ضمیر پنهان در طلسم‌ها و تأثیر آن در هنر گرافیک معاصر ایران مبتنی بر نظریة‌ یونگ

With regard to the problem statement, graphic design in the contemporary (postmodern) era is unbridled and pale, and what prevails is the desire for diversity and production, because designers are looking for work and production without considering the theoretical principles or observing the components of a single style. Although designers are often inspired by cognitive and attitudinal stylistic trends at the level of popular culture, they rarely advance their works based on theory. As a result, contemporary graphic design often appears as a consumerist style. The first nuclei of culture were born in this period of human life and a kind of primitive religion of animism - belief in the existence of life in solids - sparked in man, but it was still far from religion. This made people believe in the supernatural. In a way, the reflection of the human brain provided the basis for the birth and growth of supernatural power, magic and spells. In short, a spell is a combination of active heavenly forces with inactive earthly forces at the right time, so that it repels or dissolves them. Perhaps the patterns of magic and spells that exist today have their roots in that period - the Paleolithic Age. With the passage of time and the development of spells, the people of this art used motifs and signs in spells that contained messages and graphic documents in today's language and science. With the passage of time, modern man removed the talisman to some extent from his daily life and used it as a symbol of past memories. Graphics is an endless way and needs new ideas to be sustainable in the modern world. In this essay, the forgotten idea of "the visual field of spells" is discussed. Although this idea is not considered as a superstition in the modern world, we are faced with different challenges and findings when studying and examining different layers of the visual field of spells. This research also aims to investigate and analyze the different layers of spells and has led to an answer to these questions: what is the root of these spell images by examining illegible manuscripts, motifs and images of strange creatures, special objects? Are they influenced by the hidden and psychic mind, or are they the product of the invisible world? Is it possible to use the idea of "visual field of spells" as a new idea in contemporary graphics? The elegance and beauty of these motifs and images lead a person to art, and it is precisely in this mental transfer that these other motifs break away from the identity of occult sciences and enter the valley of art, and it is possible to consider the visual field of spells as a work of art. Therefore, it can also be criticized. On the other hand, to read the meaning and concept hidden in the works and to prove this issue, Jung's hidden pronoun has been used and we believe that by analyzing the existing archetypes and correctly understanding the nature of each one, we can present new ideas and works in graphics. The research method of the upcoming research is based on the objective, and qualitative methods and based on its nature, the analysis is descriptive-analytical, while on the other hand, it has a practical aspect. The studies obtained from the library method and with the theoretical approach of Jung's hidden pronoun have analyzed and reviewed the works.Today, it is possible to provide a clear answer and a complete result regarding the questions raised; that the root of these thoughts and images comes from the hidden mind of man. If we want to provide an artistic understanding, we can say: an artist needs an undiscovered spirit to create a work of art. Surely the creator of the spell patterns drew the spell patterns with thoughts outside of conscious information. The creator of these works at that time was not aware of the existence of an undiscovered spirit in his hidden mind, and he certainly did not know where and how the origin of these images entered his consciousness, but now, by examining the "visual field of spells", we can see the hidden mind, the thoughts outside the open space and their concepts and meanings which were obtained. In this direction and in order to prove the conscious presence of these motifs and charms in contemporary art and graphics, as well as to prove their applicability among the public, it can be analyzed from the semantic and conceptual aspects in the category of visual arts works. We analyze and examine the valuable examples by artists such as Iman Motaghi Rad, Farzad Adibi, Parviz Tanavoli, Reza Abedini, Homa Delurai, etc., artists who are aware of those elements and signs and have used them in their various graphic works such as posters, typography, signs, volume, etc.