The Study of Themes and Visual Conventions of Illustrated
Transcription
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Birnie Danzker 3. Paul klee 4. Pablo Picasso 5. Joan Mirro 6. Wifredo Lam 7. Karl Kupca 8. William Rubin 9. Ursula Frederick& Sue O’Conner 10. Helen Gardner 11. Howard Morphy 12. Dream Time or Tjukurrpa ËZfY½MĸÌ^«½Z¼Å{Y§YÁdY¾Ì »ÖËYĸÌ^«Õ|¿ÁZËÂy]YÁÁÕ{Y|mYÄ¿Z¿Ä¯ÖXÌZËÃZ̳,¿Zm˭Totem .˺˼ ,¥Á »Á½Z]»{ÂÖ»Ã{¼Ä¸Ì^«½Z^Æ´¿ÕÁÌ¿{¼¿,¾ÌÀr¼Å|¿Y~³Ö»¹YfuYÁ|ÀÀ¯Ö» 14. Magico Religion 15. Mimi 16. Moam 17. Mamandi 18. Bradshow 19. Arenham land 20. Wurluwurlu 21. X- Ray Painting 22. 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Trocadro 24. Michel Leiris ÀÅÅÁaÊnËÁeÖ¼¸Ä»ZÀ¸§Á{ ½Zf]ZeÁZÆ],ºÆ¿ÃZ¼,ºnÀaµZ 25. god mother 26. Claude Lévi-Strauss (1908-2009) 27. Wandjina 28. Kimberly 29. &LW\*UDI¿WL 30. Perth 31. Ground Art 32. Installation ~yN»Á]ZÀ» ÃZ´¿½YÆe¿½Z]ÕÂnfm{¾ÌËÁ,Z^¯Za ,,ºfÌ]µZZ^ËÕZÅÀÅ,ZÌ·YfY½ZÌ»Â]ÀźZ¯|¼v»,|¿ÂÀu h·Zi½YÆeÀÅÖZÀ½Z¿YZ¿,ÖÅ°§ ,,ºÅ{Z˵Z°¿Â˹ZÌa,ZÅZËQµZ¯,Z°a¯ ÃZ´¿½YÆe,É»Y§Ö¬e|¼v»Ä¼me½Z»~³{Àž¸Å,¿{Z³ Á½YÆeÖ¼neÕZÅÀÅ»²Àŧ\Ì^u,¥Á »ÁËÁa,½Z]» Allan, T. & Fergus, F. (1999). Journeys through Dream Time. London: Duncan Bird Publishers. Birnie Danzker, jo- Anne. (1994). Dreaming Tjukurrpa. Munich.Newyork: Prestel. Blundell, V. and Woolagoodja, D. (2005.). .HHSLQJWKH:DQGMLQDV)UHVK Sam Woolagoodja DQGWKH(QGXULQJ3RZHURI/DODL. Fremantle: Fremantle Arts Centre Press. Ferrier, J. L. (2001). Picasso. Paris: Terrail. )UHGHULFN8DQG2¶&RQQHU6:DQGMLQD*UDI¿WLDQG+HULWDJH The Power and Politics of Enduring Imagery. Humanities Research Vol XV.No. 2. 153- 183. Grey, j. Journals of Two Expeditions of Discovery in North- West and Western Australia during years 1837, 38 and 39/RQGRQ. vol. 2, pp. 54–64. Leiris, M. (1972). :LIUHGR/DP. New York: Abrams. Morphy, H. (1998). Aboriginal Art. Singapore: Phaidon. Rubin, William. ed (1984), Primitivism in 20th Century Art, 2 vols .New York :Museum of Modern Art. Rousseau, jean- jacques (1948), :LIUHGR/DPSHLQWUHFXEDLQ, Presence africaine 4. P591 Ryan, J. and Ackerman, K. (1993). ,PDJHVRI3RZHU$ERULJLQDO$UWRI.LPEHUOH\. Melbourne: National Gallery of Victoria. Stubbs, D. (1974). 3UHKLVWRULF$UWRI$XVWUDOLD. Hongkong: Charles Scribner’s Sons. 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Wichita State University. pp. 143-144. Ame´rigo, M. (2002). A psychological approach to the study of satisfaction. In: Residential Environments: Choice, Satisfaction, and Behavior, Bergin & Garvey, Westport, Connecticut. London, pp. 81–100. Brown, J. B. (1999). 7KH8VHRI)RFXV*URXSVLQ&OLQLFDO5HVHDUFK: Doing Qualitative Research. (2nd ed.). Thousand Oaks: Sage. Morgan, D. L. and Kreuger, R. A. (1993). When to use focus groups and why. In: D. L. Morgan (Ed.), 6XFFHVVIXO)RFXV*URXSV. pp. 2-5. Thousand Oaks: Sage. Siu, K. M. (2005). Pleasurable Products: Public Space Furniture with User Fitness. Journal RI(QJLQHHULQJ'HVLJQ, 16: 545–555. 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Digital Art 5. Technikon 6. Episteme 7. Stephen Wilson 8. Michae Rush 9. Christian Paul 10. Digital Art 11. Bruce Wands µZfÌnË{ÕÀÅZiMÀ˧M{½MÌiPeÁÕÁM¾§ÃZ´ËZmÖ] d¿Öa 12. Jean-Pierre Gueno 13. New Media Art 14. Pascal Dombis 15. Charles Csuri |Z]ÄfY{¶»Z eÕYÄ¿ZËYÕZÄÌ^Ìv»®ËZ]Ze|Å{Ö»½Z°»Y]Z¯Ä]įÖËÁM¾§-Virtual Reality Ö¿ÂfdYcZne©Â¬uÁÖ¿|»©Â¬uÁYm©Â¬u[Z]{Ã{Z»¶»Z,|Äf¿¶]Z]ÃZÖ]Y¼uÂf{Ä]įÖ]Y¼u½Â¿Z« 3 Ä]¦Ë{{½Âf¾ËY{³Y{³¾Ì¿Y«¾f»{Y{Z¨eYf» {Á|uÁdYd·YZ]YÃ|Ë{³®u½MÕÁÖ]Y¼u¾Ì¿Y«į dYÃ|Äf¿ÖzÌ»y Ö¿ZÆmÃ|°Å{¹Âƨ»Ã|ÀÀ¯s»ÁÂf¿ÂeÕYÄ¿ZcZ ·Z»¯»{ZfY-Marshal McLuhan 19. Hyper Text 20. Robert Rauschenberg 21. Billy Klüver ÌÀeÕZ]|Y³] ^f¯Y{Ä¿Zy{Y²ÀŽZ¼fyZ{ÂËÂ̿֫ĸv»{Ö|ÀÆ»ÁeZXe\Ä4¿{YMÄ « ÕZžÌ]Á{ĸÌÁÄ]ËÁZeÁÃ|^Ö]ÂyÄ]ÌÀe ÕZÅd¯YÕY|Z¿Z¯Ö¼Ì»ÕYħuÕZ]ÌÀeÁZ¬¿ÕÔfY®¿Y§¾Ì] |¿|»M{ËZ¼¿Ä]»«½Á{Z» 23. Experiments in art and technology 37. David Em 24. John Cage 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 25. Mercy Cunningham 26. Variation SV 27. Stan Vanderbeek 28. Robert Whitman 29. Joan Jonas 30. Carulli shinman 31. Snows 32. Clement Greenberg 33. counter avant garde 34. Marcel Duchamp 35. Walter Benjamin (1892-1940) 36. Jack Youngerman Lillian , F. Schwarz Barbara Nessim Edward Zajec Tom Dewitt Edmond Couchot Annie Luciani Jeffrey Shaw Norman Whait Peter Weibel Mantra Mala Hora The Legible City ~yN»Á]ZÀ» ÀÅÅÁaÊnËÁeÖ¼¸Ä»ZÀ¸§Á{ ½Zf]ZeÁZÆ],ºÆ¿ÃZ¼,ºnÀaµZ ,ÀÅÄ»ZÀ¸§,ÕeÂÌb»Z¯ÀÅZÌÆ»,ÖËZ«M ļq½YÆe,ZÌ¿ÅZÔÌÆļmeÀÅÁº¸½ZÌ·Y,±]YfY |Ë|mÀÅÁ½|Ö¿ZÆmºfÌ]½«ÕÀÅÕZÅ^Àm¾ËyMÕZÅ{°ËÁÁºÌÅZ¨»Ö·,d̼Y ¿½YÆe,}M̼Z̸ļme ¯»½YÆeÕ·ÂÀ°eĨ¸§ÂaZ,{Z¼fY ,ÕÀÅÃÂuÄ]Äf]YÁ[ZÀÌ],|Ë|mÕZÅÄ¿ZÁÕY|Ë{ÀÅ{ÕÁZÀ§Ä¼Z§,ÖY¬] ,Ö]YZ§Ä»ZÀ¸§,Ö°Ì¿Z°»Ìj°e{ÀÅf·YÁ,¾Ì»ZÌÀ] ,ÀÅÄ»ZÀ¸§,{Y¿Ö·Á½ZÆ̯ļme,®Ì¿Áf°·YÀÅÕZÅ{ZÌÀ]®¿Y§,aÂa ¿½YÆe,¾ÁZfÌ]ļmeºfÌ]½«ÀÅ{¾Ë¿ÕZÅÄ¿Z¶°ËZ»,Y Ä ·Z»½Z»Z½YÆeºÌ¿|»daZeÁ¿MY[£Z »ÖZ¬¿xËZe]ÕÁ»ZËa,ÖÀËÁ«{Z d¼ZÅÃZ´¿Y{Ö¿Z¿Y¹Â¸\f¯¾ËÁ|eÁ ¹Z¼ÅÀŽZuY½ZƨYµZfÌnË{ÀÅÔYÌ»YÁ¥Z,Ö¸Ë| ¾¸³½YÆe,©YYÂeaļme{Z´¿YÁM½Âf¸ÌÅ,»Y¯ ,Ö¿Y|uÁÄ̻ļme|Ë|mÕZÅÄ¿Z{µZfÌnË{ÕZŲÀŧ¾ÌeZ»,½ÂfËÁÁ¾Ì¸³,^˯ Ö«Z½YÆe ,[ZÀÌ],Õ{Z]ZƻջZָļme,Ö·ZfÌnË{ÕZÌ¿{ËÂeËÖa/½Y,¾W³ ,Á[ZÀÌ]Ä»ZÀÅZ»Á{,ÀÅ{|Ë|mÕZÅÕÁM¾§YZ,¾Ì¸aZqÁY½Zm,¯YÁ ƻýYÆe,Õ{¬»Ö¸|¼v»Á{Y¿ºÌ¬»Õ|ƻļmeµZfÌnË{{ÀÅ Á],|¿Á Wilson, S. (2002).,QIRUPDWLRQ$UWV,QWHUVHFWLRQVRI$UW6FLHQFHDQG7HFKQRORJ\. San Francisco State University MIT Press: MIT Press. http//:en.wikipedia.org/wiki/File:Dombis_1687.jpg (access date: 2013/4/10) http://www.dataisnature.com/?p=273(access date: 2013/5/2) http://www.davidem.com/01_art/3_artifacts/artifacts.html (access date: 2013/3/23) http://www.jeffrey-shaw.net/html_main/frameset-works.php (access date: 2013/3/23) 5H]D*KDIRXUL6DUEDQJKROL$EEDV$NEDUL Abstract 'XHWRLQFUHDVLQJGHYHORSPHQWVDQGKLJKVSHHGLQWKHZRUOGRIWHFKQRORJ\WKHFRQÀLFW between art and technology has begun to increase in recent decades. The huge differences between the worlds of technology and arts have led to a great shift in the nature of art and artistic endeavors. On the other hand, we cannot ignore the positive effects of technology on artists and their products. In addition, the computerized effects and specially designing VRIWZDUHVIRUHGLWLQJSLFWXUHVKDYHWKHLURZQSODFHDQGVLJQL¿FDQFHKHOSLQJWHFKQLFLDQV to a great deal that we cannot simply evaluate them negatively on this matter. With the advent of computer and its use in art, we are now looking forward to the evolution of art. Using computer, artists can create something that was not possible before. Digital DUWKDVQRWRQO\H[SDQGHGWKHGH¿QLWLRQRIDUWEXWDOVRLQFUHDVHGWKHDFFHVVLELOLW\RIDUW to the world. However, technology with its own attraction is regarded as one of the main steps in reaching expertise in artistic domains, making digital world the main opponent of traditional arts. Applying descriptive-analytical method and gathering data via library VRXUFHVWKLVVWXG\DLPVWRGH¿QHGLJLWDODUWVDVRQHRIWKHQHZDUWVLQFRQWHPSRUDU\DJH DQGH[SORUHWKHLQWHUDFWLRQRIWKHVHWZRGLVWLQFW¿HOGVLHWHFKQRORJ\DQGDUWVLQUHFHQW GHFDGHV7KH¿QGLQJVVKRZWKDWGLJLWDOZRUOGKDYHVXLWDEOHDQGXQLTXHIHDWXUHVIRUDUW and artists. Using digital products is by no means problematic provided that the artist maintains the authenticity in his digital works of art. There is a possibility of using digital media to produce more attractive artwork. Keywords: technology, digital art, computerized arts, interactions between art and technology * MA, University of Kashan ** Assistant Professor, School of Art and Architecture, University of Kashan Vol.4.No.8. Fall & Winter 2014-2015 $Q,QYHVWLJDWLRQRIWKH8VHRI7HFKQRORJ\DQGLWV,PSDFWRQ WKH&UHDWLRQRI'LJLWDO$UWZRUNV Pazhuhesh-e Honar (Biannual) Received: 2014/04/08 Accepted: 2015/03/11 8 7 Vol.4.No.8. Fall & Winter 2014-2015 Pazhuhesh-e Honar (Biannual) Received: 2015/01/17 Accepted: 2015/03/11 $&RPSDUDWLYH6WXG\RI'LVFRYHUHG6WXFFRHV¶'HVLJQV in Seymare Historical City with 6DPSOHVRI-DPH¶0RVTXHLQ1DLQ´ +DVKHP+RVVHLQL<RXQHV<RXVHIYDQG)DUVKDG0LUL Abstract As the closest area in current Iran to Ctesiphon, the capital of Sassanids in Mesopotamia, Seymare city is considered as one of the most important cities of early Islam in the southwestern region of Iran. According to historical texts and archaeological excavations, the OLIHRIWKLVFLW\ZDVVKRUW$PRQJVWWKHPRVWLPSRUWDQWDUFKDHRORJLFDO¿QGLQJVRIWKLV city are stucco decorations as rare examples of this art in early Islamic period regarding visual aesthetics, composition of motifs, geometrical and plant designs. The necessity RIFRQVLGHULQJWKLVLVVXHLVMXVWL¿DEOHZLWKUHJDUGWRWKHLPSRUWDQFHRIWKHVHVWXFFRHVLQ the context of transferring the artistic achievements of Sassanid period to Islamic period; especially in relation to decorative designs used in this art and also determining the more precise date of building this city which is one of the main aims of this study. This paper is based on library studies and accurate observation and investigation of discovered stuccoes from the so-called Seymare mosque and comparing them with stuccoes of Jame’ 0RVTXHLQ1DLQZKLFKKDVRQHRIWKHPRVWVLJQL¿FDQWH[DPSOHVRIVWXFFREHORQJLQJWR early centuries of Islam in Iran. This study raises the following question: how much have WKH GHVLJQV RI 6H\PDUH VWXFFR EHHQ LQÀXHQFHG TXDQWLWDWLYHO\ DQG TXDOLWDWLYHO\ E\ WKH environment and the art of previous times? This study shows that the stuccoes of these two areas have many similarities in terms of motifs and composition of geometric and plant designs. Thus, regarding historical precedence of discovered samples in the city of 6H\PDUHSUREDEO\WKH\KDYHLQÀXHQFHGRWKHU,UDQLDQEXLOGLQJVOLNHWKH-DPH¶PRVTXH of Nain. Keywords: stucco, early Islam, Seymare, Jame’ mosque of Nain * Assistant Professor, Faculty of Restoration, Art University of Isfahan ** MA, Mohaghegh Ardebili University *** MA, Art University of Isfahan 5H]D3DVLDQ.DPDUL+DVDQ5DMDEDOL0RKDPPDGUH]D5DYDQGH Abstract The concept of satisfaction points to a wide range of tendencies and desires for satisfying basic and transcendental needs of human. The aim of this paper is to assess users’ satisfaction with employing Iranian motifs in home furniture in order to analyze the ideas and preferences of citizens in acceptability of designed furniture. Therefore, this study raises the following questions: how much is the satisfaction of users with using Iranian motifs in home furniture and how do different factors affect users’ satisfaction? Due to this aim, current research uses mixed method of research (qualitative and quantitative) based on the interpretive system of inquiry that covers different areas of satisfaction assessment. Thus, after primary study, qualitative data was gathered through focus groups and then questionnaire was developed based on the results of gathered information. Also, Kanasei model was selected as the suitable model for determining users’ preferences and feelings. The statistical population which is divided into experts and citizens comprises 284 cases calculated by Cochran formula and 0.05 error rate. The data was analyzed by SPSS19 software. The results of this study show that the average of citizens’ satisfaction with Iranian motifs is 3.33 which is upper than medium. Furthermore, correlations of satisfaction’s factors based on regression analysis indicate that effective factors on satisfaction are respectively 1) nationalism morale, 2) respectability of motifs, 3) affecting the existent diversity of market and, 4) beauty. The reliability of the questionnaire was tested by Cronbach’s alpha which indicates moderate reliability (0.76). Hence, the main question of this research, i.e. the level of citizens’ satisfaction with using Iranian motifs in home furniture, was answered and the effect of different factors on it was determined. Keywords: satisfaction, furniture, Iranian motifs, Kansei model * PhD Candidate, ICAS University, Tehran ** MSc, Art University of Isfahan *** MA, Art University of Isfahan Vol.4.No.8. Fall & Winter 2014-2015 $VVHVVPHQWRI8VHUV¶6DWLVIDFWLRQZLWK8VLQJ,UDQLDQ0RWLIVLQ +RPH)XUQLWXUHEDVHGRQ.DQDVHL0RGHORI6DWLVIDFWLRQ Pazhuhesh-e Honar (Biannual) Received: 2014/07/18 Accepted: 2015/03/11 6 5 Vol.4.No.8. Fall & Winter 2014-2015 Pazhuhesh-e Honar (Biannual) Received: 2014/06/24 Accepted: 2015/03/11 $Q,QYHVWLJDWLRQRIWKH(IIHFWRI0XVLFRQ0HQWDO+HDOWK and Happiness 0DU]LHK2UYDW\$]L] Abstract The aim of this study is to investigate the stable effect of music on mental health and evaluate simultaneous usage of music and other therapeutic methods for enhancing mental health. This research is amongst causal-comparative researches which employs Independent T, ANOVA and Pearson’s correlation for analyzing data. The statistical population of this study includes artists in the area of music (singers, players and composers) and common people. Thus, using simple random sampling, from among music art schools for girls and boys in Tehran and music unit of IRIB, 78 artists and, from common people, 70 persons were selected. For gathering data Mental Health and Happiness questionnaires were used. The results of this study show that music and style RIPXVLFKDYHVLJQL¿FDQWHIIHFWRQKDSSLQHVVDQGWKHUHLVFRUUHODWLRQEHWZHHQKDSSLQHVV DQG PHQWDO KHDOWK EXW PXVLF DQG VW\OH RI PXVLF KDYH QR VLJQL¿FDQW HIIHFW RQ PHQWDO health. Therefore, in addition to short-term effect, music can have long-term effect and lead to more happiness in people and increase their mental health. Keywords: happiness, mental health, music * PhD Candidate, Alzahra University, Tehran 0RKDPDGMDYDG6D¿DQ0DU\DP7DOHEL Abstract Existence philosophy refers to those philosophies the subjects of which are humanistic special existence and their problems are humanistic concerns, especially modern human. The issues like suffering, homelessness, loneliness, death, authority, etc are the most fundamental subjects worth thinking on the part of existence philosophers. ([LVWHQFH SKLORVRSK\ HQWHUHG LQWR WKH ¿HOG RI PRYLHV JUDGXDOO\ DQG LW OHG WR WKH production of some movies with philosophic content among which the works of Bergman, D6ZHGLVK¿OPPDNHUFDQEHPHQWLRQHG Accordingly, the main question of this research is how Bergman has been affected in his works by the thoughts of existence philosophers. The objective of this study is to prove the presence of existentialist themes in Bergman works and explain and interpret such themes in the light of existence philosophers’ thoughts. The applied method in this study is analytical-comparative and data collection has been done via library sources. The results of this study imply that several existentialist themes such as suspicion and faith, god’s silence, relationship with the other, death and fear awareness, church criticism and responsibility are evident in Bergman’s works which LQGLFDWHVWKHLQÀXHQFHRIH[LVWHQFHSKLORVRSKHUVRQKLP Keywords: philosophy, movie, existence, Ingmar Bergman, fear awareness * Associate Professor, School of Letters and Humanities, University of Isfahan ** MA, School of Letters and Humanities, University of Isfahan Vol.4.No.8. Fall & Winter 2014-2015 7KH$QDO\VLV RI ([LVWHQWLDOLVW 7KHPHV LQ ,QJPDU %HUJPDQ¶V&LQHPD Pazhuhesh-e Honar (Biannual) Received: 2014/10/17 Accepted: 2015/03/11 4 3 Vol.4.No.8. Fall & Winter 2014-2015 Pazhuhesh-e Honar (Biannual) Received: 2014/12/17 Accepted: 2015/03/11 7KH&RPSDUDWLYH6WXG\RIWKH6WUXFWXUHRI7ZR&KDOLSDVE\0LU (PDG$OKDVVDQL6HL¿4D]YLQLDQG0RKDPPDG$VVDG$O\DVVDUL 0HKUQRXVK6KD¿HL6DUDUXGL1RXURGLQ.DUDPL Abstract Mir Emad Alhassani is one of the greatest calligraphers in Iran who elevated Iranian Nastaliq calligraphy to such a high degree that he is considered as the most remarkable Nastaliq calligrapher in the history of this art. Mohammad Assad Alyassari is a wellNQRZQ 7XUNLVK FDOOLJUDSKHU ZKR KDV EHHQ PRVWO\ XQGHU WKH LQÀXHQFH RI WKLV ,UDQLDQ artist and his works enjoy a close similarity to the works of the Iranian artist so that one may sometimes be confused in distinguishing their works. Investigating several works of Mohammad Assad Alyassari, it seems that complete copy has been made from the works of Mir Emad. In this article, two chalipa works of these artists which have a close similarity are studied. It is attempted that the applied rules in creating these two works are extracted according to seemingly evidence. This research is an applied one which has been done descriptively. Data collection has been done via library method and its analysis is qualitative. Since, in a chalipa work, important points and rules are hidden in WKHVWUXFWXUHWKHLGHQWL¿FDWLRQRIWKLVVWUXFWXUHFDQKHOSWRH[WUDFWFRUUHFWLQIRUPDWLRQ from Chalipa and Nastaliq calligraphy. In this regard, by comparing these two works, the ZULWLQJPHWKRGVRIWKHVHWZRPDVWHUVDUHLGHQWL¿HGDQGGXHWRFKURQRORJLFDOGLIIHUHQFHV between the two works and their performance, the present similarities and differences between them can be considered. Keywords: calligraphy, chalipa, structure of calligraphy, composition, geometry in calligraphy, Mir Emad Alhasani Qazvini, Mohamad Asad Alyassari * Assistant Professor, School of Handicrafts, Art University of Isfahan ** MA, School of Handicrafts, Art University of Isfahan 7KH,QÀXHQFHVRI5RFN6SLULWVRI$XVWUDOLDQ$ERULJLQHVRQWKH :RUNVRI0RGHUQ(XURSHDQ$UWLVWVDQG&RQWHPSRUDU\8UEDQ *UDI¿WLHVRI$XVWUDOLD =DKUD%DQNL]DGHK.RXURV6DPDQLDQ Abstract 7KLVDUWLFOHH[SORUHVWKHSUREDEOHLQÀXHQFHVRIURFNVSLULWVRI$XVWUDOLDQ$ERULJLQHVRQ PRGHUQ(XURSHDQDUWLVWVLQHDUO\WKFHQWXU\DQGXUEDQJUDI¿WLVW\OHLQHDUO\VWFHQWXU\ The main aim is to reveal the similarities and differences between such petroglyphs and modern art. Thus, reviewing the studies on rock art of Australian Aborigines, we ask if WKHVH URFN VSLULWV KDYH DQ\ LQÀXHQFH RQ WKH FUHDWLYLW\ RI PRGHUQ (XURSHDQ DUWLVWV DQG FRQWHPSRUDU\$XVWUDOLDQXUEDQJUD¿WWLHVDQGLIWKH\DUHDZDUHRIUHOLJLRXVFKDUDFWHULVWLFV of these paintings. Attempts have been made to examine Australian Aborigine’s rock art DQG FRPSDUH VXFK DUW ZLWK FRQWHPSRUDU\$XVWUDOLDQ XUEDQ JUDI¿WLHV DQG WKH ZRUNV RI modern European artists. Rock art of Australian Aborigines were formed according to the mythological believes and ritual-religious ceremonies of the Dream Time. Dream Time refers to the time when the world was created by the souls of ancestors. When ancestors were creating the world they drew pictures of the spirits on the rocks. Aborigines restored WKH¿UVWFUHDWLYHHQHUJ\RIWKHLUDQFHVWRUVWKURXJKULWXDOV8UEDQJUDI¿WLDUWLVWVDOVRIRXQGD very deep connection between themselves and unknown artists who painted their ancestor spirits on the rocks thousands years ago. Rock spirits of Wandjina was one of the main issues in this regard. In addition to formal effects, they represented these rock spirits in a creative way. Works of modern European artists show evidently some similarities with Australian rock spirits; for example, Moam rock spirits and X-ray painting can be observed in the works of Picasso, Klee, Vifredo Lam and Mirro, although there is no decisive evidence for it. According to different evidence, in early 20th century modern European artists who got tired of old fashioned patterns of classic art revived ancient arts in order WR¿QGQHZZD\VRIFUHDWLYLW\5RFNDUWRI$XVWUDOLDQ$ERULJLQHVFDQEHFRQVLGHUHGDV RQHRIWKHQHZEDVHVIRUWKHLUFUHDWLYLW\7KH¿QGLQJVRIWKHUHVHDUFKVKRZWKDWDOWKRXJK $XVWUDOLDQURFNDUWV$XVWUDOLDQXUEDQJUDI¿WLDQGZRUNVRIPRGHUQ(XURSHDQDUWLVWVKDYH some formal similarities, they are different due to differences in time, place and cultural views. This paper is a library research and employs an analytic-descriptive method. Keywords: Australian Aborigines, rock spirits, modern artists, urban JUDI¿WL * MA, Alzahra University ** Assistant Professor, Art University of Tehran Vol.4.No.8. Fall & Winter 2014-2015 ﺗﻐﻴري ﻳﺎﺑﺪ2015/01/11 ﺗﺎرﻳﺦ درﻳﺎﻓﺖ ﺑﻪ Pazhuhesh-e Honar (Biannual) Received: 2015/01/11 Accepted: 2015/03/11 2 1 Vol.4.No.8. Fall & Winter 2014-2015 Pazhuhesh-e Honar (Biannual) Received: 2015/01/05/ Accepted: 2015/03/11 7KH 6WXG\ RI 7KHPHV DQG 9LVXDO &RQYHQWLRQV RI ,OOXVWUDWHG /LWKRJUDSK\DQG&DIH3DLQWLQJRI4DMDU7LPH 0DKLQ6RKUDEL(IDW$JKDEDEDHLDQ Abstract Illustrated lithography and cafe painting are the artistic genres related to the Qajar time which resulted from political and social developments and egression of artists from court monopoly and entering of art and artistic works in the public. This time, visualization was carried out according to the new method and artistic facilities and, as always, in connection with Persian classic literature. Their themes were religious and epic themes and, sometimes, romances that showed the taste and beliefs of the public. Using comparativeanalytical method, this paper investigates the themes and visual conventions of a number of samples of available artworks in order to understand the visual characteristics of illustrated lithography and the cafe painting and their relationship. Moreover, it tries to answer the following questions: What similarities and differences are there between these WZRW\SHVRISDLQWLQJDQGKRZGLGWKH\LQÀXHQFHHDFKRWKHU" The attempts of this paper to study comparatively the themes and images in lithography and cafe painting of Qajar time and how cafe painting affected lithography works led to the conclusion that inspiration source of both kinds of painters in Qajar time was the same and the distribution and prevalence of lithography works is one of the factors which triggered the development of visual arts in the middle of Qajar reign because other artists FRXOGDFFHVVVXFKZRUNVHDVLO\DQGWKH\LQÀXHQFHGPDQ\DUWVOLNHFDIpSDLQWLQJLQVSLWHRI different style, manner of implementation and technical tools via content proximity and, consequently, common visual elements. The pictures of lithography works and compared paintings are outstanding samples WKDWREYLRXVO\SURYHWKHLQÀXHQFHRIOLWKRJUDSK\ZRUNV¶YLVXDOL]DWLRQPHWKRGVRQFDIH painting. This study is descriptive-analytical regarding nature and method, and data gathering has been done via library, documental (visual) and observational methods. Keywords: themes and visual conventions, illustrated lithography, cafe painting, Qajar art * Assistant Professor, School of Art, Alzahra University ** MA, Alzahra University Contents 7KH6WXG\RI7KHPHVDQG9LVXDO&RQYHQWLRQVRI,OOXVWUDWHG /LWKRJUDSK\DQG&DIH3DLQWLQJRI4DMDU7LPH................. 1 Mahin Sohrabi, Efat Aghababaeian 7KH,QÀXHQFHVRI5RFN6SLULWVRI$XVWUDOLDQ$ERULJLQHVRQ WKH:RUNVRI0RGHUQ(XURSHDQ$UWLVWVDQG&RQWHPSRUDU\ 8UEDQ*UDI¿WLHVRI$XVWUDOLD ............................................ 15 Zahra Bankizadeh, Kouros Samanian 7KH&RPSDUDWLYH6WXG\RIWKH6WUXFWXUHRI7ZR&KDOLSDV E\ 0LU (PDG $OKDVVDQL 6HL¿ 4D]YLQL DQG 0RKDPPDG Assad Alyassari ................................................................. 27 0HKUQRXVK6KD¿HL6DUDUXGL1RXURGLQ.DUDPL 7KH$QDO\VLVRI([LVWHQWLDOLVW7KHPHVLQ,QJPDU%HUJPDQ¶V Cinema ............................................................................... 37 0RKDPDGMDYDG6D¿DQ0DU\DP7DOHEL $Q,QYHVWLJDWLRQRIWKH(IIHFWRI0XVLFRQ0HQWDO+HDOWK and Happiness ................................................................... 47 Marzieh Orvaty Aziz $VVHVVPHQW RI 8VHUV¶ 6DWLVIDFWLRQ ZLWK 8VLQJ ,UDQLDQ 0RWLIV LQ +RPH )XUQLWXUH EDVHG RQ .DQDVHL 0RGHO RI 6DWLVIDFWLRQ ........................................................................ 59 Reza Pasian Kamari, Hasan Rajabali, Mohammadreza Ravande $&RPSDUDWLYH6WXG\RI'LVFRYHUHG6WXFFRHV¶'HVLJQVLQ 6H\PDUH+LVWRULFDO&LW\ZLWK6DPSOHVRI-DPH¶0RVTXHLQ 1DLQ´ .................................................................................. 71 Hashem Hosseini, Younes Yousefvand, Farshad Miri $Q,QYHVWLJDWLRQRIWKH8VHRI7HFKQRORJ\DQGLWV,PSDFW RQWKH&UHDWLRQRI'LJLWDO$UWZRUNV ................................. 87 Ranna Ghafouri Sarbangholi, Abbas Akbari 6FLHQWL¿F-RXUQDORI 3D]KXKHVKH+RQDU %LDQQXDO 5HVHDUFKRI$UW Vol.4.No.8. Fall & Winter 2014-2015 Concessionaire: Art University of Isfahan Editor-in-charge: Farhang Mozaffar (Assoc. Prof.) (GLWRULQFKLHI: Mehdi Hosseini (Professor) (GLWRULDO%RDUG (in alphabetical order) Eisa Hojjat $VVRF3URIHVVRU3DUGLVRI¿QH$UWV Tehran University Mehdi Hosseini Professor, Art University of Tehran $VTKDU-DYDQL Assis. Professor, Art University of Isfahan Mohammad Masoud Assis. Professor, Art University of Isfahan $IVDQHK1D]HUL Assis. Professor, Art University of Isfahan Parvin Partovi Assoc. Professor, Art University of Tehran -DODOHGLQ6ROWDQ.DVKH¿ Assoc. Professor, Art University of Tehran $OL<DUDQ Assoc. Professor, Ministry of Science, Research and Technology *HQHUDO(GLWRUSharbanou Kameli Coordinator: Bahareh Navidzadeh /RJRW\SH Hamid Farahmnad Boroojeni Cover designing: Afsaneh Nazeri *UDSKLFGHVLJQHU Sam Azarm Persian editor: Bahare Abasi Abdoli English editor: Ehsan Golahmar /D\RXW Somayeh Faregh 5HIHUHHVDQGContributors Alireza Ajdare (Ph.D.) Mohammadreza Azadehfar (Ph.D.) Mohammad Balandeh (Ph.D.) Esmael Baniardalan (Ph.D.) Vahid Choupankareh (Ph.D.) Sahar Ettehad Mohkam (Ph.D. Candidat.) Marzieh Piravi Vanak (Ph.D.) Mehdi Hosseini (Ph.D.) Asqar Javani (Ph.D.) Farhad Khosravi-bijaem (Ph.D. Candidat) Hamidreza Qelichkhani (Ph.D.) Ladan Rahbari (Ph.D. Candidat.) Mohammad Razzaqi (Ph.D.) 0HKUQRXVK6KD¿H3K' Mohammad Shahbazi (Ph.D.) Nader Shaiqanfar (Ph.D.) Bahar Mokhtarian (Ph.D.) Farnam Moradinejad (Ph.D. Candidat) ([HFXWLYH Coordinator Naser Jafarnia Note: Address: Journal of Pazhuhesh-e Honar. No. 17, Pardis Alley, Chahar Bagh Paeen St. Isfahan, Iran. Art University of Isfahan x The author(s) is responsible for views, statements and ideas expressed in papers. x No part of the papers in this journal may be published elsewhere without being referred to this journal. Postal code: 8148633661 Phone: (+9831) 34460755-34460328 )D[(+9831) 34460909 E-mail: [email protected] Website: http://ph.aui.ac.ir ISSN: 2345-3834 This journal is indexed and abstracted in the following databases: - ISC (Islamic World Science Citation Database) 6,'6FLHQWL¿F,QIRUPDWLRQ'DWDEDVH - Magiran - Noormags (Noor Specialized Magazines) The subjects of articles include researches in the fields of Visual Arts, Architecture and Urban Design, Restoration, Industrial Design, and interdisciplinary researches. Instructions for Contributors 6FLHQWL¿F-RXUQDORI3D]KXKHVKH+RQDU%LDQQXDO The biannual journal of Research of Art accepts and publishes papers in visual arts, architecture and urbanization, conservation and restoration, industrial GHVLJQLQJ ¿HOGV DV ZHOO DV DOO UHODWHG LQWHUGLVFLSOLQDU\ subjects. - Papers should be original and comprise previously unpublished materials, as well as not being currently under review for publication elsewhere. - Manuscripts must be written in Persian language. - The papers will be published after being reviewed and evaluated by reviewers and editorial board. - The author(s) is responsible for views, statements and ideas expressed in their paper. - The journal has the authority to accept or reject the papers. Received paper will not be returned. - No part of the published papers in this journal may be published elsewhere without being referred to this journal. - The papers should be a research work done by the authors(s). Review papers will be accepted provided that various authentic references have been used and the journal will not publish the research reports and notes. - For submitting the article, go to the website of the journal (http://ph.aui.ac.ir) and register your article. 7KH OHWWHU RI SXEOLFDWLRQ UHTXHVW DQG FRQ¿UPDWLRQ letter by supervisor professor and co-author should be submitted with the article (these letters can be downloaded from the journal website). Preparation of Manuscript Cover Page The cover page, separated from the manuscript and unnumbered, must include: title (which should be brief and HPSKDVL]HWKHVXEMHFWWKHQDPHVRIDXWKRUVVFLHQWL¿F DI¿OLDWLRQDQGFRUUHVSRQGLQJDXWKRUV¶DGGUHVVSRVWDO address, phone and fax numbers and e-mail). Abstract Abstract, written in a separate page and in Persian and not exceed 300 words, should include research question, objectives, methodology, major results and conclusion. The English abstract should be a complete translation of Persian abstract and be placed at the end of paper in the same format. Keywords Keywords should be separated by comma and not exceed 5 words. They should include words that best describe the topic. Introduction This part must include the research question, hypothesis and general idea of the paper as well as literature review. Research methodology Paper’s main body This part should include the research’s theoretical principles, studies, investigations and results. Conclusion The research conclusion should include a brief summary of research subject and answer the research question(s) in a logical way. Acknowledgement (optional) $FNQRZOHGJHPHQWPXVWEHEULHIDQGFRQ¿QHGWRSHUVRQV RURUJDQL]DWLRQVWKDWKDYHPDGHVLJQL¿FDQWFRQWULEXWLRQV Endnotes Endnotes (including foreign words, expressions and remarks) must be numbered in the text using brackets and ¿QDOO\SODFHGDWWKHHQGLQDOSKDEHWLFDORUGHU References All references cited in the text must be listed at the end of the paper. References should follow the below style: - In paper: (Author’s surname, year of publication: page number). ,QSDSHU¶V¿QDOUHIHUHQFH Books: author’s surname, author’s name (year of publication). book title. Volume. translator’s name, city name: publisher. Papers: author’s surname, author’s name (year of publication). paper title. MRXUQDO¶VWLWOH. volume (number), page number(s). Electronic documents: author’s surname, author’s name (date). Title of document.Full electronic address. Access date. ,Q(QJOLVKUHIHUHQFHVLQVWHDGRIDXWKRUVQDPHWKH¿UVW letter(s) of his/her name and middle name is mentioned. ,OOXVWUDWLRQV¿JXUHVDQGWDEOHV Illustrations in appropriate quality (provided with at least 300 dpi in jpg format) should be inserted at nearest place to related text with their reference including the author’s name, year of publication and page number which must be placed at the bottom left of it. All illustrations must be numbered in the order to which they are referred to in the text. The table captions must be placed at the top of the table DQGWKH¿JXUHVFDSWLRQVPXVWEHSODFHGDWWKHERWWRPRIWKH ¿JXUHV Submission The text must be typed in word 2007 (font: B-Nazanin (downloadable from the site), size 12 for Persian version and font: Times New Roman, size 11 for English version), in maximum 15 pages. The paper manuscripts must be sent to journal email address in an attached folder including all necessary parts, with subject part named “NEW”. If the received paper manuscript doesn’t follow the instruction, the journal has the right to reject it. For more information about extensive writing method of the journal please visit our website. In The Name Of God
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