نشریه مطالعات میان رشته ای هنر و علوم انسانی
پیاپی 11 (مهر 1402)

Throughout history, many symbols have been used to decorate buildings and architectural monuments, and these symbols have experienced many changes at various times. The motifs used in the architectural buildings contain the cultural, social, and religious experiences of their time, and according to this content, it can be said that these motifs contribute to a better understanding of the evolution of the thoughts and ideas of the people of that era. The period is one of the most significant periods of Islamic architecture. On this basis, in today’s research, the main objective is to study plant and animal motifs in the architecture of the Timurid period. Thus, the main issue in this research is what plant and animal patterns are there in Timurid’s period architecture? In this research, after the theoretical foundations, the vegetal and animal patterns of Timurid’s period architecture are studied. This research has an applied character and is regarded as descriptive-analytic. The information collection methodology is a library. The analytical approach is qualitative. This research shows that in the Timurid period, vegetal patterns such as Salimi and Khatai were most often discussed and animal patterns were less.

The purpose of this article is to explain the place and function of catharsis as a way to liberate knowledge in modern plays. Today, when modern man has experienced and gone through the sufferings of natural disasters, wars, revolutions, the spread of various diseases, and the suffering of love, how can catharsis be achieved by the modern theater as recognition and knowledge of him and lead to his liberation? The aesthetic experience of catharsis while watching a drama is one of the main goals of theater as a performance art, which aims to alleviate and liberate the audience. The author plans to explicate this problem by examining the play Rhinoceros, composed by Eugène Ionesco, who is regarded as the father of modern theater. The author’s imagination accompanies the audience in the Rhinoceros play, which is a perfect example of a modern play written by the father of the new play. The experience of the Dionysus trance state created by the sounds and images in it transports one to the metaphysical world. Dionysus traveled in search of freedom and liberation, but also to learn how to cope with a life filled with anxiety. Antonin Artaud, who, like Ionesco, sought to bring theater back to its original purpose, addressed these themes under the title of the theater of cruelty. As a consequence, cognitive catharsis operates in the same manner in modern plays.

Although the postmodern narrative structure is influenced by postmodern philosophy and worldview (especially Nietzsche’s philosophy) in the criticism and satire of modern reason and humanism, the final postmodern structure cannot be reached by simply repeating philosophical slogans about the intellectual impulse of modern man. The present study, with a critical analysis of experts’ views on identifying and adapting postmodern literary and cinematic examples, claims that many works known as postmodern fall into the category of pseudo-classical or pseudo-modern works. Based on the results obtained as a result, examining the common principles of classical and modern with the common principles of postmodern in eighteen cases, the most important feature of postmodern literature was to draw the readers’ self-conscious attention to the fact that the work is fake to challenge the relationship between reality and fiction. The few postmodern films can also be summarized in ten titles, but by reducing the ten characteristics, the lack of originality along with self-disclosure and reference to the past can be mentioned as the three main components of postmodern works in cinema.

Education and training in Iran are based on historical periods and on the ruling governments in different regions of Iran, and these governments are based on various factors such as the political position of the rulers, the ruling religion, and even the status of neighboring countries, etc. Education and its goals have changed. The development of tools by early humans can be seen as the foundation of education and training in general. Still, its history in Iran can traditionally be seen before the rule of the Medes, which entered a new stage with the establishment of the Dar al-Funun school and a system of Official education in Iran—in each historical period in Iran, based on various factors such as the religion ruling the society, both the curriculum and the goals of education change. Currently, art courses that include painting, calligraphy, and other forms of art have not been excluded from this. The type of article in this article is qualitative and historical-comparative. The method of data collection, by reviewing documents, articles, and research, intends to give an overview of education in historical periods, and its main goal is to analyze the goals of art in education in these historical periods.

One of the oldest forms of art is portrait painting, which can be regarded as the beginning of the first cave paintings. Many different styles have been introduced into this type of art over the years. From the beginning of the 15th century, there were great changes in all cultural fields, especially in Western art, man was re-incarnated in Western painting with a new vision that was proposed as humanism in this historical period, portrait painting is also a part of It was considered visual arts that narrated and showed the face of people during the years of evolution of human culture. Portrait painting is one of the types of painting whose purpose is the visual representation of the subject, portrait painting in ancient times was very similar to today’s family photos and in a way, the general history of an individual’s life not only to the one who knows that history, but to many others. Displays other people. Until today, portraiture has kept some of its basic features and many of its functions have changed, however, until the end of the 20th century, portraiture was a Western phenomenon and reflected personal characteristics, so that in many other cultures This has been an unusual feature. With the globalization of Western culture, portraiture is no longer limited to the Western world, and with the geographical expansion of this culture, portraiture has changed different fields; In such a way that today portraits are created in various media and have different purposes. The descriptive-analytical method was used to complete this research, which is based on library studies and observations of the works. What is the definition of a portrait? This is the research question. What are the functions of the portrait? What are the power and position of the portrait? Which are discussed in this research.

Mural painting can be considered the oldest form of painting in the world. Mexican mural painters were not separated from Mexican society in terms of art and thought; Following the revolution of nationalism, they played an essential role in the cultural and social life of the country. The history of the Renaissance Mexican mural paintings, which began in the early 1920s and during the time of General Obergon, is a long and complicated story, full of contradictions, anecdotes, and legends. Jose Clemente Orozco, David Alfaro Siqueiros, and Diego Rivera are considered some to be the leaders of this renaissance as an artistic movement. Dealing with the differences in the mural painting style of the three artists mentioned to understand more detailed themes in Mexican mural paintings, also because of the newness of this topic and the lack of centralized information, can be very important. This research focuses on the differences between the ideologies of Orozco’s wall painting style and those of Siqueiros and Rivera. The analysis of selected paintings from these three artists is examined by this article after stating the theoretical foundations and comparing them with each other. The nature of this research is descriptive-analytical and it is applied. The library method was used to collect data, along with reviewing images, and qualitative analysis was employed. Furthermore, the sampling method is not random but selective. According to the analysis of the works of three Mexican wall painters (Orozco, Siqueiros, and Rivera) in the 1930s, they had a special view of the modern world as the era of industrial modernism. Their attitudes were influenced by various topics and viewpoints, leading to differences between them. Most importantly, the images that were displayed from the modern industrial world depicted the next generation of murals that were not exclusively within the scope of Mexican cultural reality but were embedded in a set of global connections.