مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 3 11 2023 02 20 An analysis on illustrations of Dale Mukhtar lithographic book based on formative criticism (Case study: the version 1330 AH) تحلیل تصاویر کتاب چاپ سنگی دله مختار مبنی بر نقد تکوینی (مطالعه موردی: نسخه 1330ق) 708368 10.30508/fhja.2023.2003434.1163 FA سیده سپیده مجتهدی دانش‌آموخته کارشناسی‌ارشد تصویرسازی، موسسه آموزش عالی فردوس، هنرآموز آموزش و پرورش، خراسان رضوی، ایران مصطفی لعل شاطری اســتادیار ، گروه باستان‌شناســی و تاریخ، دانشکده ادبیات و علوم انسانی، دانشگاه نیشابور ، نیشابور ، ایران Journal Article 2023 05 29 Abstract Statement of the issue: With the beginning of lithography in Iran (1249AH), the publication of books, especially on popular subjects, became popular, and this literary genre could reflect the culture and customs of the Qajar period. Based on the literature and literature on the origins of the Nabazian novels, the decision has been made. Literary works that can be based, in a decision-making way, on the meaning and concept of a better way to address the statement of Kennand. For example, in the possession of Dastan, a picture taken from the text of Dastan, send a narration from Dastan to the addressee. There is a source of inspiration between Dastan Neez Bahtrin and the creation of his ideas for the sake of his images. The existence of any relatable link between the text and the illustration of a well-illustrated book is an important matter to be noticed. In these colloquial expressions, as well as verbal literature, in folk and ethnic groups, and in the context of the hurricane of religious, social, political, sectarian, and ... the religious, social, political, and sectarian spirits of this community are different from the viewpoints and sources of an important context. For the sake of poems with phrases, etiquette, and figures of peoples in different historical periods of Danest. From the presence of these dastans in the evidence of Dara Boden imagination and Magrajoyi, the love of Wiseh in the Nazd Mardm Dashth and Darand, with the entry of the Sanji chapter in Iran, a picture of it for the books of the Pedah Pedah Kurd Ta in the general studies of its decision-making and generation and its chapter Az A commercial view is a directive pattern. Among the examples of lithographic illustrated books in the Qajar period is the folk tale of Dale Mukhtar, preserved in the Astan Quds Razavi library. This version was published in 1330 AH and has 23 pictures next to the text of the story. By examining the images of these constitutions and their creation, and the factors influencing their creation, through a formative criticism that is important to the extent that they are established in the course of any formation that has been established by more images. In the direction of this in the compositional criticism, the final text (picturesazi), the result of the integration of the Pechamton and the importance of dividing the reading may begin and at the end of this text the end of the question in the choice of the addressee of the decision to be written. These are images for the first time in this book of the decision of Gharfthand and related to the body of the book of Hstand. Ramand photographed a photograph of a photographer in Yemen, a photographer. Midhem decision. Purpose: Examining the process of formation, formation and creation of the images of the mentioned edition and analyzing the influential factors and norms (paratext) and how much the artist was influenced by the pretext of the images (text of the story). Research question: What are the stages of formation and creation of the illustrations of Dele Mokhtar's lithographic book (1330 AH) based on the approach of critical and constructive criticism and special writing on the written pre-text (narratives)?Research method: data collection is based on library and archival study, descriptive-analytical research method and qualitative approach. Findings: The artist was influenced by social, political, cultural, religious norms and the war between tradition and modernity in his daily life, and in his pictures, especially in the naturalistic painting imported from the West, he drew human and animal figures, and the clothing of people was completely Qajar and According to their social status and the space they were in, different designs and decorations were used for their clothes. According to the pre-text, the illustrator has designed different moods for the figures in different situations and has displayed different emotions by making changes in the facial expressions and body movements of the characters. In the pictures, the main role is played by the characters and the space creations are very limited. The correlation between the text and the image can be seen. Paratexts and existing norms have also played an important role in creating images. بیان مسئله با آغاز چاپ سنگی در ایران (۱۲۴۹ ه.ق)، انتشار کتاب به ویژه در موضوعات عامیانه رواج یافت. از نمونه‌های کتاب مصور به روش چاپ سنگی در دوره قاجار، داستان عامیانه "دله مختار" است که در کتابخانه مرکزی آستان قدس رضوی (شماره ثبت 2132) محفوظ است. این نسخه در ۱۳۳۰ ه.ق منتشر و دارای ۲۳ تصویر در متن داستان است. جهت دستیابی به اهداف پژوهش، با بهره‌گیری از روش نقد تکوینی - که در قرن بیستم میلادی شکل گرفته و مهم‌ترین هدف آن بررسی مراحل شکل‌گیری و آفرینش اثری هنری است - تصاویر مذکور بررسی خواهد شد. هدف پژوهش هدف پژوهش بررسی سیر تکوینی، شکل‌گیری و خلق تصاویر نسخه مذکور و واکاوی عوامل و هنجارهای تأثیرگذار (پیرامتن) است. این پژوهش به بررسی این موضوع می‌پردازد که هنرمند تا چه اندازه تحت تأثیر پیشامتن تصاویر (متن داستان) بوده و این عوامل به چه میزان در شکل‌گیری و خلق تصاویر تأثیرگذار بوده‌اند. سؤال پژوهش مراحل شکل‌گیری و آفرینش تصویرسازی‌های کتاب چاپ سنگی "دله مختار" (۱۳۳۰ ه.ق) بر اساس رویکرد نقد تکوینی و نگاره ویژه بر پیشامتن مکتوب (روایات) چگونه است؟ روش پژوهش این پژوهش با گردآوری داده‌ها بر اساس مطالعه کتابخانه‌ای و آرشیوی و روش تحقیق توصیفی-تحلیلی و رویکرد کیفی انجام می‌شود. نتیجه‌گیری هنرمند تحت تأثیر هنجارهای اجتماعی، سیاسی، فرهنگی، مذهبی و جنگ بین سنت و تجدد در زندگی روزمره قرار گرفته و در تصاویر، به خصوص از غرب، به ترسیم شکل‌های انسانی و حیوانی پرداخته است. پوشش افراد کاملاً قاجاری و متناسب با شأن و منزلت اجتماعی‌شان ترسیم شده و تزئینات متفاوتی برای لباس آنان به کار رفته است. با توجه به پیشامتن، تصویرگر برای پیکره‌ها در موقعیت‌های مختلف حالات روحی متفاوتی را طراحی کرده و با ایجاد تغییرات در حالات چهره و حرکات بدن شخصیت‌ها، احساسات مختلف را به نمایش گذاشته است. شخصیت‌ها نقش اصلی را در تصاویر دارند و فضاسازی‌ها بسیار محدود است. وجود رابطه قرینه بین متن و تصویر مشاهده می‌شود و پیرامتن‌ها هنجارهای موجود نیز نقش مهمی در خلق تصاویر داشته‌اند. واژگان کلیدی - تصویرسازی - چاپ سنگی - دله مختار - نقد تکوینی

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مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 3 11 2023 02 20 Analysis of the painting works of Majid Mehrgan (paintings of intimidation, heirs of the kingdom) Based on the components of Gestalt theories تحلیل آثار نگارگری مجید مهرگان( نگاره های ارعاب، وارثان ولایت) بر اساس مولفه های نظریه های گشتالت 714522 10.30508/fhja.2024.1986194.1147 FA نگار متقی اداره کل آموزش و پرورش استان اصفهان،هنرآموز Journal Article 2022 12 30 Abstract Problem Statement : Gestalt theory is one of the psychological theories that influenced the visual arts in the 19th century. The basic framework of this theory is that the analysis of different parts of a psychological phenomenon, even though it is done in general, cannot cover it completely and to understand the nature It should be reached from top to bottom and from its overall structure to its constituent properties. According to this theory, in order to know anything, one must know its parts, and when one of these parts is changed, the other parts are also changed, and a visual work can be a good example for This is the issue and the best way to understand its effect is to break it down into its primary constituent elements. Objectives: The purpose of this research, which is a type of developmental research, is to analyze the visual elements of the above images based on the components of Gestalt theory. Research method: This research is in the field of descriptive and analytical research, and the obtained information is analyzed by the method of studies and library collections with the approach of Gestalt psychology. Conclusion: The results of this research show that the principles of Gestalt theory are consistent with the elements of the above paintings drawn by the creative mind of the contemporary artist. These principles increase the beauty and dynamism of the pictures and create more visual appeal for the audience. Also, the effect of each of the gestalt laws on the works is not the same and creates different pretensions, therefore emphasizing one of them as the most indicative principle in the paintings is an unrecognizable thing. Also, by examining the works, it was found that the principles of Gestalt visual perception play a very effective role in improving the reading process of the above works. Conclusion: The results of this research show that the principles of Gestalt theory are consistent with the elements of the above paintings drawn by the creative mind of the contemporary artist. These principles increase the beauty and dynamism of the pictures and create more visual appeal for the audience. Also, the effect of each of the gestalt laws on the works is not the same and creates different pretensions, therefore emphasizing one of them as the most indicative principle in the paintings is an unrecognizable thing. Also, by examining the works, it was found that the principles of Gestalt visual perception play a very effective role in improving the reading process of the above works. Conclusion: The results of this research show that the principles of Gestalt theory are consistent with the elements of the above paintings drawn by the creative mind of the contemporary artist. These principles increase the beauty and dynamism of the pictures and create more visual appeal for the audience. Also, the effect of each of the gestalt laws on the works is not the same and creates different pretensions, therefore emphasizing one of them as the most indicative principle in the paintings is an unrecognizable thing. Also, by examining the works, it was found that the principles of Gestalt visual perception play a very effective role in improving the reading process of the above works. keywords: painting. Majid Mehrgan. Gestalt theory. References Arnheim, Rudolph, (2008), Dynamics of Architectural Forms. Translated by Mehrdad Qayyumi Bidhandi. Tehran: Art Academy. Azhend, Yaqoub, (2004), European painters in Iran: Safavid period. Fine Arts, No. 19, pp. 75-83. Brunel, Philippe, (2016), Gestalt therapy. Translated by Marzieh Ziyai (2015), Isfahan: Konkash Publishing. Taqvi Belsi, Muzaffar and Seyyed Mohammad Amin Roshanas, (2013), Basics of visual arts. Tehran: Academic Jihad Publications. Delfani, Fatemeh and Dadkhah, Pejman and Darwish, Afsana, (2019), examining the spiritual aspects of Iranian painting. The 3rd International Congress of Innovation and Research in Humanities and Islamic Sciences, Tehran. Zare, Fatemeh and Hamidi, Hamid, (2019), study of the application of Gestalt principles in the design of contemporary visual signs in Iran. 2nd National Conference on Humanities and Development, Shiraz. Shamshiri, Maryam and Dadkhah, Pejman, (2017), an attitude on thematic diversity and the evolution of painting in Iran. The second national conference on sustainable development in archaeology, history and art of Iran, Tehran. Moghadam Qashchian, Asghar and Ghajavand, Maryam, (2017), examining the structural features of painting in the works of three post-modern artists (with a case study of the works of Farah Usuli, Doghlouhai Singh and Shahzia Sekander). Kenbai, Sheila, (1378), Iranian painting, translated by Mehdi Hosseini, Tehran: University of Arts Publications. Mafi Tabar, Amina; Kateb, Fatemeh and Hosami, Mansour, (2017), a pictorial examination of Sani al-Mulk's paintings of One Thousand and One Nights with the theory of "visual perception" of the Gestalt school, Negreh Bahar Magazine, No. 45, pp. 72-87. چکیده بیان مسئله نظریهٔ گشتالت یکی از نظریه‌های روان‌شناسی تأثیرگذار بر هنرهای تجسمی در سدهٔ نوزدهم می‌باشد. چهارچوب اساسی این نظریه این است که تحلیل قسمت‌های مختلف یک پدیدهٔ روانی، هرچند به‌طور کلی انجام گیرد، نمی‌تواند به‌طور کامل آن را پوشش دهد و برای درک ماهیت آن باید از بالا به پایین و از ساختمان کلی آن به خصوصیاتی که تشکیل‌دهنده‌اش است رسید. بر اساس این نظریه، برای شناختن هر چیزی باید اجزای آن را شناخت که با تغییر یکی از این اجزا، قسمت‌های دیگر نیز دستخوش تغییر می‌شوند. یک اثر تجسمی می‌تواند نمونهٔ خوبی برای این موضوع باشد و بهترین شیوه برای فهم اثر، تجزیهٔ آن به عناصر تشکیل‌دهندهٔ اولیه‌اش است. هدف پژوهش هدف پژوهش تحلیل عناصر بصری نگاره‌های فوق بر اساس مؤلفه‌های نظریهٔ گشتالت است. سؤال پژوهش اصول نظریهٔ گشتالت در نگاره‌های "ارعاب" و "وارثان ولایت" کدام‌اند؟ ساختار بصری دو نگاره، از جهت تنوع، ترکیب‌بندی و زیبایی‌شناسی چگونه است؟ روش پژوهش تعداد نمونه‌های این پژوهش، دو اثر از آثاری مجید مهرگان تحت عنوان "ارعاب" و "وارثان ولایت" است که این دو نگاره دارای جلوه‌های بصری و ترکیب‌بندی متنوعی می‌باشند. در این پژوهش بر اساس مدارک جمع‌آوری‌شده، داده‌ها و مبانی نظری، ویژگی‌های نظریهٔ گشتالت همچون: رابطهٔ نقش و زمینه، مجاورت، تداوم، همپوشانی، شباهت در اندازه، رنگ و... در دو نگارهٔ فوق مورد تحلیل قرار می‌گیرد. نتیجه‌گیری نتایج حاصل از این پژوهش نشان می‌دهد که اصول نظریهٔ گشتالت با عناصر نگاره‌های فوق که با ذهن خالق هنرمند نگارگر معاصر ترسیم‌شده همخوانی دارد، این اصول زیبایی و پویایی نگاره‌ها را بیشتر می‌کند. همچنین میزان اثرگذاری هر یک از قوانین گشتالت بر آثار یکسان نمی‌باشد و پراگنانس‌های متفاوتی را به وجود می‌آورد. از این‌رو تأکید بر یکی از آن‌ها به‌عنوان شاخص‌ترین اصل در نگاره‌ها کاری غیرقابل‌تشخیص می‌باشد و با بررسی آثار مشخص شد که اصول ادراک دیداری گشتالت نقش مؤثری در بهبود فرآیند خوانش آثار فوق دارد. واژگان کلیدی نگارگری، مجید مهرگان، نظریهٔ گشتالت، نگارهٔ "ارعاب"، نگارهٔ "وارثان ولایت"

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مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 3 11 2023 02 20 A reflection on the visual components of five works of flowers and birds by Professor Haj Mirza Agha Emami تأملی در مؤلفه‌های بصری پنج اثر گل و مرغ از استاد حاج میرزا آقا امامی 714523 10.30508/fhja.2024.1995876.1154 FA فاطمه غفوری فر دانش آموخته کارشناسی ارشد دانشگاه هنراسلامی. 0000-0002-3383-2239 رحیم چرخی استادیار دانشگاه هنراسلامی تبریز زهرا محمدپور کارشناسی نگارگری دانشگاه هنراسلامی تبریز Journal Article 2023 03 10 Master of Painting, Tabriz University of Islamic Arts, the painting of flowers and chickens has always been in the mind and language of Iranian artists. By representing this theme in his works of art, from pottery, metal, textiles and other hand-made works, the artist has brought nature into daily life in the concept of Garden of Heaven. From the distant past, the relationship between birds and flight has been meaningful to Iranians. The bird has been a manifestation of flight, climbing and flourishing, and the flower is an allusion to the passing of life that is dear to man. "The subjects of flower and bird paintings are mostly flowers, bushes and birds, and sometimes insects such as bees and flying butterflies are also seen, which are mostly used to complete the composition. Flowers and birds can be identified by the viewer in this way and there is nothing more or less in terms of botany or anatomy of birds, but these components are not in nature in the way they are seen in the works.During the Qajar period, the art of book design and painting declined, and methods such as oil, enamel, and lacquer paintings became popular in this era. Paintings with the theme of flowers and chickens are among the arts that were growing in this era. The first mentality that emerges after hearing this topic of flowers and chickens is the presence of two visual elements of flowers and chickens in nature. Artists in different ages have used these two visual elements in different ways and created valuable works. Among the prominent artists of this area in the Qajar era, we can mention Mirza Agha Amami. Mirza Agha Emami has created lasting works in different fields of art such as: flowers and birds, gilding, poetry, fuel cover, carpet design, pencil painting, wooden door decorations. This research is trying to introduce five of his works of flowers, to compare the forms of flowers and birds and the visual structure in the visual elements of the selected works, and to investigate the visual components of the studied works. The method of this research has been done in a descriptive-analytical and qualitative manner, and data collection is based on library information. Therefore, this research seeks to answer two basic questions: What similarities and differences do flowers and birds have with visual elements in nature in five selected works? The result of the research showed that the flowers of Mirza Agha Emami are more inclined to the naturalistic style, that is, they are similar to natural elements. He has used flowers such as cherry blossoms, primroses, marigolds, dahlias, and jasmine. Pigeons, lunar birds, and partridges can also be seen in his works. Mirza Agha Emami's works of flowers and birds are very concentrated in terms of composition structure, form, color, and birds or flowers also have a triangular composition. Balance, lack of dullness, harmony, decisiveness, integrity, variety, repetition are the visual components of this painting. In order to convey their ideas and ideals to others, artists choose various methods in the construction and composition of their works of art. What makes the audience interested in studying a work of art at first sight is the general and ruling order of the work. Each composition is the result of a set of rules and styles that find meaning along with the attitude and taste of the artist, which is in the direction of the concepts and ideas of the artist. According to the research done, we can get: The roots of flower and bird art can be found in the 7th and 8th centuries, which began its evolutionary form in the Safavid period and reached its peak in the Zandiyeh and Qajar periods. Mirza Agha Emami is also an outstanding artist who has created lasting works in this artistic style. Of course, this artist is a master in various art disciplines such as: gilding, poetry, painting, lacquer works, carpet map design, fuel cover, etc., and these unique features in his artistic activities and works, he distinguishes him from many of his contemporary artists. Following the answer to the questions of the present research, it can be acknowledged: the performance of Mirza Agha Emami's flower and bird works, in the Qajar period, the themes of flowers and flowers and flowers and birds were mostly executed in the lacquer method, but he used these themes in the style of Mirza Agha Emami's works of flowers and birds are executed with limited coloring and in combination with white color and soft bright shadows and delicate processing. In all the works of this artist, cherry blossoms and hazelnuts are engraved on the top of the work, sedbergh flowers in the center, hyacinth, nasturtium and iris flowers on the left or right side of the works. Also, apple blossoms, primroses and dahlias are engraved at the bottom of the works. 2 and finally 3 birds are used in the works of this artist. The compositions of these works are diffused, bushy and vertical. In terms of composition, these works have a completely balanced space, and also the positive and negative spaces are observed equally. Warm and soulful colors are often used in the background color of these works. Balance, order, half-tone, stability, stability, simplicity, harmony, decisiveness are some of the main visual components used in these works. چکیده بیان مسئله در دورهٔ قاجار، هنر کتاب‌آرایی و نگارگری افول یافت و شیوه‌هایی همچون نقاشی‌های رنگروغن، مینایی، الکی، در این عصر رواج پیدا کرد. از جمله هنرهایی که در این عصر رو به رشد بود، نقاشی‌هایی با موضوع گل و مرغ است. اولین ذهنیتی که با شنیدن این موضوع گل و مرغ پدیدار می‌شود، وجود دو عنصر بصری گل و مرغ در طبیعت است. هنرمندان در اعصار گوناگون به شیوه‌های مختلف از این دو عنصر بصری بهره برده‌اند و آثار ارزشمندی خلق کرده‌اند. از جمله هنرمندان برجستهٔ این حوزه در عصر قاجار می‌توان به میرزاآقا امامی اشاره کرد. میرزاآقا امامی در رشته‌های مختلف هنری چون: گل و مرغ، تذهیب، تشعیر، جلد سوخت، طراحی فرش، نقاشی قلمدان و تزئینات دره‌های چوبی آثار ماندگاری آفریده است. هدف پژوهش این پژوهش در تلاش است ضمن معرفی پنج اثر از گل مرغ ایشان، به بررسی تطبیقی فرم گل‌ها و پرندگان و ساختار بصری موجود در عناصر بصری آثار منتخب بپردازد و مؤلفه‌های بصری آثار مطالعاتی را مورد تفحص قرار دهد. سؤالات پژوهش این پژوهش در پی پاسخ به دو پرسش اساسی است: آثار گل مرغ میرزاآقا امامی واجد چه مؤلفه‌های بصری هستند؟ گل‌ها و پرندگان در پنج اثر منتخب مطالعاتی دارای چه شباهت و تفاوت‌هایی با عناصر بصری در طبیعت هستند؟ روش پژوهش روش این تحقیق به‌صورت توصیفی-تحلیلی و به شیوه‌ای کیفی انجام شده است و جمع‌آوری داده‌ها بر مبنای اطلاعات کتابخانه‌ای استوار است. نتیجه‌گیری برآیند پژوهش نشان داد که گل مرغ‌های میرزاآقا امامی بیشتر متمایل به سبک طبیعت‌گرایانه انجام شده است؛ یعنی مشابه عناصر طبیعی است. از گل‌هایی همچون شکوفهٔ گیاس، گل پامچال، صدبرگ، کوکب و یاسمن بهره برده است. پرندگان کبوتر، قمری و کبک نیز در آثارش قابل مشاهده هستند. آثار گل و مرغ میرزاآقا امامی به لحاظ ساختار ترکیب‌بندی، فرم و رنگ بسیار متمرکز بوده و پرندگان و یا گل‌ها نیز از ترکیب‌بندی مثلثی برخوردارند. تعادل، عدم قرینگی، هماهنگی، قاطعیت، یکپارچگی، تنوع و تکرار از مؤلفه‌های بصری این نقاشی محسوب می‌شود. واژگان کلیدی گل، پرنده، میرزاآقا امامی، گل و مرغ، نقاشی ایرانی، مؤلفه‌های بصری

https://www.fhja.ir/article_714523_1ea5656f601cb17a2c676bd1e9112aa8.pdf

مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 3 11 2023 02 20 Comparison of the Cow- head mace Motif in Scene of Zahak's Hanging painting in Tahmasp’s Shahnameh and the metallic Sample of the Metropolitan Museum (No. 36.25.1882) مقایسه‌ی نقش گرز گاوسر در نگاره‌ی صحنه‌ی به‌دار آویختن ضحاک در شاهنامه‌ی طهماسبی و نمونه‌ی فلزی موزه‌ی متروپولیتن (به شماره 36.25.1882) 715814 10.30508/fhja.2024.2040012.1188 FA سحر ذکاوت دانشجوی دکتری تخصصی، رشته‌ تاریخ تطبیقی و تحلیلی هنر اسلامی، دانشگاه شاهد، تهران. 0000-0001-7488-6527 خشایار قاضی‌زاده استادیار، دکترای تخصصی پژوهش هنر، گروه هنر، دانشگاه شاهد تهران Journal Article 2024 08 31 Cow- head mace is one of the symbolic weapons in the mythological stories and the Punishment tool of Zahhak in the Ferdowsi's Shahnameh. This case is depicted in Tahmasp’s Shahnameh paintings and the Scene of Zahak's Hanging is one of the paintings that Seen in it the motif of Cow- head mace.There is a metal Cow- head mace with similar Specifications in the New York Metropolitan Museum. Formal and apparent similarity of the metal case and the image Illustrated has made the research necessary. The purpose of study is to identify the similarities and differences between the Cow- head mace in the Scene of Zahak's Hanging painting and the Metropolitan Museum metal case. The question in the study is: 1. what are the similarities and differences between Cow- head mace Motif in Scene of Zahak's Hanging painting in Tahmasp’s Shahnameh and the Sample No. 36.25.1882 in the Metropolitan Museum? This research has been done by analyzing library and documentary information with a descriptive-analytical and comparative approach. research Case Studies include the Cow- head mace Motif in Scene of Zahak's Hanging paintings of Tahmasp’s Shahnameh and the metal sample of Metropolitan Museum. The results show that the metal mace of Metropolitan Museum has a form similar to the motif of the Cow- head Fereydoun mace in the Scene of Zahak's Hanging painting and it has an iron color and is made of iron and it has golden ornamentation, while the painting mace is golden color. Cow- head mace is one of the symbolic weapons in the mythological stories and the Punishment tool of Zahhak in the Ferdowsi's Shahnameh. This case is depicted in Tahmasp’s Shahnameh paintings and the Scene of Zahak's Hanging is one of the paintings that Seen in it the motif of Cow- head mace.There is a metal Cow- head mace with similar Specifications in the New York Metropolitan Museum. Formal and apparent similarity of the metal case and the image Illustrated has made the research necessary. The purpose of study is to identify the similarities and differences between the Cow- head mace in the Scene of Zahak's Hanging painting and the Metropolitan Museum metal case. The question in the study is: 1. what are the similarities and differences between Cow- head mace Motif in Scene of Zahak's Hanging painting in Tahmasp’s Shahnameh and the Sample No. 36.25.1882 in the Metropolitan Museum? This research has been done by analyzing library and documentary information with a descriptive-analytical and comparative approach. research Case Studies include the Cow- head mace Motif in Scene of Zahak's Hanging paintings of Tahmasp’s Shahnameh and the metal sample of Metropolitan Museum. The results show that the metal mace of Metropolitan Museum has a form similar to the motif of the Cow- head Fereydoun mace in the Scene of Zahak's Hanging painting and it has an iron color and is made of iron and it has golden ornamentation, while the painting mace is golden color. Cow- head mace is one of the symbolic weapons in the mythological stories and the Punishment tool of Zahhak in the Ferdowsi's Shahnameh. This case is depicted in Tahmasp’s Shahnameh paintings and the Scene of Zahak's Hanging is one of the paintings that Seen in it the motif of Cow- head mace.There is a metal Cow- head mace with similar Specifications in the New York Metropolitan Museum. Formal and apparent similarity of the metal case and the image Illustrated has made the research necessary. The purpose of study is to identify the similarities and differences between the Cow- head mace in the Scene of Zahak's Hanging painting and the Metropolitan Museum metal case. The question in the study is: 1. what are the similarities and differences between Cow- head mace Motif in Scene of Zahak's Hanging painting in Tahmasp’s Shahnameh and the Sample No. 36.25.1882 in the Metropolitan Museum? This research has been done by analyzing library and documentary information with a descriptive-analytical and comparative approach. research Case Studies include the Cow- head mace Motif in Scene of Zahak's Hanging paintings of Tahmasp’s Shahnameh and the metal sample of Metropolitan Museum. The results show that the metal mace of Metropolitan Museum has a form similar to the motif of the Cow- head Fereydoun mace in the Scene of Zahak's Hanging painting and it has an iron color and is made of iron and it has golden ornamentation, while the painting mace is golden color. چکیده بیان مسئله گرز گاوسر یکی از ابزارهای جنگی نمادین در داستان‌های اساطیری و وسیلهٔ دستگیری ضحاک در شاهنامهٔ فردوسی است. تصویر این اثر در نگاره‌های شاهنامهٔ طهماسبی ترسیم شده است و صحنه‌ای به دار آویختن ضحاک توسط فریدون یکی از نگاره‌هایی است که نقش گرز گاوسر در آن دیده می‌شود. همچنین گرز گاوسری با مشخصاتی مشابه در موزهٔ متروپولیتن نیویورک وجود دارد که نمونه‌ای عینی از این ابزار جنگی است. وجود شباهت فرم و ظاهری نمونهٔ گرز گاوسر فلزی و تصویر نقش‌شده در نگارهٔ به دار آویختن ضحاک در شاهنامهٔ طهماسبی ضرورت انجام پژوهش حاضر را ایجاب کرده است. هدف پژوهش هدف پژوهش حاضر شناسایی وجوه اشتراک و افتراق گرز گاوسر در نگارهٔ شاهنامهٔ طهماسبی و نمونهٔ موجود در موزهٔ متروپولیتن است. سؤال پژوهش پرسش مطرح‌شده در پژوهش حاضر این است: نقش گرز گاوسر فریدون در نگارهٔ به دار آویختن ضحاک (شاهنامهٔ طهماسبی) و نمونهٔ شماره 1882.25.36 موجود در موزهٔ متروپولیتن نیویورک چه وجوه اشتراک و افتراقی دارند؟ روش پژوهش پژوهش پیشرو با تجزیه و تحلیل اطلاعات کتابخانه‌ای و داده‌های اسنادی و با رویکرد توصیفی-تحلیلی و تطبیقی انجام شده است. نمونه‌های مورد بررسی نیز شامل نقش گرز گاوسر در نگارهٔ به دار آویختن ضحاک از شاهنامهٔ طهماسبی و گرز فلزی موجود در موزهٔ متروپولیتن است. نتیجه‌گیری نتایج نشان می‌دهد نمونهٔ گرز گاوسر موزهٔ متروپولیتن دارای فرمی مشابه با نقش گرز فریدون در نگارهٔ موردنظر است و دارای رنگ و جنس آهنی است و تزئینات طلایی و زراندود دارد، در حالی که گرز ترسیم‌شده در نگاره به رنگ طلایی است. واژگان کلیدی گرز گاوسر، شاهنامهٔ طهماسبی، نگارهٔ به دار آویختن ضحاک، فلزکاری، جنگ‌افزار.

https://www.fhja.ir/article_715814_7e958e33194ecb3e14c7b772b0b4059f.pdf

مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 3 11 2023 02 20 Analysis of "The hero’s subject" in mixed media figurative sculptures of contemporary Iranian artists from Bakhtin's point of view (90s) واکاوی سوژۀ قهرمان در مجسمه‌های فیگوراتیو میکس‌مدیای هنرمندان معاصر ایران از منظر باختین (دهۀ 90 شمسی) 717476 10.30508/fhja.2024.2041576.1191 FA ساناز قنبری دوراهی فارغ التحصیل کارشناسی ارشد پژوهش هنر 0009-0002-4757-5453 علی اکبر جهانگرد استادیار گروه نقاشی، دانشکده هنر و معماری، دانشگاه آزاد اسلامی، واحد شیراز، ایران،شیراز Journal Article 2024 09 21 Abstract "Subject" has always been one of Bakhtin's main concerns. This "subject" finds meaning through its dialogical connection with others. The self-aware subject, when recognized as an integrated entity in the world, will be able to establish a unique and distinct position for itself. From Bakhtin’s perspective, the term “subject” gains meaning through its conversational interaction with others. Inner and other dialogues with oneself and others encompass the conflict between subjects and the inner self of subjects. In the context of the text, the subject is placed in the position of author, protagonist or audience. In fact, the author, in relation to the hero, has distanced himself by adopting an external position and defining himself as a subject from the perspective of an “Other”. In this way, in the process of artistic creation, the author is always influenced by his lived experience when creating works. The subject is always confronted with an ‘Other’ within the context of the text. No text emerges from nowhere. For the subject, there is no independent text. Human life is filled with experiences that intertwine outer boundaries with inner ones; what results from the presence of the Other in relation to the self is a hero that completes the subject’s consciousness. In the contemporary world, where artists use various media to express their ideas, what is significant is the position of the human as a subject and understanding of their lived experience, which gains artistic validity within the artist’s creative universe. Therefore, what is important in the present study is the understanding of the visual components of mixed-media as a distinct medium in contemporary art. Based on these differences, the key components of the author’s experiential index in the formation of an artistic work, as the protagonist, and its confrontation with the author and the subject, will be recognized and explored to investigate the subject in these works. Following contemporary developments, sculptors have created works that reflect their interest in social and everyday relationships through innovation in content and form. In recent decades, Iranian sculptors have passed the borders of the classical media by using and combining the semantic and dialogical types of media to create human figures in the form of the mixed-media. Although contemporary Iranian artists of the 1390s used mixed-media as an appropriate platform to express their viewpoints, sculptures have rarely been researched. Considering what Bakhtin expresses on the subject's position in two systems of the author and the hero and its connection with the other, we have found the answer to the question of how the author emerges in the form of the hero, subjects of the figurative sculptures of the contemporary Iranian artists of the recent decade’s (1390s) mixed-media, and also what is the features and thresholds of the author as an example of the hero in these works? It seems that the artists in these works focused on the body as a medium, in representing the experience of their subjects. The purpose of this research is to find out the concept of the subject in contemporary Iranian mixed-media figurative sculpture works, considering Bakhtin's main components. Based on this, among the works of figurative sculptures by contemporary artists, those that were close to the subject and human aspect were selected. Then, through the analysis of the chosen works, we divided them into two categories: the inner experience of the heroic subject and the outer experience of the heroic subject in relation to the author, considering the Bakhtinian components of “hero” and “author”. Taking these components into account, we qualitatively analyzed them to reach an understanding of the characteristics of the author and the hero in both the inner and outer experiences of the subject. The research findings indicate that the live experiences of the hero subject, through the negotiation of their position in relation to the author, express a distinct event. Furthermore, the hero as a subject, as an aesthetic form, can attain its value and meaning from the author’s perspective. Therefore, the author is considered a part of the hero and their life experience. As a result, by analyzing the works, we come to realize that the relationship between the hero and the author is an undeniable one. The author is an integral part of the hero and their life existence. چکیده بیان مسئله از منظر باختین، «سوژه» به‌واسطهٔ ارتباط گفت‌وگوییش با دیگری معنا می‌یابد. گفت‌وگویی که کشمکش بین سوژه‌ها و درون سوژه‌ها را در برمی‌گیرد. در دههٔ اخیر، برخی از هنرمندان مجسمه‌ساز ایرانی با به‌کارگیری قابلیت معنازایی و گفت‌وگویی انواع مدیا و تلفیق آن‌ها در قالب رسانهٔ میکس مدیا، دست به خلق فیگورهای انسانی زده‌اند. با توجه به آنچه باختین از جایگاه سوژه در دو نظام مؤلف و قهرمان بیان می‌دارد، به نظر می‌رسد هنرمندان در این آثار با تمرکز بر روی بدن، از آن در بازنمایی تجربهٔ سوژگی خویش بهره برده‌اند. بر این اساس، در این مقاله آثار را در دو دستهٔ تجربهٔ بیرونی و درونی سوژهٔ قهرمان در تقابل با مؤلف مورد خطاب قرار داده و به تحلیل آن‌ها می‌پردازیم. هدف پژوهش هدف از این پژوهش آن است که با در نظر گرفتن مؤلفه‌های اصلی باختین، مفهوم سوژه را در آثار موردنظر دریافته و مورد مطالعه قرار دهیم. سؤال پژوهش مؤلف چگونه در قالب سوژه‌های قهرمان در مجسمه‌های فیگوراتیو میکس مدیای معاصر ایران نمود یافته است؟ روش پژوهش گردآوری داده‌ها بر اساس مطالعهٔ کتابخانه‌ای و آرشیوی، روش تحقیق توصیفی-تحلیلی و رویکرد کیفی است. نتیجه‌گیری یافته‌های پژوهش نشان می‌دهد تجربیات زیستۀ سوژهٔ قهرمان با تعویض جایگاه خویش در مواجهه با مؤلف، رخدادی متفاوت را بیان می‌دارد. همچنین، به این نکته پی می‌بریم که رابطهٔ قهرمان و مؤلف، رابطه‌ای غیرقابل‌انکار است. واژگان کلیدی سوژه، مؤلف، باختین، مجسمه‌های فیگوراتیو میکس مدیا، هنرمندان معاصر ایران.

https://www.fhja.ir/article_717476_04ddb9a27c3b6a6f22514cc542327e1d.pdf

مؤسسه آموزش عالی فردوس فردوس هنر 2717-2317 3 11 2023 02 20 Explanation of the epic and lyrical themes in the clothing of the paintings of the Lslamic era( case study; Al Boyeh period “textiles”). تبیین مضامین حماسی و غنایی در البسه ی نگاره های عهد اسلامی (مطالعه موردی: دوره آل بویه «منسوجات»). 717696 10.30508/fhja.2024.2039231.1187 FA غزال حسین پور دانشجوی دکترای تخصصی رشته پژوهش هنر.دانشگاه آزاد اسلامی واحد تهران مرکز Journal Article 2024 08 21 Explanation of the epic and lyrical themes in the clothing of the paintings of the Lslamic era( case study; Al Boyeh period “textiles”). The literature and art of a nation is one of the most important foundations of that nation's culture, which can be very effective for its recognition. The history of Iranian art shows that one of its main sources of inspiration was the rich Persian literature and that there was a close relationship between them. A large part of the works of art were created in continuous exchange with literature. In this regard, an attempt is made to analyze the epic and lyrical themes by focusing on the paintings and analyzing the existing designs on their garments with a qualitative approach, and to answer the following question: To what extent have the epic and lyrical themes in the garments within the paintings during the Islamic period, i.e. Al Boyeh, been explained? It is believed that epic concepts such as exaggeration, simplicity and variety were used in the clothing motifs of this period. The results obtained demonstrate that the structure of the paintings is derived from the concepts visible in them and that there is always an inextricable link between poetry, poet and illustration and the explanation of the elements used is definitely effective when revising the works. Keywords: Al Boyeh, epic and lyrical themes, clothing(garments ), textiles. and again Explanation of the epic and lyrical themes in the clothing of the paintings of the Lslamic era( case study; Al Boyeh period “textiles”). The literature and art of a nation is one of the most important foundations of that nation's culture, which can be very effective for its recognition. The history of Iranian art shows that one of its main sources of inspiration was the rich Persian literature and that there was a close relationship between them. A large part of the works of art were created in continuous exchange with literature. In this regard, an attempt is made to analyze the epic and lyrical themes by focusing on the paintings and analyzing the existing designs on their garments with a qualitative approach, and to answer the following question: To what extent have the epic and lyrical themes in the garments within the paintings during the Islamic period, i.e. Al Boyeh, been explained? It is believed that epic concepts such as exaggeration, simplicity and variety were used in the clothing motifs of this period. The results obtained demonstrate that the structure of the paintings is derived from the concepts visible in them and that there is always an inextricable link between poetry, poet and illustration and the explanation of the elements used is definitely effective when revising the works. Keywords: Al Boyeh, epic and lyrical themes, clothing(garments ), textiles. and again repet that becuse the numbers it wasnt ok for this site Explanation of the epic and lyrical themes in the clothing of the paintings of the Lslamic era( case study; Al Boyeh period “textiles”). The literature and art of a nation is one of the most important foundations of that nation's culture, which can be very effective for its recognition. The history of Iranian art shows that one of its main sources of inspiration was the rich Persian literature and that there was a close relationship between them. A large part of the works of art were created in continuous exchange with literature. In this regard, an attempt is made to analyze the epic and lyrical themes by focusing on the paintings and analyzing the existing designs on their garments with a qualitative approach, and to answer the following question: To what extent have the epic and lyrical themes in the garments within the paintings during the Islamic period, i.e. Al Boyeh, been explained? It is believed that epic concepts such as exaggeration, simplicity and variety were used in the clothing motifs of this period. The results obtained demonstrate that the structure of the paintings is derived from the concepts visible in them and that there is always an inextricable link between poetry, poet and illustration and the explanation of the elements used is definitely effective when revising the works. Keywords: Al Boyeh, epic and lyrical themes, clothing(garments ), textiles. چکیده بیان مسئله از آغاز تاریخ بشری، هنر همواره در خدمت انسان قرار داشته و پیوندی عمیق با دنیای درونی و بیرونی او برقرار کرده است. لباس، که به‌عنوان نزدیک‌ترین عنصر به بدن انسان شناخته می‌شود، تأثیر شگرفی بر هنر و فرهنگ داشته و در عین حال، خود نیز از این دو حوزه تأثیر پذیرفته است. نوع پوشش و لباس افراد نه‌تنها به‌عنوان نشانه‌ای از هویت فرهنگی آن‌ها عمل می‌کند، بلکه همچنین نمایانگر تاریخ زندگی بشر و اندیشه‌های مختلف اقوام در طول زمان است. تحلیل تاریخ پوشاک بدون در نظر گرفتن تمدن‌ها و تاریخ اجتماعی و اعتقادی انسان‌ها میسر نیست. به همین دلیل، ضروری است که نگاهی عمیق به تاریخ سیاسی و اجتماعی بشر داشته باشیم تا بتوانیم تغییرات و تحولات لباس‌های اقوام ایرانی را به‌خوبی درک کنیم. با این رویکرد، می‌توانیم به ارتباطات پیچیده‌ای که میان پوشش، فرهنگ، و هویت‌های اجتماعی وجود دارد، پی ببریم و بفهمیم چگونه این عوامل در شکل‌گیری و تحول هنر و فرهنگ ایرانی نقش ایفا کرده‌اند. هدف پژوهش در این مقاله، با تمرکز بر نگاره‌های موجود و تحلیل کیفی طرح‌های به‌کاررفته در البسه آن‌ها، تاش می‌شود تا مضامین حماسی و غنایی را شناسایی و بررسی کنیم. سؤال پژوهش پرسش اصلی این پژوهش عبارت است از: مضامین حماسی و غنایی چگونه در البسه نگاره‌های دورهٔ اسلامی آلبویه تبیین شده است؟ به نظر می‌رسد که در نقوش البسه آن دوران، مفاهیم حماسی نظیر غلو، اغراق، سادگی و کثرت به‌وضوح قابل مشاهده باشند. روش پژوهش گردآوری داده‌ها در این پژوهش بر مبنای مطالعهٔ کتابخانه‌ای و آرشیوی، روش تحقیق توصیفی-تحلیلی و رویکرد کیفی نتیجه‌گیری نتایج به‌دست‌آمده از این تحقیق نشان می‌دهند که ساختار البسه نگاره‌ها به‌طرز قابل توجهی تحت تأثیر مفاهیمی است که در آن‌ها وجود دارد. این پیوند عمیق و ناگسستنی میان شعر، شاعر و تصویرگری نه‌تنها به غنای آثار هنری می‌افزاید، بلکه در فرآیند بازنگری و تحلیل آثار نیز تأثیر بسزایی دارد. واژگان کلیدی آلبویه، مضامین حماسی، مضامین غنایی، البسه.

https://www.fhja.ir/article_717696_9d28282f9cef1aa6bafd08ebb2333dbb.pdf