The Role of Virtue and Vice in Characters of Hosein Ghollar Aghasi’s works
Farnaz
Geroyani
M. A. student in painting, College of fine arts, Tehran University, Tehran, Iran
author
Adham
Zargham
Ph.D., Assistant Professor, School of Visual Arts, College
of Fine Arts, Tehran University, Tehran.
author
text
article
2014
per
Hosein Ghoullar Aghasi with a symbolic, coherent and simple expression has created eternal invaluable artworks with respect for people’s beliefs, emphasis on moral aspects of good and evil, and maintaining the humane gestures influenced by Ashura event, Imams’ lives, Shahnamah of Firdawsi and description of spiritual concepts. To identify the visual codes of his works’ characters based on virtue and vice, after a partial introduction to teahouse painting, we move on to the general characteristics and features of Ghoullar aghasi's artworks and drawing on illustrations and tables, examine the quality of the presence of good and evil elements in his works. This research is conducted using descriptive- analytical method and library sources. Distinguish between good and evil elements and their fate are finally revealed by particular visual codes apparent in most paintings. For example various visual elements distinguish the icons of good and evil forces. In expressing the characteristics of Imams and heroes, issues such as granting them a unique position, drawing serene and dignified faces and picking colors with positive attributes are considered and in evil characters, exaggerated deformation of faces, choosing colors with relatively negative attributes and depicting their wretched destiny. The opposition of vice and virtue in Aghasi's painting, in addition to a thematic contrast, has found a pictorial effect. All beings, heroes and their enemies play a role of "beauty" because in the tale of cosmos, noting is used but beautiful words.
Negareh Journal
Shahed University
2676-7244
9
v.
30
no.
2014
5
19
https://negareh.shahed.ac.ir/article_152_d12b6fc395c2ca87a7d68135864e5e65.pdf
A Research on Semantic Foundations of Frame in Pre-Islamic Art of Iran
Qolamreza
Hashemi ghasem abadi
Corresponding author, Ph.D. student of Art Research, Art Faculty, Shahed University, Tehran, Iran.
author
Mohammad
Ali Rajabi
Assistant professor, Art Faculty, Shahed University, Tehran, Iran.
author
Mohammad
Khazai
استاد دانشکدۀ هنر و معماری، دانشگاه تربیتمدرس، شهر تهران، استان تهران.
author
Mohammad reza
Riktehgharan
Ph.D, Associate professor, tehran University Tehran, Iran.
author
Mehdi
Poorrezaiyan
Ph.D Assistant professor, Shahed University Tehran, Iran.
author
text
article
2014
per
Frame as an affective element in Iranian art is manifested in the oldest existing art works of Iran and in later periods, with various effects, has continued in Iranian art. The role of frame as a spiritual element in creating a safe sanctum and space far away from invasion of malignant forces, by protecting and maintaining due respect and sanctity of motifs, is remarkable. This paper seeks to answer the following question: what are the latent semantic foundations of frame in the pre-Islamic art of Iran? The purpose of this research is to investigate and identify the main components of the semantic foundations of frame in ancient Iranian art that in addition to the aesthetic aspect of frame, have given it meaning and function. This research uses fundamental theoretical methodology based on goal, descriptive- analytical method, and library sources. Our findings indicate that the need for safe sanctum, security and safety, seeking refuge to good forces and preservation from evil forces, and the idea of reproducing worldly paradises as paradigms of heaven, could be considered as semantic foundations of frame in the pre-Islamic art of Iran.
Negareh Journal
Shahed University
2676-7244
9
v.
30
no.
2014
21
33
https://negareh.shahed.ac.ir/article_153_ed1a57026aad5dafe3d43efb4e9cf907.pdf
A Study on the Evolution of Design, Weaving and Coloring Styles in the Arab- Cherpanlu’s Hand-wovens
Ali Asghar
Shirazi
Ph.D, Assistant Professor, Art Faculty, Shahed University of Tehran, Tehran, Iran.
author
Hesam
Keshavarz
Ph.D. Student, Art and Architecture Faculty, Tarbiat Modares University, Tehran, Iran.
author
text
article
2014
per
From the old times, the sub-tribe of Arab Cherpanlu, which has its summer quarters in Qonqori and Dehbid (two regions in Fars province, southwestern Iran), has joined the Shish-blooki (six-block) sub-tribe of Qashqai tribes since the last hundred years due to the proximity to the Qashqaies in Chahardangeh border. Arab Cherpanlu has a unique carpet weaving tradition. This paper has focused on the evolution of Arab cherpanlu carpets through the descriptive- analytical method to study the design of these hand-wovens in various periods. The research is based on fieldwork and library sources. The results indicated that the Arab Cherpanlu weavers in their hand-wovens, which have Ashkali designs, have experienced four relatively distinct periods: 1. before the 18th century that they lived under the Arab tribe in Qonqori and adhered to its traditions of carpet-weaving such as symmetrical knot type I and dark coloring 2. From the 18th century up to the half of the 19th century, under the influence of the proximity to the Qashqai tribes, they began to use Qashqai-originated motifs 3. ((Transition period)), by the mid 19th century, they joined Qashqai tribe which led to mutual influences. The most important characteristic of this period is the development of the Qashqai-originated qualities among the Cherpanlu weavers 4.During the last ninety years, known in this paper as the Cherpanlu-Qashqai period, a new carpet-weaving tradition is formed among the Cherpanlu weavers based on a combination of new and old traditions.
Negareh Journal
Shahed University
2676-7244
9
v.
30
no.
2014
35
45
https://negareh.shahed.ac.ir/article_154_e9e77898a44b1398825c4a7c868e2952.pdf
Manifestation of Symbols in Armenian Woven Rugs
Arezoo
Soltaninejad
M.A Student, Art research, Art University of Isfahan, Isfahan, Iran.
author
Hamid
Farahmand Boroujeni
Ph.D. Student, Conservation, Faculty member of Art University of Isfahan, Isfahan, Iran.
author
Turaj
Zhole
BS, Carpet Connoisseur and Researcher
author
text
article
2014
per
In carpet studies, Armani-baf (Armenian woven) is an Iranian carpet, woven since the settlement of Armenians in Safavid era Iran by Iranian-Armenians in some local provinces of Iran, preserving the original features of Iranian carpet and influenced by ancient Armenian tradition of carpet weaving. One of the similarities between Iranian and Armenian rugs can be referred to as especial motifs, sometimes called “meaningful designs” or “symbols”. Thus Armani-baf rug has motifs and symbols: from “Water and Dragon” patterns, to “S shaped”, “Cross shaped”, “Eagle” and “Fish” patterns. Considering the lack of adequate research relevant to Armani-baf rugs, the main goal of this paper is to identify the artistic and cultural similarities between two great nations of Iranians and Armenians through introduction and analysis of symbols in Armani-baf rugs; and to reveal the influences of Iranian tradition of carpet weaving on Armani-baf rugs (Armani-baf rugs being considered as Iranian). This paper is based on fieldwork and library sources and uses descriptive- analytical method. Analysis of the symbols led to the conclusion that in this symbolic expression sometimes the purpose of the artist was a mythical or religious concept and sometimes the usefulness of plants or animals was considered. Also, the research shows that Iranian Armani-baf rug is an Iranian rug which is quite influenced by Iranian carpet tradition in its design.
Negareh Journal
Shahed University
2676-7244
9
v.
30
no.
2014
47
61
https://negareh.shahed.ac.ir/article_155_53401c46d499828485386872f99e79ca.pdf
Techniques and Changes of Stucco Decorations in Iranian Architecture from 7th to 9thCentury Hijry Qamari
Atefe
Shekofte
Student in Conservation of historical and cultural artifacts, Art University of Isfahan, Isfahan, Iran.
author
Ahmad
Salehikakhki
Assistant Professor at Art University of Isfahan, Isfahan, Iran.
author
text
article
2014
per
7th to 9thCentury Hijry Qamari is considered a significant period in art history of Iran, during which many arts had undergone notable changes relying on previous era (Seljuk and khwarazmshahian). One of the notable arts in that period was the art of stucco from which many examples have survived. Using plaster in architectural decorations has reaches its zenith during these centuries and have been executed with more projection and more complicated designs. In order to identify stucco decoration techniques and their changes and developments, through observation and investigation using descriptive- analytical method, some of the existing examples have been studied. Building the high relief stucco altars at the the beginning of the 7th century and the bas relief stucco decorations at the end of the 8th century Hijri Qamari led to a significant change in this art and the creation of masterpieces in this period. Stucco decorations in this era are categorizable by the “projection” and the “modeling technique”. On the whole there are eleven techniques for stucco decoration in these centuries from which High Relieve Stucco, Reticulated (Moshabbak), Patchwork Stucco (Vaslehiee) and Gilding are particular characteristics of stucco from7th to 9thCentury Hijry Qamari.
Negareh Journal
Shahed University
2676-7244
9
v.
30
no.
2014
63
81
https://negareh.shahed.ac.ir/article_156_a50772e9542852590b2db6237ef4e5a3.pdf
A Comparative Study of Symbols of Resistance in University Signs of Iran
Ashrafosadat
Mousavilar
PH.D. Associan prof. Art Research Departman of Alzahra University.Iran.Tehran.
author
text
article
2014
per
Have the symbols of “resistance” been used in the contemporary university signs? Basically, what Imagery the issue of resistance can have in the cultural environment of university? University signs in addition to displaying corporate identity in a visual language should reflect the mission against ignorance. In fact the resistance against non-cultural assaults has been a substantial and ongoing task of scientific and academic centers. The purpose of this paper is to identify the symbols of 'resistance' in university signs if Iran in the last three decades. In this research based on library sources and web-based data, 20 samples of signs have been selected and comparatively studied in two groups. First 4 cases of the signs of social cultural institutions with corporate responsibility related to the resistance issue have been selected and the visual characteristics of resistance have been extracted from them. Then following the selection of 17 university signs containing resistance symbols from a Statistical population of more than 74 university signs they were studied. This article uses a descriptive method, statistical analysis and comparison of visual codes in two groups to identify the symbols of resistance. Findings indicate the use of resistance symbols is university signs; so that the most significant symbols of resistance are inspired by the architecture of Iranian Islamic art. The other notable result is the introduction of two major graphical styles in the design of the contemporary signs of Iran, in both of which, the symbols of “resistance” are illustrated in the studied signs with a visual code. A-A “compound- iconic” style with a traditional approach B- An “analytical-abstract” style or movement with modern approach
Negareh Journal
Shahed University
2676-7244
9
v.
30
no.
2014
83
94
https://negareh.shahed.ac.ir/article_157_40ebcaf80667214fb89ef69c60ae0f47.pdf