a large number of wooden works and signatures of carpenters, the current Mazandaran province - formerly known as Tabaristan on historical texts - in the 9th and 10th centuries AH is left on wooden works Artisans often use the carpenter suffix for themselves in addition to sponsor and builder. At this time, first the Marashians and then the Safavid Shiites ruled the region. For a variety of reasons, the construction of mausoleums, which had flourished since the Marashian period, continued into the 10th century. At the same time, the construction of wooden tombstones, wooden doors and windows for these buildings is intensifying, and this is one of the main factors in the spread and continuation of the carpentry tradition among indigenous families. Thus, the purpose of writing this article, i is to introduce these families in the mentioned centuries. Therefore, the research questions can be posed as follows: What is the continuation of the construction of wooden works in the families of carpenters in Tabaristan in the 9th and 10th centuries AH? And what are the most prominent artistic families of Tabaristan carpenters in the 9th and 10th centuries AH? Although the names of some of these anonymous artists are sporadically mentioned in scientific and historical texts, no scientific source has dealt with these artists and their works independently. Tracing these families can be an important part of the history of our country's artists that has not been addressed so far and shows the necessity of the present research. The present study has been done with a quantitative approach and analytical and descriptive methods as well as matching the samples based on the works recorded in scientific texts. The results showed that after studying 86 wooden inscriptions in the desired time and place, most of the inscriptions were accompanied by the name of the father in continuation of the name of the master carpenter. Also, three families, Najar Sari in the eastern region of Mazandaran (Sari and Ghaemshahr), Najar Amoli Razi in the central region of Mazandaran (Babol and Babolsar) and Labasani family in the western part of Mazandaran (Noor, Kojoor, Chamestan) have been working.