نشریه نامه هنرهای تجسمی و کاربردی
پیاپی 40 (تابستان 1402)

Characters, elements and motifs can be seen among the paintings left from Ilkhanid and Timurid periods which are not only no trace of them can be found in earlier periods, but also cannot be studied or recognized by sources such as pre-Islamic painting, Manichaean art, Sogdian painting, Chinese art, and even Christian art which had an effect on Persian painting.
With the domination of Mongol in Iran and the establishment of the Ilkhanid dynasty prevailed different political, cultural, ideological and religious conditions in this region. In addition to the shamanic beliefs that the Mongols believed in, most Ilkhanid rulers chose Tibetan Buddhism as their official religion. As a result of this and their support, many Buddhist monks entered the court of the Ilkhans from Tibet and Kashmir. They appeared in court as "Bakhshi" and built many Buddhist temples in Iran.
Tibetan Buddhism has a very rich pictorial tradition. This pictorial tradition is the result of a combination of mental imagery in the shamanic and “Bon” beliefs , with Buddhism Which has been able to create one of the richest pictorial traditions of Buddhist art in this region. Now the question is: whether the pictorial tradition of Tibetan Buddhism could have been an influential source in the emergence and formation of these elements in Mongol painting.
The aim of this study is to place the pictorial tradition of Tibetan Buddhism as a source along with other influential sources on the painting left from Ilkhanid and Timurid periods. The method used in this research is based on inductive reasoning. The evidence which is presented to substantiate this claim will be pursued in two ways: First, the evidence of the presence of Buddhism in Iran and its relationship with Tibet in historical texts. Then, images and paintings from the Ilkhanid and Timurid periods that have the influences of Tibetan Buddhist art are studied in three section: form, structure and composition, context and subject, and finally the Images created by descriptions provided in the historically texts. In the last section, possible criticisms of the discussed manuscripts and the position of the pictorial tradition of Tibetan Buddhism in relation to other sources will be answered. It seems that the Mongols beliefs in Tibetan Buddhism and in general the mental patterns of the Mongols before entering Iran and facilitate communication across their vast territory from east to west. In conclusion, we can say that the arrival of Tibetan Buddhist monks in Iran due to the support of the Ilkhanid rulers and the construction of Buddhist temples in different parts of Iran have been effective in shaping elements and motifs. This result can introduce Tibet as a source for understanding Iranian painting along with other sources and factors which had an effect on the Ilkhanid and Timurid painting.

In the last half-century, the postmodern approach has received much attention in the world. During this era, the role and power of the people have been increased in determining their own destiny. Postmodernism has been the dominant and influential cultural situation, especially in the society of Western countries, but its aesthetic subjects are ambiguous. Postmodern thought denies reality and the truth, therefore it negates the existence and intrinsic beauty. Postmodern thought declares meaningless of human insight and knowledge, thus it doubts human judgment and intellectual ability. As a result, postmodernism is in fundamental conflict with the two major theories of ontology and epistemology. It does not offer any confirmed or convincing solution for aesthetic criteria and pays more attention to the content and influence of the context.Pluralism, as known principle of postmodernism, for multiple viewpoints and selections means paying attention to the popular culture and public demand. Popular culture is considered the spiritual heritage of ethnics and nations, which is still stable and alive. The objectivity of popular culture can be the creation of popular arts that have public acceptance and effective communication with most people.Advertising graphic design flourished in the postmodern era and with the objectives of: attracting attention, effective messaging and advertisement durability in the audience's memory has created many applications for itself. The common aspect of postmodern thought, advertising graphic art and popular culture concentrates the domination of the "popularity". Previous research has identified some features of the postmodernism and its specialization in art, visual arts, painting, and even graphic art with their own terms and interpretations by recognizing and analyzing related theorems and referents. There are many commonalities and sometimes differences in the identification of features, but none of them have attempted to analyze the "popularity" paradigm, elucidate aesthetic criteria, and then enumerate characteristics for specific application in postmodern arena. Therefore, by gathering the valid information, the achievements of "popularity" have been identified by qualitative and descriptive-analytical research methods and deductive inference. All research findings are enriched and verified by interviewing with the related experts."Popularity" is itself based on public interests, benefits and consensus and is rooted in popular culture. As a result, the creation of advertising graphic designs with "popular" preferences can have more chances to be "seen" and "prominent" among the target audiences. Thus, the most important characteristics of "postmodern advertising graphic design" based on "popularity" can be recognized by the homogeneous interpretations as: deconstruction (structure breaking, strange and unconventional, conceptual assembling), allegory (metaphor), pluralism (any multiple aspects) and eclecticism (mélange, composition, intermixture), benchmarking (copying, making its own), traditional motifs and nativism, celebrity (famous people), nostalgia (past remembering), excited (sales promotion), promotion of anti-consumption (denial of consumerism in the industrial world), simulation, hyper-reality (exaggerated) beauty, emotional, ambiguity (amphibology, skepticism, teasing advertising), humor (refreshment, ridicule), and symbolism (branding ad). Finally, analyzing the benefits of "public consensus" and the challenges of "opinion engineering", the "popularity" paradigm has been determined for postmodern the new aesthetics.

Solomon, as a prophet-king, who could command demons, wild animals, birds and wind, is one of the most important figures in Islamic art and culture. Although the earliest surviving paintings of Solomon in the Islamic world date back to the thirteenth century, from the late fifteenth century onwards, his images have been widely reflected in Persian art. Solomon was a symbol of justice and a legitimate kingdom in historical and literary texts as well as in the visual arts. This paper examines the earliest surviving images of Solomon in Persian art from the thirteenth to the sixteenth centuries. The most important questions of this research are the reason for the importance of Solomon in Iranian culture and also the evolution of his images in medieval Persian art. Early fourteenth-century examples show a simple composition of Solomon among human figures and demons. It can be said that in the examples of the Ilkhanid period, the number of the personages and demons is limited and almost no animals or birds are seen except the lions depicted under Solomon’s throne. From the end of the fourteenth century onwards, the number of human bodies and angels has increased, and a variety of real and mythical animals have been depicted. From the middle of the fifteenth century, the images of Solomon and the queen of Sheba were inserted in the double page frontispieces of the manuscripts. In contrast to the majority of the manuscript illustrations in the Persianate world, none of these miniatures is actually embedded within a text describing such an image. The extensive inclusion of Solomon’s images in the opening pages of manuscripts indicates Solomon’s importance in the Muslim culture as a figure who possessed both aspects of prophethood and monarchy, namely religious and secular. This was a desirable feature for many of the Persian rulers of the medieval period.During the Safavid period, images of Solomon became more widespread in different regions of Iran, especially in Shiraz. The main reason for the widespread popularity of Solomon’s images in Shiraz lies under the fact that some of the rulers of Shiraz had titles such as “varith-i mulk-i Sulayman (inheritor of the kingdom of Solomon)”. They employed this title, showing that they and the people of city, considered Solomon as their ancestor. On the other hand, In addition, the painters considered themselves as the heirs of Asif, who decorated Solomon’s throne and was skilled in painting, and thus, they sought to increase their social status. In terms of the number of scenes depicted of Solomon’s life, it should be said that most of the images depict him sitting on a throne among various creatures. After that, Solomon’s trick to see the legs of Bilqis and the death of Solomon are in the next positions.

In recent years, graphic designers have made significant efforts to attract audiences, they try to use a creative methods in their works as much as possible. therefore, dealing with issues such as Metaphor, can give creative ideas to graphic designers. George Lakoff has challenged the traditional view of Metaphor and instead expresses a new perspective. A new approach to metaphor that somehow challenges all aspects of traditional theory is first introduced by him in the conceptual metaphors of 1980 in the fateful book ”the metaphors we live by”. George Lakoff believes that the conceptual structure of the mind is metaphorical. In that it is a metaphorical way of thinking, experiencing and perceiving. the emergence of his metaphor of thinking can be found in the daily practice of human beings; which is the language of communication. conceptual metaphor is understanding one conceptual domain in the context of another conceptual domain. Life as a journey or controversy as a war, here are cases like his. A conceptual metaphor consist of two conceptual domain, where on domain is understood in the context of another domain. the more objective domain is called the origin and the more abstract domain is called the destination. Advertising campaign; a set of ads is said to present a single main message and idea in different media. The media used for an advertising campaign varies depending on the subject of the campaign, the target group, etc. A combination of one or more media may be used in the design of advertising campaign. One of the indicators that distinguish advertising campaigns from other advertising strategies is the idea behind the headline, image, music or any other tool used to shape the ad. the purpose of this research is to achieve the method of meaning through a Metaphors concept in selected print advertising campaigns and explain the capabilities of conceptual Metaphors and how to use them in creating advertising campaigns and try a new possibility in a context of infinitely non_ surface and deep meanings in the pursuit of new ideas and provide creative works to designers. this study was done by descriptive-analytical method and It is the type of applied research in purpose. In terms of research data, It is a qualitative research. Necessary background information for research in the form of a library has been extracted from a review of written and electronic sources. Successful advertising campaigns are purposefully presented in this study and has been analyzed in the print media. The results of this study indicate that if more designers use conceptual metaphors in their works, they can bring more creativity and innovation to their work and hope to bring in a lot of target groups. this possibility is undoubtedly the product of a combination of linguistics, cognition and graphic design.

A concept called perception is used to express the fact that humans can make mistakes. The existence of error in perception shows that what we feel is not necessarily what we understand in our minds. Humans cannot always consciously behave in the same way as a machine. Despite the two types of human and machine behavior that have inherent differences; complex processing in perception and recognition, combined with high speed and accuracy, machine-oriented behavior, and heavy volume of operation, easily leads to user errors. Evaluating these types of errors helps us improve our understanding of human behavior. Design for behavior change is a sub-category of design, which is related to how to shape behavior or use it to influence human behavior. With the emergence of design for behavior change, a powerful method has emerged to enable us to recycle, use energy much more effectively, and change the way we think about social interaction. However, on the topic of design for behavior change, little work has been done to link ideas and techniques across different fields, identify common themes, and present them in a form that can be applied during the design process to develop new products and systems. This research has tried to understand the functioning and limitations of the mind, the formation of behavior, and human errors; Adapted the theory of Saqlameh to the topic of " design for behavior change ". The theory of "Nudge" is a set of simple and low-cost solutions to reduce a wide range of problems caused by human behavior. In other words, Saqlameh's theory ignores laws, regulations, and interventions that change economic incentives, but instead includes a variety of soft functions. By studying the behavior of the "user" and its interactions in design and the "homo sapiens" in nudge theory, it is possible to define the position of the choice architecture for the designer. Because the user often uses the logic of exploration, trial and error, and automatic system while using the products; As a choice architect, the designer can influence the user's behavior by providing effective solutions and guiding the automatic system through brainstorming, and changing the behavior to improve interactions with the designed system. In this research, in addition to collecting information, documents, and library studies, the data obtained from the questionnaire has been examined. Finally, with the help of one of the principles of choice architecture called the principle of error expectation, the refueling process in gas stations was changed and improved; To minimize the placement and forgetting of the fuel card by the user in stations. Such principles help the theory of knowledge with the help of design to change behavior; It can be used in different fields, such as product design, service design, user experience improvement, etc. Design considerations can therefore be part of any behavior change strategy in which design can play a role.

Myths and legends, as the aspects of each nation’s culture, have direct relationship with the nation’s creativity. Myth and art are two sides of the same coin and have similar origins and aims. The lithographed book’s illustrations, as an arena for the representation of popular art, add the social aspects to the Persian art. Religious illustration, which is intertwined with myths and symbols, creates some remarkable illustrations in the Persian lithographed books. We can find some notable samples of such creation in Tuhfat Al-Majalis. This book, which retells a bunch of miracles done by holy men, being full of marvels, seems a proper arena for the creation of imaginary beings’ portraits.This research, by monitoring the presence rate of imaginary beings in the lithographed copies of Tuhfat Al-Majalis, aims to understand the Tuhfat Al-Majalis illustrator’s attitude toward imaginary beings; if the artist fills his works of art by imaginary beings, in order to attract the thrill seeker reader, or vice versa; he avoids portraying imaginary beings; or showing loyalty toward the exact text of each miracle, he just illustrates the characters and elements which are mentioned in the text, neither more nor less. In order to study this, at first, we go through a brief introduction of the book; Tuhfat Al-Majalis. Then, the bibliography of the lithographed copies (the lithographed copies of Tuhfat Al-Majalis which are kept in the Tehran public libraries) would be represented. After that, the introduction of the three illustrators who had signed their works in these copies would stand. And at last, through a comparative study of miracles’ text and illustrations, we will find out if the Qajar artist has created an art work which goes beyond the miracles’ text.By studing the lithographed copies of Tuhfat Al-Majalis which are kept in the Tehran public libraries, this research represents 22 copies; 8 illustrated and 14 nonillustrated lithographed copies. By doing a comparative study of miracles’ text and illustrated images, the research concludes that the illustrators mostly prefer to illustrate the miracles’ exact texts. There are just few samples of creating an art work which is somehow beyond a visual translation of the miracle’s exact text. In fact, among all of the lithographed copies and dozens of stories studied, just in illustrating 5 miracles the Qajar artist, by omitting or adding imaginary beings, presents an illustration which differs from the exact miracle text’s visual translation. The Tuhfat Al-Majalis illustrator, doesn’t load the visual representation of the religious myth with angels and devils, but he just tries to picture the mythological story in the most intelligible way possible. In other words, each of story characters would be illustrated by the artist, if it is needed in order to create a more communicative illustration.