نشریه پژوهش هنر
پیاپی 25 (بهار و تابستان 1402)

Furnishings, in the general sense of the word rather than its modern usage, had a crucial role in bringing comfort to people during the Qajar period in Iran. Considering the remarkably extensive use of textiles in furnishings, this study aimed to analyze the designs and motifs of textiles used in Qajar furnishings. To this end, first, the use of textiles in Qajar furnishings had to be studied in historical documents. Accordingly, the research question was posed as follows: How could we define different furnishing items used in the living room during the Qajar period and how could we categorize the design and motifs of functional textiles used in their making, finishing, and decoration? The in-depth analytical-historical study of historical documents including travel writings and the textile samples and images such as paintings and photos remaining from the Qajar period indicated that dynamic shapes were used in the majority of furnishings with textiles in this era. Moreover, the items were categorized into three types: soft-surfaced items (rakht-e-khab pich (a kind of mattress and bedclothes covering or bag), cushions, bolsters, pillows, mattresses, quilts, and blankets)., hard-surfaced items (tables, chairs, korsi), and floor covering (rū-farshī (a type of flat-weave used to protect rugs) and sofreh (a cloth on which food is served)). The textiles used in soft-surfaced furnishings, except items without any design or motif, had vagireh (tangled), muharramat (striped), framed, and afshan (scattered). motifs. In hard-surfaced items, medallion (toranj-dar) and vagireh motifs were dominant even though afshan and muharramat were observed in tablecloths. Finally, muharramat and medallion motifs were the most common in rū-farshī and sofreh. In all these items, floral motifs were the most prevalent. However, muharramat and motif-less framed designs were also found and geometric forms were observed in some cases according to the applied technique of embroidery (cheshmeh-duzi). Overall, the results revealed that some of the nine traditional textile designs were not used in the making of Qajar furnishings and some others including afshan, medallion, vagireh, muhrammat, and framed motifs were used to a large extent.

Handwoven carpet as an ancient Iranian art-craft and also as a home business has always been of interest and is a source of income for many families. Most carpet weavers live in villages and the carpet industry, as one of the small industries, can play a key role in the development of villages. The purpose of this research is to answer the question of what is the condition of handwoven carpets in Chatroud sector and how economic, cultural, social and managerial variables have affected the situation of the carpet weaving industry in Chatroud sector from the point of view of carpet weavers. This research is an applied research using a descriptive-analytical field method. The statistical population of the research were 380 people from the residents of Chatroud district, who used the purposeful cluster sampling method to study the sample size and distributed two standard questionnaires with a reliability of 0.86. The results of the research show that the most important factors of the recession of the carpet weaving industry in Chatroud are: Inappropriate growth of the price of hand-woven carpets in comparison with the lower productivity of carpet-weaving in comparison with other goods, the tendency of families with other economic activities, the tendency of rural people to the style, way and culture of urban life, the problems of marketing hand-woven carpets on a micro and macro scale, and the migration of villagers to the city. Handwoven carpet marketers on a micro and macro scale is the diminution of women’s contribution to providing household income.  Therefore, the establishment and support of small native-local industries such as carpet weaving in rural areas can reverse the migration process and increase the employment rate among the people by creating numerous job opportunities and wage levels that can compete with the urban wage level.

Society is an extensive field formed by social structures. The social structures utilize well-ordered and purposeful instruments in order to incorporate and develop the principles ruling the social interactions. The Institute for Intellectual Development of Children and Adolescents is a trend making organization in the field of art and culture. This organization has contributed significantly to development of visual and performing arts for children and adolescents, besides its main objective, which is promoting the children’s intellectual development by reading books. By establishing a sublime circle, the institute contributed to productivity of the graphic arts, and provided a dynamic environment to increase the Iranian graphic designer’s assets. Paying attention to the field of children and adolescents was one of the important challenges of the forties and fifties, and many firsts in the field of science related to children were made in this period. The important parts of the center were as follows: Libraries, Publishing Unit, Cinema Unit, Animation Unit, Music Unit, Theater Center, Visual Arts Center, and Public Relations.The field of graphics was used in two ways in different departments of the center:1) in cultural and artistic productions and 2) in advertisements of the products of different departments of the center. The present study investigates the role of this institute in the development of graphic arts in Pahlavi Era. The main objective of this study is to show the significance of a powerful organization, with realistic and accurate productivity measures, in development of culture and arts (here graphic arts), besides highlighting achievements of the institute in the field of graphic arts in 1960s and 1970s. The main research question is about performance of the institute in development of graphic arts in Iran. The question is answered by the study of the increased social, cultural, and economic assets. This is a descriptive-analytic study based on the information collected using documentary research methods. The results show that in spite of not having a direct plan for development of graphic arts, the strategic management of this institute provided the graphic arts practitioners the chance of increasing their assets in this institute and make a chapter of Iran’s graphic arts history.

Advertising billboards are one of the building elements of urban landscape and the body of the cities, which have an impact on quality of space and urban landscape, and if the regulations and standards are not followed, it makes it possible for the urban landscape and texture to disappear. In the present research, based on the importance of Shiraz district one, an attempt was made to identify the effective components in the advertising billboards of Shiraz district one and its effect on urban landscape of this district with the method of field observations and interviews, SWOT strategic analysis technique, in order to be able to find an optimal strategy, in order to improve the urban landscape and optimize the advertising of billboards in Shiraz district one to be used. The findings showed that the total score of internal strength factors of advertising billboards is equal to 5.493, internal weakness factors 2.732, external opportunity factors 3.203 and external threat factors 3.583. The results showed that aesthetic, functional, technical, space and social stability, safety and skeletal components play a significant role in the effectiveness of advertising billboards on the urban landscape. The technical components have the highest effectiveness. Social-safety, skeletal and spatial components seem to be threats in spite of compliance with most of the standards and regulations, due to installation in an inappropriate place such as on the left side of the road, sidewalk or in the visual triangle, non-compliance with the standard of skeletal characteristics such as advertising skeletal dimensions or distance from ground. Non-compliance with privacy standard of advertising billboards and the lack of proper lighting and attention to the cultural and historical context do not have the necessary visual desirability. It is necessary to apply revisions and reforms in this field. Compilation of general quantitative and qualitative standards and providing optimal models and examples to encourage and guide public taste were seen as appropriate.

Kant’s views on beauty are given in his book, The Critique of Judgment. In this book, instead of focusing directly on the aesthetic experience, Kant relied on the aesthetic judgments of beauty. He considers the sentences he dealt with as propositions attributing beauty to things. He divides his discussion about them into four moments: quantity, quality, relation, and modality, which means clarifying their essential nature under distinct aspects. The problem of the present article is to examine Kantian’s four moments of the beauty and the possibility of using them to enrich the concepts raised by the aesthetics of everyday life. As such, in this article, these four moments and the relationship between these four moments and the aesthetics of everyday life have been discussed. In fact, the current research, using the descriptive-analytical method, intends to answer the question that what is the relationship between the sentences regarding beauty in Kant’s view and the concepts raised in the aesthetics of everyday life? In Kant’s view, aesthetic judgments do not refer to a specific object or a property of it, but to the state of the mind itself, which is caused by the free play of imagination and understanding powers and subjective awareness of it. This reaction as a subjective feeling can be related to one of the most important missions of the aesthetics of everyday life, that is, to discover the hidden potentials behind the ordinary facade of daily life. Cultivating the capacity and sensitivity to illuminate very familiar things, the ability to gain a new aesthetic experience and enrich one’s life in this way is one of the important roles of everyday life aesthetics. Another feature that makes Kant interesting is that, unlike many later writers, he did not limit aesthetics to nature and art. Furthermore, in Kant’s views, the aesthetic experience is the result of the pain that comes from judging that the objective is ugly. This can also be related to the negative aesthetics that are raised in the discussions related to the aesthetics of everyday life.

In today’s world, museums are recognized as significant indicators of a country’s development. However, issues such as the lack of creativity in presenting and displaying collections, underdevelopment, low-quality visitors’ experiences, and a dearth of innovative services have hindered their effective integration with society. Consequently, many museums are grappling with declining audiences and stagnant spaces. It is imperative for museum managers to provide a model to use entrepreneurial strategies to create an entrepreneurial ecosystem and a new attitude towards museum and entrepreneurship audiences; and also establish a practical interaction between the community museum and the visitors in order to address these challenges and enhance the current state of affairs, as well as to foster growth and development in museums. The present research is qualitative with a developmental-applicative purpose and has been carried out using a qualitative method. Data was gathered from both library research and fieldwork. The target community includes experts from cultural and artistic organizations, including museums, which have been conducted with the purposeful sampling method, in-depth interviews with twelve museum experts and cultural activists and entrepreneurs. The findings revealed that fostering a cultural entrepreneurial mindset is pivotal for creating a museum that embraces entrepreneurship. This mindset is influenced by factors such as an entrepreneurial attitude, innovative management, self-confidence, and a willingness to embrace change. Moreover, background conditions include government incentives, supportive and facilitating laws, improvement of international communications, and the support of cultural and media centers. In addition, awareness at the micro and macro levels, education, empowerment of human resources, entrepreneurial spirit, smooth and agile work processes, and networking with top museums are crucial intervening factors.

The history of the creation of mosques is synonymous with the history of the emergence of Islam and its expansion, which has been subject to the development and influence of this sacred building in different societies. Undoubtedly, throughout history, the combination of mosques with techniques, cultures and rich attitudes of various societies makes its architecture a symbol of Islamic architecture in such a way that it can be claimed that the transformation in other Islamic buildings has started following the development of the architecture of mosques. Here, the main question is whether in the present study, considering the importance of the architecture of the mosques of the historical city of Qazvin, both in terms of physical characteristics and in terms of historical transformations, is possible to achieve rules and frameworks that result in the evolution of the spatial types of mosques in this city from the point of view of physical aspects, functional aspects, and perceptual aspects. Based on this, it includes factors such as the understanding of chastity and how to construct and pay attention to the concepts obtained in the samples studied in the early Islamic, Seljuk, Safavid and Qajar schools of the historical city of Qazvin. The research method in the prospective research is qualitative, which is written in a combined form with interpretive-historical and descriptive-analytical methods, and the data collection is based on field studies and documents. In fact, this research rereads the course of evolution in 11 established and valuable species in the mentioned periods in Qazvin city, and how spatial organization and the way prayer space is connected and the ways of defining open and closed space in the spatial pattern of these mosques from a physical, functional and perceptual point of view. The results of the data analysis show the evolution of the mosques under investigation in the above periods in the historical city of Qazvin, expressing different commonalities and differences in the way of spatial organization and the way of communicating the prayer space and the ways of defining open and closed space in the spatial pattern of this area which can be seen in every era.

By combining the artistic traditions of the previous eras and the new Islamic taste, the Samanians played a fundamental role in the creation of modern Iranian-Islamic art. The important question here is how much the role of different artistic traditions has been in this artistic creation. The basic point in answering this question is that due to the settlement of the Samanids at the meeting point of the Central Asian caravans that reached that region from China and India and the reference of their capital Bukhara to the Assembly of Great Religions by some Islamic writers, it had a great potential for internationalization which has also come to the fore in the field of art. Therefore, Samanian art can be seen as the arena of confrontation between different Zoroastrian, Buddhist, Taoist and Islamic cultures and religions, and in the end, under the influence of the Iranian ambition of the Samanids and the power of the Islamic religion, only the Iranian and Islamic elements remained and continued. Since the Islamic or even Zoroastrian elements of Samanian art (such as Chahartaqhi design, Sakanj, etc.) are more or less known; With the aim of identifying the imported Buddhist and Taoist elements affecting the form and decorative motifs of Samanid architecture, this research examines several prominent Samanid buildings, including Amir Ismail’s tomb, Tim’s tomb, and the Nine-Dome Mosque. Therefore, the present research, by using the descriptive method and analytical comparative approach and the method of collecting documentary and electronic information, intends to answer this central question that apart from Zoroastrian and Islamic elements, which Buddhist and Taoist elements inspired the form and decorative motifs of Samanian period architecture? The results of the research show that Buddhist and Taoist art entered eastern Iran through exchanges on the Silk Road, and finally by combining the artistic elements of these religions such as the lotus flower, Dharmacakra and Chinese crucifix with Iranian and Islamic elements, the first artistic and decorative style of Iran was born in It has become an Islamic era.

With the evolution of the art-industry of cinema in the 20th century, Hollywood as the artistic cultural center of America received the attention of the whole world, and movies became a media full of audiences, which tried to convey new concepts with the help of other arts. One of these arts was costume design, which created the trend of cinema costume design in order to cooperate with cinema. Hollywood clothing designers achieved the desired success very soon and were able to present a new fashion to the market by designing clothes for Hollywood stars, which, in addition to conveying new concepts, was considered a successful commercial advertisement for filmmakers and fashion commercial companies. In these years, Hollywood actors had become role models for young people in fashion and lifestyle, and designers were determining the dominant fashion of that era by presenting their new designs on these actors. The current research aims to investigate the impact of media, especially cinema media, on fashion and by raising the question, what is the relationship between fashion and cinema? And what was the role of Hollywood actors in this? By examining the fashion presented in Hollywood under the name of “Hollywood style”, it tries to study the relationship between fashion and cinema in the method of library study of available sources, and in this way, to study the style of Audrey’s clothes on a case-by-case basis. Hepburn, the famous Hollywood star, has discussed her relationship with the clothing designers of that time such as Hubert Givenchy and his influence on fashion, and for a more detailed analysis, he has criticized the costume design of the movie Breakfast at Tiffany’s (1961) and the effects of the clothes of this movie on fashion in an observational way. Finally, by studying the effects of Hollywood actors on the fashion of the middle years of the 20th century, we realize that actors are one of the most important factors in the formation of fashions and defining cultures, and their effects can be lasting.

There is always a problem for authors and that is to what extent they should be faithful to the adapted source or to what extent they can change it. This research examines the subject of adaptation and with the aim of investigating and discovering the similarities and differences of adaptation in the two films “The Tragedy of Macbeth” and “ Throne of Blood”, it tries to distinguish the use of different methods of adaptation. It also sums up the types of adaptation methods that have been researched so far. The purpose of the current research is to identify the differences and similarities between two film adaptations of a literary work, each of which has been adapted in a different way. To achieve this goal, which is practical and has been conducted with a descriptive-analytical method. According to the research method, this study will seek to find the answer to the main question, what are the differences and similarities of the adaptation in the two films “The Tragedy of Macbeth” and “ Throne of Blood”? And furthermore, what are the types of adaptation in the form of cinema? Finally, by examining the similarities and differences between the two cinematographic works and the original source from which they were adapted, the methods of adaptation used in these two works will be determined. After examining the theoretical foundations and the findings of the research, it is clear that the movie “The Tragedy of Macbeth” was very faithful to the play Macbeth, in that it intended to fully perform the play in the form of cinema; While the film “Throne of Blood” reached a completely different effect from the original source by using different methods in the adaptation process. A work that can even be considered as emerging from Japanese culture, but in the theme and narration, it can be recognized as Shakespeare’s play.