JTPVA Journal
Bi-Quarterly Journal of "Theoretical Principles of Visual Arts"
Licence Holder: Iranian Scientific Association of Visual Arts
Director in Charge: Mohammad Kazem Hassanvand
Editor-in-chief: Effatolsadat Afzaltousi
Executive Director: Narges Hourizad
Publisher: Iranian Scientific Association of Visual Arts
ISSN 2538-5666
The academic, scholarly grade of the Biquarterly, Scholarly Journal of the Theoretical Principles of Visual Arts have been communicated by the Secretariat of the Commission for the Examination of the National Academic Journals, Iranian Ministry of Science, Research & Technology via letter No. 3/18/102737 dated 06.08.2017.Aims and Prospects:
The Journal of ” Theoretical Principles of Visual Arts” activities are to achieve the fallowing goals:
Publication and development of new researches in the theoretical Principles of visual arts and Interdisciplinary.
Identifying the rich assets of Persian and world cultures and arts to researchers, university professors and art students.
Introducing the dignity and value of Iranian culture and arts in the field of theoretical Principles of visual arts in the international arena.
Orienting specialized research in the field of visual arts in Iran and the world in line with standard and up-to-date researches.
Transmission of Iranian Islamic ideas and thought in visual arts and its promotion and expansion in the artistic community, especially in academic, and protection of Iranian thought and works of art.
Creating a suitable platform for scientific communication and exchange of ideas between researchers, university professors and art students.
Phone: +989351390923
Licence Holder: Iranian Scientific Association of Visual Arts
Director in Charge: Mohammad Kazem Hassanvand
Editor-in-chief: Effatolsadat Afzaltousi
Executive Director: Narges Hourizad
Publisher: Iranian Scientific Association of Visual Arts
ISSN 2538-5666
The academic, scholarly grade of the Biquarterly, Scholarly Journal of the Theoretical Principles of Visual Arts have been communicated by the Secretariat of the Commission for the Examination of the National Academic Journals, Iranian Ministry of Science, Research & Technology via letter No. 3/18/102737 dated 06.08.2017.Aims and Prospects:
The Journal of ” Theoretical Principles of Visual Arts” activities are to achieve the fallowing goals:
Publication and development of new researches in the theoretical Principles of visual arts and Interdisciplinary.
Identifying the rich assets of Persian and world cultures and arts to researchers, university professors and art students.
Introducing the dignity and value of Iranian culture and arts in the field of theoretical Principles of visual arts in the international arena.
Orienting specialized research in the field of visual arts in Iran and the world in line with standard and up-to-date researches.
Transmission of Iranian Islamic ideas and thought in visual arts and its promotion and expansion in the artistic community, especially in academic, and protection of Iranian thought and works of art.
Creating a suitable platform for scientific communication and exchange of ideas between researchers, university professors and art students.
Phone: +989351390923
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The interaction between the audiences is one of the components of modern art. Attention to interaction, which is to emphasize the centrality of the audience in the formation of the work, leaves the work as much as possible from the artist's intentions and, considers the importance of void and insignificant and considers the text and how to read it important. The development of interactive graphics as contemporary art and based on modern industries is very important in contemporary advertising. In the direction of this interaction and according to the definitions of interactive graphics, the approaches of Fiske and the importance of (sender), how to read the message, the importance of meaning in his interpretations, the necessity of how to interpret and read these messages and produce meaning according to texts and cultures seem important and practical in terms of environmental education.
Many new media rely on digital technology. The amazing capability, accessibility, and speed of this technology are unparalleled in meeting the needs of contemporary man. And of course, with this development and based on these new capabilities, the element of interaction has become a very important phenomenon of environmental advertising. The growth of interactive approaches in art coincides with the emergence of so-called postmodern ideas, new and influential possibilities that the former had not seen so rapidly evolving in the human race. And this phenomenon has created new and different capabilities in this category: Media that rely on digital technology.
According to the characteristics expressed in John Fiske's transitional approach, and the issue of communication, change, and intentional behavior modification, the senders send passwords and the recipients decrypt them. But this trend has sometimes been towards the unification and domination of the media, which has either propaganda, commercial or political requirements ... while Fiske considers the decoders, who are the same audience, as the leaders of meaning production and cultural defenders. He has always been at the forefront of the fight against victimizing media audiences as awkward and passive consumers. And in this case, the importance of the encoder and the type of encryption becomes more important. Fiske, therefore, in expressing the transitional approach, considers communication as a process by which one influences how another person acts and mentality as well. If the effect is different from what was intended or the effect is less than that, the problem of communication failure is raised and seeks to analyze the work process to find the cause of failure. And so, this approach has also been called the "process". This belief opens up for us how, according to Fiske, we can be safe with cultural backgrounds and identities, and with modern tools and technology in interactive graphics and interpretation of meaning in the system of indigenous texts, to spread cultural propaganda and take steps to protect the environment.
This research seeks to answer the question of what is the transmission of the message through interactive graphics based on the theories of John Fisk, to create a culture and produce meaning by the audience; and how is this important in the development of environmental protection? And tries to hypothesize that interactive graphics, seems able to carry multiple meanings and engage the audience for purposeful environmental cultural education in the production of polysemous messages, coding, and decoding by the audience. The research first examines in a descriptive-analytical manner, the basic concepts of John Fisk theories and the transitional and ritual approach in the strategy of how to convey the message. Afterward, relying on his semiotics to describe the relationship of the audience with the message and convey the meanings of cultural messages with the interactive graphic event is analyzed. It seems that environmental education could be influenced with the help of the interactive environmental graphics, the proximity of the effective message, and the active and involved audience i.e. being effective, achieving empathy, arousing the audience's environmental sensitivities such as global warming crisis and rising water levels, drought.
Keywords: Environmental Graphics Interactive Graphics John Fisk Environment
Keywords: Pottery Motif Bird Drawing Composition
This research is to study the personal method of “Ali Akbar Fadaei” (1884-1959 A.D) starting his work during the Baharestan Era and thus, and maturity of his artistic activity has continued after the Qajar dynasty to the early Pahlavi’s, during the Persian Carpet Company period. According to his eldest daughter, his mature career coincided with the prosperous period of carpet in this region. The highpoint of his career coincided with the presence of foreign companies e.g. Oriental Carpet Manufacturers (O.C.M( and Atiye bros in Iran. This article has been accomplished based on reviewing 24 Afshan medallion designs out of 64 carpet maps preserved in his family collection, stored in envelopes with his name written on the back as "Kal-Akbar Fadaei" in English. The maps are divided into 4 general categories of Afshan, Medallion, Mihrabi, and Vagire, in terms of design. Afshan designs of this collection are subcategorized as simple, medallion, corner, and tree.
The researches accomplished on the Kerman carpet generally refer to the design and color in this region and to some extent the introduction of its prominent manufacturers; but weavers, painters, or designers have been neglected, except in a few cases. This disregard for designers was not only limited to their lives and artworks but also included their methods, so virtually no research on how to organize the design and no explanation on the individual methods are available; thus, no independent research has been done on identifying and introducing Fadaei's works. This paper is based on investigating the method of this second-generation designer of the Kerman carpets, and seeks to answer this question: What are the characteristics of Ali Akbar Fadaei's method, based on the data obtained from the analysis of his 24 Afshan Medallion designs? This study reveals the need to investigate this issue since the characteristics, names, and addresses of Kerman carpet designers including Ali Akbar Fadaei are rarely seen in the remaining documents of the Iranian carpet industry in the Qajar and Pahlavi periods. Therefore, focusing on each of these designers can help to differentiate the history of carpet designers in this region.
The research method here is descriptive-analytical, and in terms of purpose, it is developmental. Gathering basic information about Afshan carpets and the position of this artist among the designers has been obtained through a library study. On the other hand, the nine-fold stages of design in each Afshan Medallion design were investigated by referring to the personal archives, and finally, a list of common features has been prepared. The statistical population of this research includes 24 Afshan Medallion designs. Research findings show that the skill in drawing patterns is evident in the studied works, concerning the existence of perfect proportions in them, freedom of action in designing the sketch, and the observance of precise and strict order in designing details and motifs. Frequent use of some designs such as cypress, paisley (with the extension and decorations that are specific to this designer), grape leaves, and fruits have become his signature or identification code in the mentioned samples. Fadaei has attempted to disturb the symmetry in parts of the design on the axes of symmetry. The other features recognizable in the studied works include using suspended and scattered frames in the background and between other patterns to create visual appeal and prevent uniformity. Simultaneous use of large flowers and small clusters and flowers in the background, as one of the methods of composition, sensory interaction with the design in determining the size of the main elements like a medallion, frame, corner, and vase are obvious in this group of works. He has used various bands and rotations (spiral rotations, dancing branches, and sometimes a combination of them) in designing the background, and sometimes has applied hanging bouquets to fill the background. The main other features identified include his skill and ability in designing simple and complex borders. Besides, his interest in designing the border with overlapping and breaking the borderlines with various and beautiful frames is evident, so that the border is considered as one of the attractive and dynamic parts.
Keywords: Ali Akbar Fadaei. Personal Method Kerman Carpet Afshan Design
Keywords: Behavioral stress viral infection product design disinfectants coronavirus (Covid -19)
The possibility of this definite and general knowledge of the truths lies in the fact that the mechanism of epistemology is the same in the human race, and the creatures arrive at a single understanding of things by adopting the correct method of cognition. Thus, although Descartes begins his analysis with “me” as an individual thinker, he eventually arrives at a general inference about man, and his approach to the human species and the human being becomes more and more obsessed with “us”. This situation is also strongly and weakly maintained in post-Cartesian systems of thought, such as Kant's thought and Hegel's idealism, until in the nineteenth century, with the emergence of individualist existentialist ideas such as Kirkgour, the altruistic view of man was challenged. Thus the human being with all his characteristics is paid attention to. The emergence of existentialist ideas along with Nietzsche's sharp critiques of the foundations of modern thought and the priority he gave to the mind of the creative artist, as well as the foundations of Freudian psychoanalysis, all set the conditions; which gradually turned the public conscience to the element of individuality and became the beginning to shake the foundations of modernity.
Artists, who take the basis of creating a work of art from the same public conscience and sometimes even direct it, naturally stay out of the caravan and their taste, which is rightfully the irreplaceable arena of the emergence of individuality, more and more as a means of expressing themselves. They use and define themselves through their artistic creation. Simultaneously with the rapid growth of the industrialization of art in the contemporary period and the formation of a movement called the culture industry and the mechanical reproduction of art (both are interpretations of Adorno), and the recognition of the photographic medium as an art and the subsequent production of communication tools such as cell phones, which were often equipped with cameras, a phenomenon called selfie flourished. A phenomenon that on the one hand is an example of the prevalence of art among the public and on the other hand is a sign of the artist's greater desire to make himself his object. In this article, by examining the philosophical roots of the emerging selfie phenomenon, it is concluded that one of the reasons for the general popularity of this emerging media is the current individualism in the contemporary period resulting from Cartesian subjectivity. The present study is qualitative research that has collected data through the method of studying library documents.
The present study aims to explain the criteria for qualitative evaluation of the implementation of calligraphy in computers based on traditional principles and rules, and thus seeks to answer the question of how to achieve criteria based on traditional principles and rules of calligraphy that are effective in assessing the quality of computer letters, and to what extent can be knowing the style of calligraphers effective in explaining these criteria. The method of research is descriptive-analytical, and the method of collecting data is through library study. The approach of this paper is comparative and the method of analysis is qualitative. The statistical population is a collection of pens and software capable of writing Nasta’liq. The number of samples studied includes Kelk software, Mir Emad software, and Mirza Pen, each of which is the result of the handwriting of three calligraphy professors i.e. Abbas Akhavin, Amir Ahmad Falsafi, and Mirza Gholamreza Isfahani.
In this regard, first-hand sources that have been directly related to the research include documents regarding the theoretical texts, books, theories, and documented sources in the field of calligraphy; and due to the novelty of the subject concerning punctuation, the researcher had to spend a lot of time researching and collecting data in the field, and thus the bulk of the information is obtained by collecting images and comparative comparisons of computer writings with various aspects of the Nasta’liq handwriting in terms of the form and position of the dots.
Examining the quality of performing the letters in three examples of computer scripts i.e. Kelk software, Mir Emad software, and Mirza Pen and based on the special rules and principles of Nasta'liq calligraphy includes: the center of the pen and pen angles, the quality of distant lines in computer-drawn letters, letter connections and the turning points in the ascent and descent sections of the lines, and the distance and proximity of the shape of computer letters compared to the traditional calligraphy. As it was observed, explaining the necessary criteria for examining the quality of computer letters, first requires extracting the contents of the computer and handwritten letters and then comparatively comparing them in computer and on paper, based on four criteria i.e. principle, proportion, composition, the seat of the letter.
In addition to the general principles and rules of calligraphy, since the pattern in the production of all the three software is different and specific to the style of a master, and since the elegance and sweetness of calligraphy rely on the variety of methods, therefore, knowing the style of each calligrapher and comparing it with its computer sample is decisive in explaining the quality criteria.
As a result, it was found that computer scripts to comply with the general principles and rules of calligraphy are properly designed. But where we talk about the unique methods of calligraphers and the facade of their handwriting in the computer, it is necessary to categorize the critical components to make the computer fonts more close and similar to the real handwritten scripts of the calligraphers.
Although computer fonts are already designed and in use, the following tips can be modified and followed by the letter designer: The most important point is the skill and knowledge of methods, and this includes paying attention to the turning points of letters and coherence in the drawing of words, accuracy in the shape of letters in terms of strengths and weaknesses, descent and ascent and the correct performance in drawing the teeth in Nasta’liq handwriting.
This change in approach to these works that have not previously had any place in the official art world has raised many questions. The main purpose of this study is to determine the backgrounds of self-taught art and its position in the art world based on the theories of a great philosopher of contemporary art, Arthur Danto and tries to answer these questions: “Based on which definitions and criteria the self-taught objects can be accepted as artworks?”, and “How the works that neither its creators consider them as artwork and nor themselves as an artist, become a branch of contemporary art?”
Danto believes that “being art” means being in a field as “art world”; so work is not considered as art until it has been placed in the art world. But Danto disagrees with the openness of the art concept, which has been interpreted as “anti-essentialism”, and he says that it does not lead to a correct definition of Art to say “art is imitation” or “art is not imitation”, so he has set criteria for artwork.
He argues that artworks are a “representation” of something else, not necessarily in the sense that they are exactly like their subject, but in the broader concept that they are about something. Since all of the artworks are about something, they have meaning, and meanings are embodied in them, so Danto says that artworks are “Meaning Embodied”. The second characteristic he refers to is “Dream-like”, and says that artworks are like dreams which contain visible qualities, but may not be real, so he defines art as “Awakening Dreams”. Accordingly, Danto uses these characteristics, “Meaning Embodied” and “Dream-like”, as criteria for artwork. Regarding the position of self-taught artists, Danto states that while the members of the “art world” have common principles, the outsider artists are unable to participate in that conversation for various reasons. They do not know the language of the art world discourse to talk about their works, so behaved with them as a neurotic human, not as an artist.
According to Danto's definition of art and his criterion for artwork, we can say that self-taught work can be considered as an art because it has those characteristics. Answer to this question that “How these works become a branch of contemporary art?” reveals the role and importance of the art world. The self-taught artist is deprived of entering the official art world because of his social status as a person who does not know the defined art rules and his position as an artist.
So they are still in a fragile situation where their presence in the art spaces depends on other important and influential actors of the art world, and they are the ones who can determine the position of self-taught art and enter it as an artwork to the galleries, museums and even art history. Members of the art world control the dominant narrative, and over the past century, they have selected among outsider artists. As the art world has been able to turn Andy Warhol's “Brillo Box” into art, so they could change the work of self-taught art to something that was never meant to be. Placing the work in the space of a white cube gallery, with impressive lights and delicate frames, often obscures the main goals of the self-taught artist. Ultimately, power remains in the hands of the art world, the power of choice, the power of evaluation, and the power of financial valuation. This research is fundamental research that has been done in a descriptive-analytical method and data collecting through the library method among the available resources in the field of self-taught art. The tools used are in the form of taking notes and finally, by qualitatively analyzing the information, an attempt has been made to give appropriate answers to the questions raised.
In order to study Iranian painting from the archetypal perspective or, in general, mythical criticism, the myths should be specifically taken into consideration as a literary genre or style. Thus, the traces of myths can be sought wherever there is literature. In the heroic, mythical, and historical stories of Shahnameh, Firdausi makes the themes of his stories objective and visual. Using some structural elements of the story, such as archetypes, represents the story’s mythical and heroic characters. Literary criticism can generally be classified into two groups of traditional and modern criticism. What distinguishes traditional literary criticism from traditional one is the emergence of new sciences, including psychology, sociology, mythology, etc. Each of these sciences has influenced literary criticism. One of the theoreticians who looked at myths through a psychological perspective is Carl Gustav Jung. Jung regarded the human psyche as composed of two parts, i.e. conscious and unconscious. The unconscious mind is also divided into personal and collective types. The collective unconscious mind involves codes and symbols which have been common among humans in the past times. He calls these symbols archetypes and considers the human psyche as consisting of several archetypes. These archetypes become conscious in the process of an individual’s growth to help the character’s evolution.
To be able to examine Iranian painting from the perspective of a critique of mythology, we must see at what point in art, painting has reflected mythical themes. Looking at the history of painting in Iran, it has been found out that Iranian painting in the Ilkhanid period, known as the Tabriz school, evolved into a compiled art; one of the most eloquent examples of which can be observed in the paintings of the great Shahnameh mentioned earlier. Concerning the research question and the significance of the archetypes in the formation of mythological characters of Shahnameh and their manifestation in signs and symbols that can still be used consciously by painters and illustrators, conducting the present study seems necessary.
In Jung’s view, the contents of the collective unconscious, or archetypes, emerge in the form of myths and legends. These archetypes themselves are unknown and invisible but are manifested as dreams, myths, and legends. In this article, Zahak and Fereydoun are interpreted as different manifestations of a single psyche and its developmental stages towards the process of individuality and perfection of personality. The research procedure shows that by using this method, a better understanding of Iranian myths can be obtained, and some dark aspects of it can be clarified.
In the paintings of the Ilkhanid period, mythical and heroic themes have been considered by artists, and one of the approaches to painting, i.e. symbolism, has been followed by using archetypes. The paintings of the great Ilkhanid Shahnameh, known as the Shahnameh of Demut in Tabriz I school, are considered as the samples that followed this approach in representing literary concepts. The present research employed a descriptive-analytical method, and the data were collected through library documents including theses, dissertations, and academic journal articles. The findings of the research indicate that the painters and illustrators of this period, have illustrated Shahnameh and the reflection of the mythical themes according to their very own analysis of the characters of the story and with their awareness and knowledge of the archetypes of the patterns. By analyzing the three characters of Fereydoun, Zal, and Esfandiar, it has been found out that the archetypal features of these three heroes are reflected in the paintings.
Built between 1304 to 1312 AD by the decree of Oljaitu, the Soltanieh Dome is one of the architectural masterpieces of the Ilkhanid period and it has various decorations. Demotte Shahnameh is one of the oldest pictorial versions of Ferdowsi’s Shahnameh, which is believed, by most researchers of the Iranian art, to date back to the years between 1331 to 1337 AD.
Therefore, given that the magnificent monument of Soltanieh Dome and the pictorial version of Demotte Shahnameh were created in a close time span during the Ilkhanid period, the purpose of this study is to investigate the impacts of the architectural motifs of Soltanieh Dome on architectural decorations depicted in the illustrations and motifs of Demotte Shahnameh and thus to provide a comparative study of the two.
The key question is: How has Soltanieh's dome architectural decoration influenced the architectural motifs of the Shahnameh paintings and miniatures? In order to answer this question, the architectural decorations of Soltanieh dome and the miniatures and paintings of the Demotte Shahnameh have been analyzed in terms of decoration style, motifs and the applied location.
In order to conduct a comparative case study of the two artworks, written sources, library documents and a valid virtual database have been used to gather the required data for the theoretical section of the study while data for the field study section have been acquired through observation. Decided by the nature of the data gathered, they will be first analyzed qualitatively to be followed by comparison.
The results of the comparison of the samples demonstrate that the architectural decorations used in Soltanieh dome of Zanjan are very diverse and extensive. In terms of the method of application, it includes different types of brickwork, tiling, and plaster while in terms of motifs, it contains a variety of geometric motifs, circles (Khatai and Arabesque) and inscriptions. In the selected paintings of Demotte Shahnameh, architectural decorations are strongly depicted in the composition of the paintings. On the other hand, the exterior and interior views of the buildings have various decorations comprising of various styles of brickwork, tile and plaster as well as plaster painting along with geometric, Khatai, arabesque and inscription motifs.
Therefore, the research findings reveals that the architectural decorations depicted in the Demotte Shahnameh are comparable to the architectural motifs of Soltanieh dome in terms of decoration technique, motifs and application whereabouts and different types of brickwork, plaster and tiles containing geometrical, circular and inscription motif used in different parts of Soltanieh Dome have also been illustrated in Demotte Shahnameh.
This illustrates the close relationship between the art of architecture and Persian miniature. Based on the outcomes of this and other research studies conducted in this respect, the surviving paintings of each period can be considered as a realistic reflection of the architecture of that period, which can be referred to in the study of architecture and decorative practices of that period on one hand. On the other hand, it shows a cultural continuity in different aspects of Iranian art during the past centuries and some sort of harmony in the application of ancient patterns in different fields of art; Something that has been ignored in the contemporary Iranian art. Returning to this cultural policy can solve the problem of cultural rift in the contemporary Iranian society.
Brand is a system of signs and symbols that involve the consumer in a process of symbolic participation and mental interaction that turn to be the tangible values of a product. This system is organized by a complex matrix of indicative factors. So, usually, its realization is possible through relying on a complex of connotations such as quality, beauty, form and etc.
The present research concerns the signs' function in todays' clothing fashion industry and the consumer's behavior in contact with it.
In the modern industrial age, every brand was trying to persuade the consumer of the advantages of a product in terms of its superiority, distinct identity and a specific social class through aesthetic factors and signs such as quality, beauty, high costs and etc. As a result, the consumer used to do all his/her best to own the product and that was how the Brand was able to create and provide identity.
This way, the leading brands of industrial age became an incentive for creating mental associations and were also able to establish some sort of stable and fixed image about themselves in the minds of the consumers beyond the product codes and the customer's personal mental ambience. At that time, brand was a seamless totality and the design found meaning through production. Every brand used to not only define its consumer class but also set the competition atmosphere and concentrate on this limited yet permanent market.
However, in postmodern and present post-industrial age and with the advent of globalization, the structures have changed. Some factors have revolutionized the former situation of brands. Some of these include the surge in competition and consumption, diversity of societies, tastes and cultures, variety of choices for the previous users who were in minority, social classes with different incomes and eager to use brands and finally, fake products of high quality. This will transform one of the most important exterior expressions of the brand: the symbolic expression.
The study aims to investigate the functional characteristics and role of the signs in the formation of the consumer's identity and maintaining his/her loyalty to the brand with the purpose of acquiring economic objectives. It also intends to examine the influence of the changes on the signs. With the study of the brand function, the identity, the sign and their relation with fashion’s functions, the changes in signs as well as the relation of the clothing’s brand with the consumer to define identity will be revealed.
The research has employed descriptive method and the theories of great postmodern intellectuals including Roland Barthes and Jean Baudrillard on fashion, connotations and signs act, and also Charles Sanders Peirce semiotics to define the rank of signs in a product (clothing) have been applied.
The results indicate that besides the postmodern developments in the transformation of structures, the attempts to develop markets and maintain the connection with the consumer, the brands have replaced modern, symbol-index based signs with that of direct implications, self-referrals and inducing identity through iconic immediate interpretations while they still apply connotations to form the user's identity. Such attempt results in decreasing the consumer's role and his/her resistance when facing a brand and results in using the simple symbolic exchange. This can be called a de-identifying process with much transformation.
However, banknote was introduced in Iran almost a century after it became popular in the world and after Nasser al-Din Shah's return from his third trip to Europe. But apparently, from the very beginning, this visual text served as an appropriate context for the King's propaganda campaign. Supporting such claim is possible through analyzing it using approaches such as semiotics, because in general, the main focus of the studies conducted so far on the subject have been limited to examining its historical and artistic aspects including photography, without endeavoring to explore its explicit and implicit implications. Therefore, some researches must be conducted that apart from the above, are able to discover the intent behind using the image of Nasser al-Din Shah on Iran's first paper currency.
Through the application of one of the practices of semiotics called 'the Pierce trilogy pattern', new data of the unknown dimensions of the subject can be obtained, because if studied through semiotics, that its broadest meaning is the study of forms of formation and the exchange of meaning on the basis of sign systems, the meanings conveyed through the printing of this visual element could be identified.
However, a more accurate analysis reveals that due to the visual nature of the the design of banknotes, it is recognized as a physical phenomenon. However, this not absolute because this text, like other ones, has constantly fused with the implications which play a covert, yet practical role in reading its text. Such has happened to the extent that it has affected the original formula and its literal meaning in the name of paper money.
Nonetheless, Barthes 'anchor theory' can be employed to avoid the floating of various meanings and concepts of this visual symbol and image and thus stabilize the multi-semantic feature of the language, because through reading the figures or other information written on the banknotes of this era, their economic value could be determined.
Yet based on the fact that semiotics is phenomenally textual, that is in every action, an objective communication is formed according to its comprising implications and that's why it's open, not closed. Hence, based on this open process, the design, printing and overall production of banknotes contains the image of Nasser al-Din Shah during the Qajar era were not just meant to produce some valuable piece of paper because otherwise, its meaning would have just served as a sign or its explicit meaning and doesn't serve other intertextual implications or other tacit notions. Therefore, the paper at hand intends to examine multiple implications of this pictorial text and its signs.
Semiotics comprise of different approaches including reading and analyzing artistic texts. In fact, as a narrative analysis of texts, this method of study emphasizes on the role of the semiotic context in shaping meaning through examining signs as constructive wholes and also seeks to discover their hidden and implicit meanings.
Accordingly, in order to conduct a proper analysis of the subject matter in this article, Pierce's three-dimensional model has been taken from among a wide range of tools. Pierce introduced his paradigm of sign in the three aspects of form, interpretation, and subject. Based on this pattern, it seems that a note, reflecting the image of Nasser al-Din Shah, is an interpretation, because interpretation is the form in which the sign appears or in the way the object is represented in the manner.
So as to obtain results, this paper has adopted qualitative approach and has used analytic method. Data has been collected through desk study of library resources and examination of pictorial documents.
Moreover, the research has been based on the semiotic theory of Charles Sanders Peirce which covers elements of sign, interpretation and object to answer this very question that what is the interpretation of the semiological analysis of Naser al-Din Shah's portrait on the first Iranian banknote as a reflection of the top official authority of the country?
Aiming to discover and infer the hidden meanings and implications of the said sign (i.e. Naser al-Din Shah's portrait on the first Iranian banknote), the semiotic theory of Charles Sanders Pierce has been used. The research outcomes indicated a continuity of the court's iconography and portrait painting traditions of Iranian monarchies along with habit of highlighting the most powerful auhtority of the country which resulted in the use of banknotes as both ideological tools and public advertizing media to emphasize the legitimacy of the prevalent government.
Using mirrors in the field of interactive arts can represent the relationship between the artist and his inner and outside world. The involvement of mirrors in artworks can be a way of representing the audience by the artist, in a way that the presence of the artist/author is unavoidable in some of the new artworks. This form of indirect interaction within the symbols, signs, and/or archetypes in the art work can create a multi-layered relationship with the audience. Moreover, such interaction between the audience and artwork makes the role of artist even more effective and also creates a new form of perception and understanding for the audience.
In this essay, attempt has been made to study and analyze the roles and functions of mirrors in the new interactive arts. Therefore, the author has proposed a method to examine the potentials of the poststructuralist ideas, such as Roland Barthes and Derrida’s, and if they are employable on Post-modern art. Furthermore, the paper seeks to respond to the literary idea of “The Death of the Author” and if we can perceive new meanings from artworks through this Barthesian debate.
To this purpose, the research studies the roles of mirrors in the post-structuralist framework and Barthes’ theory of “The Death of the Author”. Hence, on one hand, this essay challenges this Bathesian theory in the interpretation of contemporary artworks, and on the other, analyzes mirror’s functions through Derrida’s post-structuralist theory. Finally, this essay concludes new responses to the author’s transformational role in the relationship with the audience and artwork.
Through this relationship, the paper presumes that not only the author is not dead or absent in the art work-audience relationship but also exists in a more effective way through his indirect interaction with his audience. Interactive arts, including those that involve functional mirrors, are appropriate candidates for this research elaborating upon the thoughts and ideas of post-modern theorists like Barthes and Derrida. The data required to conduct this research has been gathered through the desk study of library resources taking descriptive-comparative method. The statistical population includes six examples of interactive arts created during the past decades. The works selected are sufficient to support the paper’s hypothesis and also extend it to the aforementioned theories.
However, unfortunately, due to lack of consultation with professional designers and the lack of attention towards research and development particularly in the field the design, many deficiencies in this field. Because of the variety of tastes of consumers and their different needs on one hand, and the existence of a competitive environment among manufacturers, on the other, the design and development of new carpets has always been a challenge for companies. It is now time for customers to choose the right carpets from companies whose products and services are of the same quality, and the customer's better sense of the variables, such as design and color, can greatly influence their choice of selection and purchase. Therefore, in today's competitive environment, consumer-centric carpet design is a necessity.
The current paper aims to examine the social behavior of buyers of machine-made carpets and the relationship between the design and color of carpets and the emotional preferences of the consumers of this product. Then, it tries to answer these questions that what is the relationship between the social variables of buyers and the design and color of carpets? What are the desirable visual features of the buyers of machine-made carpets?
This study employs descriptive-analytical method of study. Data for the descriptive section have been gathered through the collection of information on the machine-made carpet industry with theoretical orientation of research being Kansei engineering. Kansei engineering method has been used to analyze the data collected using SPSS and Excel software. The correlation test has also been used to study the relation of demographic variables with design and color on one hand and the relation between design and color characteristics of carpets and customers' feelings on the other. Kansei engineering method enjoys a special technology that regulates human emotions in the form of quantitative data. In this area, those products are developed that bring happiness and inner satisfaction for the user.
A number of 110 Machine Carpet buyers who had visited "Mr. Carpet" hyper market in the summer of 2018, expressed their feelings regarding the carpets of their choice in the form of Kansei words. Eleven Kansei words related to the feelings of carpet customers were selected by observing the buyers’ behavior and interviewing them as well as consulting with the sellers and experts of this industry, and semantic differential scale and rating of 7 houses was presented to buyers. Also, 27 features related to the design and color of these carpets were considered. Data was analyzed using SPSS software and correlation method. The results indicated that at present, Afshan (all-over pattern) design is more attractive to buyers than others followed by Corner-medallion design. Also, the three features of quality, harmony with the household furniture and price, are more important in the customers’ choice of selection. The results of correlation analysis showed that the customers are more looking for impressive, elegant, vibrant designs for their living rooms, and the effectiveness of the design can be achieved by designing two or more texts, using delicate designs, Khatayi spirals as well as discontinuous and meander borders.
Continuity is the characteristic of Iranian art. Although it was believed that the written signs and symbols used in the pre-Elamite and old Elamite era before the popularization of cuneiform have been forgotten, a comparative study of the motifs used in the rural and nomadic handwoven fabrics with some of such signs reveals some surprising facts.
This research paper has employed intertextuality approach. Whenever there is an element in the two texts, an intertextual relation is created. In general, the intertextual relations can be categorized into three: explicit, implicit and tacit.
Explicit intertextuality refers to the apparent presence of one text in another. In this type of intertextuality, the author of the second text does not intend to conceal his reference, and thus, uses signs that can be identified and even referred to as intertextual.
The type and application of the contextual symbols and the difference between these two texts results in the formal transformation of the elements in the second text. For this reason, in this type of intertextuality, certain people, that is special audiences, who are specialized in the texts (especially the first one), are able to identify the intertextual elements. In this study, the first or pretext are Elamite tablets and signs and the second or hypertext, is the nomadic and rural rugs of Iran.
Based on intertextual relations, if the geometric patterns of the hand-woven fabrics are repeated exactly similar to inscriptions, they should be classified as explicit intertextuality. Investigations carried out for this study display that the system of inscriptions and their layouts have not been exactly reproduced on the hand-woven fabrics; however, a new system have repeatedly organized Elamite scripts on the Iranian Rugs. This can be identified as some type of tacit intertextuality which results in the formal transformation of the elements in the new text.
In this research, formal transformation of geometrical signs derived from squares have been analyzed. The signs have been read based on the formal similarity of the elements because the meaning of the signs in the inscriptions have been read hypothetically without any decisive proof. Therefore, to prove the intertextual relation of the two texts, the comparison has been made on form and appearance.
The main question of the research is what are the differences and similarities between the common signs in the two areas of Persian hand-woven fabrics and ancient cuneiforms. In fact, the paper seeks to prove one of the earliest pretexts of the formation of geometrical square motifs in Iranian handwoven fabrics which is the Elamite cuneiform. Moreover, it aims to illustrate what changes have Persian handwoven fabrics have imposed on pretexts (Elamite signs).
The analysis focuses on a kind of transtextual relation between the two fields of study of ancient scripts and Persian rugs, with the two having around 5000 years of time difference.
Moreover, the paper intends to study the visual and semantic values of the rural and nomadic rugs and their similarity with the most ancient cuneiforms in Iran; elaborate upon the motifs of handwoven fabrics as meaningful signs, and finally elucidate the possibility of the continuation of the disrupted cuneiforms on the textiles. The study has employed descriptive-analytical approach in terms of methodology. Data has been collected through desk study of library resources (i.e. note taking and image analysis) and data analysis was done qualitatively.
The study results indicate that the Elamite inscription cuneiforms are the oldest pre-text of the formation of geometric patterns of Persian rugs. Twenty-one geometrical symbols derived from square geometrical motifs are common to both the ancient Elamite cuneiforms and Iranian handwoven textures. Some of the signs are totally unique and have been used repeatedly within the text and on the margins while some others constitute the overall structure of a texture and imply a tacit intertextual relation.
There is no explicit intertextual relation between the works of the two fields as no systematic representation of the inscriptions have been found in any of the texts. What is certain is that 21 cuneiforms that were hitherto thought to have been forgotten have made their way to the present day in Iranian handwoven fabrics.
The main difference between the two categories is the transformation in the arrangement of the signs from that of the Elamite cuneiform to the recurring geometric patterns on the Iranian rugs. As per the rules of intertextuality, no text will be created without a reflection of previous texts. The earliest meaningful Iranian signs that form geometric patterns are the Elamite cuneiforms. Pre-Elamite and Linear Elamite scripts carry signs, some of which may have been deciphered by Walter Heintz.
A comparative Study of the motifs of handwoven rugs with Pre-Elamite and Linear Elamite scripts demonstrate that the earliest pre-text of the square-shaped Iranian motifs is rooted in inscriptions dating from the third millennium BC. The intertextual relation between the linear signs of the pre-text (inscriptions) and motifs of the hypertext (handwoven fabrics) is tacit. Because the motifs drawn from the square pattern taken from the structural system of the Elamite script and language have recurred on fabrics.
With a post-modernist perspective, community-based art education is one of the approaches taken to teaching and learning art in an interdisciplinary field, which perceive all types of connections between arts and communities through the elaboration of educational theories and practices.
Since one of the important presuppositions of this approach is relying on the rich context of experiences, culture and art of the local/folklore communities, this study will examine the challenges of the area of Iran folklore and indigenous arts pertaining to ritual dolls and elucidate their various dimensions in a community-based art education framework.
Then study has employed applied developmental research approach as well as exploratory-qualitative method with phenomenological approach.
The study population consisted of educators, artists, and researchers actively involved in the field of indigenous arts, especially puppets, and engaged in art education.
The sampling method used was purposeful and homogeneous which, taking into account the inclusion criteria, reached the theoretical data saturation with 9 individuals.
Moreover, semi-structured interviews were used to collect data for this study.
The validity of the data was confirmed by evaluative criteria of Lincoln & Guba (1985), Denzin (1978), and Patton (1999). The data was analyzed through inductive method using Collaizi's seven-step method (1978).
Based on the findings, the challenges of community-based arts education were categorized into two main intra-institutional and extra-institutional levels and 18 themes.
At the intra-institutional level, the challenges included the lack of a comprehensive approach to art education, coaching skills, audience analysis, dialogic production, multicultural knowledge skills, and social leadership skills.
At the extra-institutional level, the challenges were the social welcome, the reduced status of art to pleasure and delight, semantic evolution, ritual confinement, functional threat, intertwining of symbols and intergenerational expectations.
The results showed that the development of a community-based educational approach is considered a necessity in contemporary Iranian art education. Acknowledging the art, the culture, and the heritage of their communities and benefiting from them in their curriculums, the educators can empower learners’ cultural identity.
Besides, the study outcomes indicated that the educators who, through experience, have been able to integrate folk arts such as dolls into their art education program, have experienced unintentionally the social functions of community-based arts. According to another part of the results of this study, local community-based arts should be capable of producing intellectual challenges and audience engagement as well as producing content appropriate to the audience, while this is absent in the current education process for these arts.
The extra-institutional challenges section illustrates that community-based arts are not a concern for current society, and one of its important reasons is the shift in intergenerational expectations, semantic evolution, and ritual confinement, limiting the doll to the ritual field, which seems to be considered of no use in today's society. In addition, the current society has at best reduced art to a level of enjoyment and recreation; and thus, learning from arts is not much taken seriously. Community-based arts in this sense cannot be central to society.
The paper at hand has employed a descriptive-analytical method of research and the data has been gathered through the desk study of library resources as well as field survey (filling out questionnaires). The survey included two groups: (1) artists, art graduates and students at different academic levels from six prominent universities in Tehran and (2) general audience comprising of those with artistic background as well as the general audience studying in various academic levels and disciplines at different universities in Tehran. Three factors were considered in the selection of the general audience: (a) strategies in choosing the artistic style; (b) ethics in the creation of the artwork and (c) ethics and the audience. Using the Variance Formula and F-test, the results obtained included 49/59, 26/191, 81/346 respectively.
Based on the statistical results, 2/65 of the first group approved the use of strategies and the choice of artistic style above 50% on average. A comparison of the opinions of the members of the same group showed that the use of the ethics in the creation art work is at 29%; i.e. less than the average level. These numbers indicate that in this group, considering the option of audience and ethics in the creation of works of art by 40.2 is consistent with their views. A comparison of the artists' opinions with respect to items such as their years of artistic activities, shows a difference of ideas among them. However, the application of strategies and artistic style and ethics in the creation of artworks are different.
A comparison of the viewpoints of the second group of participants in the study reveals that there is a relation between the rate of employing ethics in the creation of artworks with the author’s academic level. Ph.D. holders of non-art disciplines were more interested in strategies and styles (8.76) and B.A and B.S. holders were the least interested while those with master’s degree had the least interest in ethical factor (2.31). The analysis of the findings related to the art style and ethics indicates that the general audience expect 79%, 63%, and 83% more than average that artists should use style and the ethics for the creation of artworks and believe these are a part of the intrinsic value of the artwork.
The statistic results show that the rate of the ethics employed in the creation of art works is lower than the average. There is a meaningful difference between pro-ethic public audience and artists who think of no limitation for the creation of the artistic work in terms of ethics. Standard deviation is higher with the general audience too. Experimental F, also shows the same opinion on the part of the non-specialist audience. The findings of the study indicate that the content-ethnics is not similar for the artists and audience.
In response to the study questions, it seems that the ethical factor for general audience is more important than the artists. However, artists and specialist audience are on the side of creativity and artistic values of the artwork than the ethical issues. The conclusions drawn from the study, reveals that among the artistic community, there is no direct relationship between ethical values and aesthetical values of a piece of artistic work. However, the ethical values can be taken into consideration in theoretical and practical education of the art students to make a balance between ethics and artistic works.
The interaction between the audiences is one of the components of modern art. Attention to interaction, which is to emphasize the centrality of the audience in the formation of the work, leaves the work as much as possible from the artist's intentions and, considers the importance of void and insignificant and considers the text and how to read it important. The development of interactive graphics as contemporary art and based on modern industries is very important in contemporary advertising. In the direction of this interaction and according to the definitions of interactive graphics, the approaches of Fiske and the importance of (sender), how to read the message, the importance of meaning in his interpretations, the necessity of how to interpret and read these messages and produce meaning according to texts and cultures seem important and practical in terms of environmental education.
Many new media rely on digital technology. The amazing capability, accessibility, and speed of this technology are unparalleled in meeting the needs of contemporary man. And of course, with this development and based on these new capabilities, the element of interaction has become a very important phenomenon of environmental advertising. The growth of interactive approaches in art coincides with the emergence of so-called postmodern ideas, new and influential possibilities that the former had not seen so rapidly evolving in the human race. And this phenomenon has created new and different capabilities in this category: Media that rely on digital technology.
According to the characteristics expressed in John Fiske's transitional approach, and the issue of communication, change, and intentional behavior modification, the senders send passwords and the recipients decrypt them. But this trend has sometimes been towards the unification and domination of the media, which has either propaganda, commercial or political requirements ... while Fiske considers the decoders, who are the same audience, as the leaders of meaning production and cultural defenders. He has always been at the forefront of the fight against victimizing media audiences as awkward and passive consumers. And in this case, the importance of the encoder and the type of encryption becomes more important. Fiske, therefore, in expressing the transitional approach, considers communication as a process by which one influences how another person acts and mentality as well. If the effect is different from what was intended or the effect is less than that, the problem of communication failure is raised and seeks to analyze the work process to find the cause of failure. And so, this approach has also been called the "process". This belief opens up for us how, according to Fiske, we can be safe with cultural backgrounds and identities, and with modern tools and technology in interactive graphics and interpretation of meaning in the system of indigenous texts, to spread cultural propaganda and take steps to protect the environment.
This research seeks to answer the question of what is the transmission of the message through interactive graphics based on the theories of John Fisk, to create a culture and produce meaning by the audience; and how is this important in the development of environmental protection? And tries to hypothesize that interactive graphics, seems able to carry multiple meanings and engage the audience for purposeful environmental cultural education in the production of polysemous messages, coding, and decoding by the audience. The research first examines in a descriptive-analytical manner, the basic concepts of John Fisk theories and the transitional and ritual approach in the strategy of how to convey the message. Afterward, relying on his semiotics to describe the relationship of the audience with the message and convey the meanings of cultural messages with the interactive graphic event is analyzed. It seems that environmental education could be influenced with the help of the interactive environmental graphics, the proximity of the effective message, and the active and involved audience i.e. being effective, achieving empathy, arousing the audience's environmental sensitivities such as global warming crisis and rising water levels, drought.
Keywords: Environmental Graphics Interactive Graphics John Fisk Environment
Keywords: Pottery Motif Bird Drawing Composition
This research is to study the personal method of “Ali Akbar Fadaei” (1884-1959 A.D) starting his work during the Baharestan Era and thus, and maturity of his artistic activity has continued after the Qajar dynasty to the early Pahlavi’s, during the Persian Carpet Company period. According to his eldest daughter, his mature career coincided with the prosperous period of carpet in this region. The highpoint of his career coincided with the presence of foreign companies e.g. Oriental Carpet Manufacturers (O.C.M( and Atiye bros in Iran. This article has been accomplished based on reviewing 24 Afshan medallion designs out of 64 carpet maps preserved in his family collection, stored in envelopes with his name written on the back as "Kal-Akbar Fadaei" in English. The maps are divided into 4 general categories of Afshan, Medallion, Mihrabi, and Vagire, in terms of design. Afshan designs of this collection are subcategorized as simple, medallion, corner, and tree.
The researches accomplished on the Kerman carpet generally refer to the design and color in this region and to some extent the introduction of its prominent manufacturers; but weavers, painters, or designers have been neglected, except in a few cases. This disregard for designers was not only limited to their lives and artworks but also included their methods, so virtually no research on how to organize the design and no explanation on the individual methods are available; thus, no independent research has been done on identifying and introducing Fadaei's works. This paper is based on investigating the method of this second-generation designer of the Kerman carpets, and seeks to answer this question: What are the characteristics of Ali Akbar Fadaei's method, based on the data obtained from the analysis of his 24 Afshan Medallion designs? This study reveals the need to investigate this issue since the characteristics, names, and addresses of Kerman carpet designers including Ali Akbar Fadaei are rarely seen in the remaining documents of the Iranian carpet industry in the Qajar and Pahlavi periods. Therefore, focusing on each of these designers can help to differentiate the history of carpet designers in this region.
The research method here is descriptive-analytical, and in terms of purpose, it is developmental. Gathering basic information about Afshan carpets and the position of this artist among the designers has been obtained through a library study. On the other hand, the nine-fold stages of design in each Afshan Medallion design were investigated by referring to the personal archives, and finally, a list of common features has been prepared. The statistical population of this research includes 24 Afshan Medallion designs. Research findings show that the skill in drawing patterns is evident in the studied works, concerning the existence of perfect proportions in them, freedom of action in designing the sketch, and the observance of precise and strict order in designing details and motifs. Frequent use of some designs such as cypress, paisley (with the extension and decorations that are specific to this designer), grape leaves, and fruits have become his signature or identification code in the mentioned samples. Fadaei has attempted to disturb the symmetry in parts of the design on the axes of symmetry. The other features recognizable in the studied works include using suspended and scattered frames in the background and between other patterns to create visual appeal and prevent uniformity. Simultaneous use of large flowers and small clusters and flowers in the background, as one of the methods of composition, sensory interaction with the design in determining the size of the main elements like a medallion, frame, corner, and vase are obvious in this group of works. He has used various bands and rotations (spiral rotations, dancing branches, and sometimes a combination of them) in designing the background, and sometimes has applied hanging bouquets to fill the background. The main other features identified include his skill and ability in designing simple and complex borders. Besides, his interest in designing the border with overlapping and breaking the borderlines with various and beautiful frames is evident, so that the border is considered as one of the attractive and dynamic parts.
Keywords: Ali Akbar Fadaei. Personal Method Kerman Carpet Afshan Design
Keywords: Behavioral stress viral infection product design disinfectants coronavirus (Covid -19)
The possibility of this definite and general knowledge of the truths lies in the fact that the mechanism of epistemology is the same in the human race, and the creatures arrive at a single understanding of things by adopting the correct method of cognition. Thus, although Descartes begins his analysis with “me” as an individual thinker, he eventually arrives at a general inference about man, and his approach to the human species and the human being becomes more and more obsessed with “us”. This situation is also strongly and weakly maintained in post-Cartesian systems of thought, such as Kant's thought and Hegel's idealism, until in the nineteenth century, with the emergence of individualist existentialist ideas such as Kirkgour, the altruistic view of man was challenged. Thus the human being with all his characteristics is paid attention to. The emergence of existentialist ideas along with Nietzsche's sharp critiques of the foundations of modern thought and the priority he gave to the mind of the creative artist, as well as the foundations of Freudian psychoanalysis, all set the conditions; which gradually turned the public conscience to the element of individuality and became the beginning to shake the foundations of modernity.
Artists, who take the basis of creating a work of art from the same public conscience and sometimes even direct it, naturally stay out of the caravan and their taste, which is rightfully the irreplaceable arena of the emergence of individuality, more and more as a means of expressing themselves. They use and define themselves through their artistic creation. Simultaneously with the rapid growth of the industrialization of art in the contemporary period and the formation of a movement called the culture industry and the mechanical reproduction of art (both are interpretations of Adorno), and the recognition of the photographic medium as an art and the subsequent production of communication tools such as cell phones, which were often equipped with cameras, a phenomenon called selfie flourished. A phenomenon that on the one hand is an example of the prevalence of art among the public and on the other hand is a sign of the artist's greater desire to make himself his object. In this article, by examining the philosophical roots of the emerging selfie phenomenon, it is concluded that one of the reasons for the general popularity of this emerging media is the current individualism in the contemporary period resulting from Cartesian subjectivity. The present study is qualitative research that has collected data through the method of studying library documents.
The present study aims to explain the criteria for qualitative evaluation of the implementation of calligraphy in computers based on traditional principles and rules, and thus seeks to answer the question of how to achieve criteria based on traditional principles and rules of calligraphy that are effective in assessing the quality of computer letters, and to what extent can be knowing the style of calligraphers effective in explaining these criteria. The method of research is descriptive-analytical, and the method of collecting data is through library study. The approach of this paper is comparative and the method of analysis is qualitative. The statistical population is a collection of pens and software capable of writing Nasta’liq. The number of samples studied includes Kelk software, Mir Emad software, and Mirza Pen, each of which is the result of the handwriting of three calligraphy professors i.e. Abbas Akhavin, Amir Ahmad Falsafi, and Mirza Gholamreza Isfahani.
In this regard, first-hand sources that have been directly related to the research include documents regarding the theoretical texts, books, theories, and documented sources in the field of calligraphy; and due to the novelty of the subject concerning punctuation, the researcher had to spend a lot of time researching and collecting data in the field, and thus the bulk of the information is obtained by collecting images and comparative comparisons of computer writings with various aspects of the Nasta’liq handwriting in terms of the form and position of the dots.
Examining the quality of performing the letters in three examples of computer scripts i.e. Kelk software, Mir Emad software, and Mirza Pen and based on the special rules and principles of Nasta'liq calligraphy includes: the center of the pen and pen angles, the quality of distant lines in computer-drawn letters, letter connections and the turning points in the ascent and descent sections of the lines, and the distance and proximity of the shape of computer letters compared to the traditional calligraphy. As it was observed, explaining the necessary criteria for examining the quality of computer letters, first requires extracting the contents of the computer and handwritten letters and then comparatively comparing them in computer and on paper, based on four criteria i.e. principle, proportion, composition, the seat of the letter.
In addition to the general principles and rules of calligraphy, since the pattern in the production of all the three software is different and specific to the style of a master, and since the elegance and sweetness of calligraphy rely on the variety of methods, therefore, knowing the style of each calligrapher and comparing it with its computer sample is decisive in explaining the quality criteria.
As a result, it was found that computer scripts to comply with the general principles and rules of calligraphy are properly designed. But where we talk about the unique methods of calligraphers and the facade of their handwriting in the computer, it is necessary to categorize the critical components to make the computer fonts more close and similar to the real handwritten scripts of the calligraphers.
Although computer fonts are already designed and in use, the following tips can be modified and followed by the letter designer: The most important point is the skill and knowledge of methods, and this includes paying attention to the turning points of letters and coherence in the drawing of words, accuracy in the shape of letters in terms of strengths and weaknesses, descent and ascent and the correct performance in drawing the teeth in Nasta’liq handwriting.
This change in approach to these works that have not previously had any place in the official art world has raised many questions. The main purpose of this study is to determine the backgrounds of self-taught art and its position in the art world based on the theories of a great philosopher of contemporary art, Arthur Danto and tries to answer these questions: “Based on which definitions and criteria the self-taught objects can be accepted as artworks?”, and “How the works that neither its creators consider them as artwork and nor themselves as an artist, become a branch of contemporary art?”
Danto believes that “being art” means being in a field as “art world”; so work is not considered as art until it has been placed in the art world. But Danto disagrees with the openness of the art concept, which has been interpreted as “anti-essentialism”, and he says that it does not lead to a correct definition of Art to say “art is imitation” or “art is not imitation”, so he has set criteria for artwork.
He argues that artworks are a “representation” of something else, not necessarily in the sense that they are exactly like their subject, but in the broader concept that they are about something. Since all of the artworks are about something, they have meaning, and meanings are embodied in them, so Danto says that artworks are “Meaning Embodied”. The second characteristic he refers to is “Dream-like”, and says that artworks are like dreams which contain visible qualities, but may not be real, so he defines art as “Awakening Dreams”. Accordingly, Danto uses these characteristics, “Meaning Embodied” and “Dream-like”, as criteria for artwork. Regarding the position of self-taught artists, Danto states that while the members of the “art world” have common principles, the outsider artists are unable to participate in that conversation for various reasons. They do not know the language of the art world discourse to talk about their works, so behaved with them as a neurotic human, not as an artist.
According to Danto's definition of art and his criterion for artwork, we can say that self-taught work can be considered as an art because it has those characteristics. Answer to this question that “How these works become a branch of contemporary art?” reveals the role and importance of the art world. The self-taught artist is deprived of entering the official art world because of his social status as a person who does not know the defined art rules and his position as an artist.
So they are still in a fragile situation where their presence in the art spaces depends on other important and influential actors of the art world, and they are the ones who can determine the position of self-taught art and enter it as an artwork to the galleries, museums and even art history. Members of the art world control the dominant narrative, and over the past century, they have selected among outsider artists. As the art world has been able to turn Andy Warhol's “Brillo Box” into art, so they could change the work of self-taught art to something that was never meant to be. Placing the work in the space of a white cube gallery, with impressive lights and delicate frames, often obscures the main goals of the self-taught artist. Ultimately, power remains in the hands of the art world, the power of choice, the power of evaluation, and the power of financial valuation. This research is fundamental research that has been done in a descriptive-analytical method and data collecting through the library method among the available resources in the field of self-taught art. The tools used are in the form of taking notes and finally, by qualitatively analyzing the information, an attempt has been made to give appropriate answers to the questions raised.
In order to study Iranian painting from the archetypal perspective or, in general, mythical criticism, the myths should be specifically taken into consideration as a literary genre or style. Thus, the traces of myths can be sought wherever there is literature. In the heroic, mythical, and historical stories of Shahnameh, Firdausi makes the themes of his stories objective and visual. Using some structural elements of the story, such as archetypes, represents the story’s mythical and heroic characters. Literary criticism can generally be classified into two groups of traditional and modern criticism. What distinguishes traditional literary criticism from traditional one is the emergence of new sciences, including psychology, sociology, mythology, etc. Each of these sciences has influenced literary criticism. One of the theoreticians who looked at myths through a psychological perspective is Carl Gustav Jung. Jung regarded the human psyche as composed of two parts, i.e. conscious and unconscious. The unconscious mind is also divided into personal and collective types. The collective unconscious mind involves codes and symbols which have been common among humans in the past times. He calls these symbols archetypes and considers the human psyche as consisting of several archetypes. These archetypes become conscious in the process of an individual’s growth to help the character’s evolution.
To be able to examine Iranian painting from the perspective of a critique of mythology, we must see at what point in art, painting has reflected mythical themes. Looking at the history of painting in Iran, it has been found out that Iranian painting in the Ilkhanid period, known as the Tabriz school, evolved into a compiled art; one of the most eloquent examples of which can be observed in the paintings of the great Shahnameh mentioned earlier. Concerning the research question and the significance of the archetypes in the formation of mythological characters of Shahnameh and their manifestation in signs and symbols that can still be used consciously by painters and illustrators, conducting the present study seems necessary.
In Jung’s view, the contents of the collective unconscious, or archetypes, emerge in the form of myths and legends. These archetypes themselves are unknown and invisible but are manifested as dreams, myths, and legends. In this article, Zahak and Fereydoun are interpreted as different manifestations of a single psyche and its developmental stages towards the process of individuality and perfection of personality. The research procedure shows that by using this method, a better understanding of Iranian myths can be obtained, and some dark aspects of it can be clarified.
In the paintings of the Ilkhanid period, mythical and heroic themes have been considered by artists, and one of the approaches to painting, i.e. symbolism, has been followed by using archetypes. The paintings of the great Ilkhanid Shahnameh, known as the Shahnameh of Demut in Tabriz I school, are considered as the samples that followed this approach in representing literary concepts. The present research employed a descriptive-analytical method, and the data were collected through library documents including theses, dissertations, and academic journal articles. The findings of the research indicate that the painters and illustrators of this period, have illustrated Shahnameh and the reflection of the mythical themes according to their very own analysis of the characters of the story and with their awareness and knowledge of the archetypes of the patterns. By analyzing the three characters of Fereydoun, Zal, and Esfandiar, it has been found out that the archetypal features of these three heroes are reflected in the paintings.
Built between 1304 to 1312 AD by the decree of Oljaitu, the Soltanieh Dome is one of the architectural masterpieces of the Ilkhanid period and it has various decorations. Demotte Shahnameh is one of the oldest pictorial versions of Ferdowsi’s Shahnameh, which is believed, by most researchers of the Iranian art, to date back to the years between 1331 to 1337 AD.
Therefore, given that the magnificent monument of Soltanieh Dome and the pictorial version of Demotte Shahnameh were created in a close time span during the Ilkhanid period, the purpose of this study is to investigate the impacts of the architectural motifs of Soltanieh Dome on architectural decorations depicted in the illustrations and motifs of Demotte Shahnameh and thus to provide a comparative study of the two.
The key question is: How has Soltanieh's dome architectural decoration influenced the architectural motifs of the Shahnameh paintings and miniatures? In order to answer this question, the architectural decorations of Soltanieh dome and the miniatures and paintings of the Demotte Shahnameh have been analyzed in terms of decoration style, motifs and the applied location.
In order to conduct a comparative case study of the two artworks, written sources, library documents and a valid virtual database have been used to gather the required data for the theoretical section of the study while data for the field study section have been acquired through observation. Decided by the nature of the data gathered, they will be first analyzed qualitatively to be followed by comparison.
The results of the comparison of the samples demonstrate that the architectural decorations used in Soltanieh dome of Zanjan are very diverse and extensive. In terms of the method of application, it includes different types of brickwork, tiling, and plaster while in terms of motifs, it contains a variety of geometric motifs, circles (Khatai and Arabesque) and inscriptions. In the selected paintings of Demotte Shahnameh, architectural decorations are strongly depicted in the composition of the paintings. On the other hand, the exterior and interior views of the buildings have various decorations comprising of various styles of brickwork, tile and plaster as well as plaster painting along with geometric, Khatai, arabesque and inscription motifs.
Therefore, the research findings reveals that the architectural decorations depicted in the Demotte Shahnameh are comparable to the architectural motifs of Soltanieh dome in terms of decoration technique, motifs and application whereabouts and different types of brickwork, plaster and tiles containing geometrical, circular and inscription motif used in different parts of Soltanieh Dome have also been illustrated in Demotte Shahnameh.
This illustrates the close relationship between the art of architecture and Persian miniature. Based on the outcomes of this and other research studies conducted in this respect, the surviving paintings of each period can be considered as a realistic reflection of the architecture of that period, which can be referred to in the study of architecture and decorative practices of that period on one hand. On the other hand, it shows a cultural continuity in different aspects of Iranian art during the past centuries and some sort of harmony in the application of ancient patterns in different fields of art; Something that has been ignored in the contemporary Iranian art. Returning to this cultural policy can solve the problem of cultural rift in the contemporary Iranian society.
Brand is a system of signs and symbols that involve the consumer in a process of symbolic participation and mental interaction that turn to be the tangible values of a product. This system is organized by a complex matrix of indicative factors. So, usually, its realization is possible through relying on a complex of connotations such as quality, beauty, form and etc.
The present research concerns the signs' function in todays' clothing fashion industry and the consumer's behavior in contact with it.
In the modern industrial age, every brand was trying to persuade the consumer of the advantages of a product in terms of its superiority, distinct identity and a specific social class through aesthetic factors and signs such as quality, beauty, high costs and etc. As a result, the consumer used to do all his/her best to own the product and that was how the Brand was able to create and provide identity.
This way, the leading brands of industrial age became an incentive for creating mental associations and were also able to establish some sort of stable and fixed image about themselves in the minds of the consumers beyond the product codes and the customer's personal mental ambience. At that time, brand was a seamless totality and the design found meaning through production. Every brand used to not only define its consumer class but also set the competition atmosphere and concentrate on this limited yet permanent market.
However, in postmodern and present post-industrial age and with the advent of globalization, the structures have changed. Some factors have revolutionized the former situation of brands. Some of these include the surge in competition and consumption, diversity of societies, tastes and cultures, variety of choices for the previous users who were in minority, social classes with different incomes and eager to use brands and finally, fake products of high quality. This will transform one of the most important exterior expressions of the brand: the symbolic expression.
The study aims to investigate the functional characteristics and role of the signs in the formation of the consumer's identity and maintaining his/her loyalty to the brand with the purpose of acquiring economic objectives. It also intends to examine the influence of the changes on the signs. With the study of the brand function, the identity, the sign and their relation with fashion’s functions, the changes in signs as well as the relation of the clothing’s brand with the consumer to define identity will be revealed.
The research has employed descriptive method and the theories of great postmodern intellectuals including Roland Barthes and Jean Baudrillard on fashion, connotations and signs act, and also Charles Sanders Peirce semiotics to define the rank of signs in a product (clothing) have been applied.
The results indicate that besides the postmodern developments in the transformation of structures, the attempts to develop markets and maintain the connection with the consumer, the brands have replaced modern, symbol-index based signs with that of direct implications, self-referrals and inducing identity through iconic immediate interpretations while they still apply connotations to form the user's identity. Such attempt results in decreasing the consumer's role and his/her resistance when facing a brand and results in using the simple symbolic exchange. This can be called a de-identifying process with much transformation.
However, banknote was introduced in Iran almost a century after it became popular in the world and after Nasser al-Din Shah's return from his third trip to Europe. But apparently, from the very beginning, this visual text served as an appropriate context for the King's propaganda campaign. Supporting such claim is possible through analyzing it using approaches such as semiotics, because in general, the main focus of the studies conducted so far on the subject have been limited to examining its historical and artistic aspects including photography, without endeavoring to explore its explicit and implicit implications. Therefore, some researches must be conducted that apart from the above, are able to discover the intent behind using the image of Nasser al-Din Shah on Iran's first paper currency.
Through the application of one of the practices of semiotics called 'the Pierce trilogy pattern', new data of the unknown dimensions of the subject can be obtained, because if studied through semiotics, that its broadest meaning is the study of forms of formation and the exchange of meaning on the basis of sign systems, the meanings conveyed through the printing of this visual element could be identified.
However, a more accurate analysis reveals that due to the visual nature of the the design of banknotes, it is recognized as a physical phenomenon. However, this not absolute because this text, like other ones, has constantly fused with the implications which play a covert, yet practical role in reading its text. Such has happened to the extent that it has affected the original formula and its literal meaning in the name of paper money.
Nonetheless, Barthes 'anchor theory' can be employed to avoid the floating of various meanings and concepts of this visual symbol and image and thus stabilize the multi-semantic feature of the language, because through reading the figures or other information written on the banknotes of this era, their economic value could be determined.
Yet based on the fact that semiotics is phenomenally textual, that is in every action, an objective communication is formed according to its comprising implications and that's why it's open, not closed. Hence, based on this open process, the design, printing and overall production of banknotes contains the image of Nasser al-Din Shah during the Qajar era were not just meant to produce some valuable piece of paper because otherwise, its meaning would have just served as a sign or its explicit meaning and doesn't serve other intertextual implications or other tacit notions. Therefore, the paper at hand intends to examine multiple implications of this pictorial text and its signs.
Semiotics comprise of different approaches including reading and analyzing artistic texts. In fact, as a narrative analysis of texts, this method of study emphasizes on the role of the semiotic context in shaping meaning through examining signs as constructive wholes and also seeks to discover their hidden and implicit meanings.
Accordingly, in order to conduct a proper analysis of the subject matter in this article, Pierce's three-dimensional model has been taken from among a wide range of tools. Pierce introduced his paradigm of sign in the three aspects of form, interpretation, and subject. Based on this pattern, it seems that a note, reflecting the image of Nasser al-Din Shah, is an interpretation, because interpretation is the form in which the sign appears or in the way the object is represented in the manner.
So as to obtain results, this paper has adopted qualitative approach and has used analytic method. Data has been collected through desk study of library resources and examination of pictorial documents.
Moreover, the research has been based on the semiotic theory of Charles Sanders Peirce which covers elements of sign, interpretation and object to answer this very question that what is the interpretation of the semiological analysis of Naser al-Din Shah's portrait on the first Iranian banknote as a reflection of the top official authority of the country?
Aiming to discover and infer the hidden meanings and implications of the said sign (i.e. Naser al-Din Shah's portrait on the first Iranian banknote), the semiotic theory of Charles Sanders Pierce has been used. The research outcomes indicated a continuity of the court's iconography and portrait painting traditions of Iranian monarchies along with habit of highlighting the most powerful auhtority of the country which resulted in the use of banknotes as both ideological tools and public advertizing media to emphasize the legitimacy of the prevalent government.
Using mirrors in the field of interactive arts can represent the relationship between the artist and his inner and outside world. The involvement of mirrors in artworks can be a way of representing the audience by the artist, in a way that the presence of the artist/author is unavoidable in some of the new artworks. This form of indirect interaction within the symbols, signs, and/or archetypes in the art work can create a multi-layered relationship with the audience. Moreover, such interaction between the audience and artwork makes the role of artist even more effective and also creates a new form of perception and understanding for the audience.
In this essay, attempt has been made to study and analyze the roles and functions of mirrors in the new interactive arts. Therefore, the author has proposed a method to examine the potentials of the poststructuralist ideas, such as Roland Barthes and Derrida’s, and if they are employable on Post-modern art. Furthermore, the paper seeks to respond to the literary idea of “The Death of the Author” and if we can perceive new meanings from artworks through this Barthesian debate.
To this purpose, the research studies the roles of mirrors in the post-structuralist framework and Barthes’ theory of “The Death of the Author”. Hence, on one hand, this essay challenges this Bathesian theory in the interpretation of contemporary artworks, and on the other, analyzes mirror’s functions through Derrida’s post-structuralist theory. Finally, this essay concludes new responses to the author’s transformational role in the relationship with the audience and artwork.
Through this relationship, the paper presumes that not only the author is not dead or absent in the art work-audience relationship but also exists in a more effective way through his indirect interaction with his audience. Interactive arts, including those that involve functional mirrors, are appropriate candidates for this research elaborating upon the thoughts and ideas of post-modern theorists like Barthes and Derrida. The data required to conduct this research has been gathered through the desk study of library resources taking descriptive-comparative method. The statistical population includes six examples of interactive arts created during the past decades. The works selected are sufficient to support the paper’s hypothesis and also extend it to the aforementioned theories.
However, unfortunately, due to lack of consultation with professional designers and the lack of attention towards research and development particularly in the field the design, many deficiencies in this field. Because of the variety of tastes of consumers and their different needs on one hand, and the existence of a competitive environment among manufacturers, on the other, the design and development of new carpets has always been a challenge for companies. It is now time for customers to choose the right carpets from companies whose products and services are of the same quality, and the customer's better sense of the variables, such as design and color, can greatly influence their choice of selection and purchase. Therefore, in today's competitive environment, consumer-centric carpet design is a necessity.
The current paper aims to examine the social behavior of buyers of machine-made carpets and the relationship between the design and color of carpets and the emotional preferences of the consumers of this product. Then, it tries to answer these questions that what is the relationship between the social variables of buyers and the design and color of carpets? What are the desirable visual features of the buyers of machine-made carpets?
This study employs descriptive-analytical method of study. Data for the descriptive section have been gathered through the collection of information on the machine-made carpet industry with theoretical orientation of research being Kansei engineering. Kansei engineering method has been used to analyze the data collected using SPSS and Excel software. The correlation test has also been used to study the relation of demographic variables with design and color on one hand and the relation between design and color characteristics of carpets and customers' feelings on the other. Kansei engineering method enjoys a special technology that regulates human emotions in the form of quantitative data. In this area, those products are developed that bring happiness and inner satisfaction for the user.
A number of 110 Machine Carpet buyers who had visited "Mr. Carpet" hyper market in the summer of 2018, expressed their feelings regarding the carpets of their choice in the form of Kansei words. Eleven Kansei words related to the feelings of carpet customers were selected by observing the buyers’ behavior and interviewing them as well as consulting with the sellers and experts of this industry, and semantic differential scale and rating of 7 houses was presented to buyers. Also, 27 features related to the design and color of these carpets were considered. Data was analyzed using SPSS software and correlation method. The results indicated that at present, Afshan (all-over pattern) design is more attractive to buyers than others followed by Corner-medallion design. Also, the three features of quality, harmony with the household furniture and price, are more important in the customers’ choice of selection. The results of correlation analysis showed that the customers are more looking for impressive, elegant, vibrant designs for their living rooms, and the effectiveness of the design can be achieved by designing two or more texts, using delicate designs, Khatayi spirals as well as discontinuous and meander borders.
Continuity is the characteristic of Iranian art. Although it was believed that the written signs and symbols used in the pre-Elamite and old Elamite era before the popularization of cuneiform have been forgotten, a comparative study of the motifs used in the rural and nomadic handwoven fabrics with some of such signs reveals some surprising facts.
This research paper has employed intertextuality approach. Whenever there is an element in the two texts, an intertextual relation is created. In general, the intertextual relations can be categorized into three: explicit, implicit and tacit.
Explicit intertextuality refers to the apparent presence of one text in another. In this type of intertextuality, the author of the second text does not intend to conceal his reference, and thus, uses signs that can be identified and even referred to as intertextual.
The type and application of the contextual symbols and the difference between these two texts results in the formal transformation of the elements in the second text. For this reason, in this type of intertextuality, certain people, that is special audiences, who are specialized in the texts (especially the first one), are able to identify the intertextual elements. In this study, the first or pretext are Elamite tablets and signs and the second or hypertext, is the nomadic and rural rugs of Iran.
Based on intertextual relations, if the geometric patterns of the hand-woven fabrics are repeated exactly similar to inscriptions, they should be classified as explicit intertextuality. Investigations carried out for this study display that the system of inscriptions and their layouts have not been exactly reproduced on the hand-woven fabrics; however, a new system have repeatedly organized Elamite scripts on the Iranian Rugs. This can be identified as some type of tacit intertextuality which results in the formal transformation of the elements in the new text.
In this research, formal transformation of geometrical signs derived from squares have been analyzed. The signs have been read based on the formal similarity of the elements because the meaning of the signs in the inscriptions have been read hypothetically without any decisive proof. Therefore, to prove the intertextual relation of the two texts, the comparison has been made on form and appearance.
The main question of the research is what are the differences and similarities between the common signs in the two areas of Persian hand-woven fabrics and ancient cuneiforms. In fact, the paper seeks to prove one of the earliest pretexts of the formation of geometrical square motifs in Iranian handwoven fabrics which is the Elamite cuneiform. Moreover, it aims to illustrate what changes have Persian handwoven fabrics have imposed on pretexts (Elamite signs).
The analysis focuses on a kind of transtextual relation between the two fields of study of ancient scripts and Persian rugs, with the two having around 5000 years of time difference.
Moreover, the paper intends to study the visual and semantic values of the rural and nomadic rugs and their similarity with the most ancient cuneiforms in Iran; elaborate upon the motifs of handwoven fabrics as meaningful signs, and finally elucidate the possibility of the continuation of the disrupted cuneiforms on the textiles. The study has employed descriptive-analytical approach in terms of methodology. Data has been collected through desk study of library resources (i.e. note taking and image analysis) and data analysis was done qualitatively.
The study results indicate that the Elamite inscription cuneiforms are the oldest pre-text of the formation of geometric patterns of Persian rugs. Twenty-one geometrical symbols derived from square geometrical motifs are common to both the ancient Elamite cuneiforms and Iranian handwoven textures. Some of the signs are totally unique and have been used repeatedly within the text and on the margins while some others constitute the overall structure of a texture and imply a tacit intertextual relation.
There is no explicit intertextual relation between the works of the two fields as no systematic representation of the inscriptions have been found in any of the texts. What is certain is that 21 cuneiforms that were hitherto thought to have been forgotten have made their way to the present day in Iranian handwoven fabrics.
The main difference between the two categories is the transformation in the arrangement of the signs from that of the Elamite cuneiform to the recurring geometric patterns on the Iranian rugs. As per the rules of intertextuality, no text will be created without a reflection of previous texts. The earliest meaningful Iranian signs that form geometric patterns are the Elamite cuneiforms. Pre-Elamite and Linear Elamite scripts carry signs, some of which may have been deciphered by Walter Heintz.
A comparative Study of the motifs of handwoven rugs with Pre-Elamite and Linear Elamite scripts demonstrate that the earliest pre-text of the square-shaped Iranian motifs is rooted in inscriptions dating from the third millennium BC. The intertextual relation between the linear signs of the pre-text (inscriptions) and motifs of the hypertext (handwoven fabrics) is tacit. Because the motifs drawn from the square pattern taken from the structural system of the Elamite script and language have recurred on fabrics.
With a post-modernist perspective, community-based art education is one of the approaches taken to teaching and learning art in an interdisciplinary field, which perceive all types of connections between arts and communities through the elaboration of educational theories and practices.
Since one of the important presuppositions of this approach is relying on the rich context of experiences, culture and art of the local/folklore communities, this study will examine the challenges of the area of Iran folklore and indigenous arts pertaining to ritual dolls and elucidate their various dimensions in a community-based art education framework.
Then study has employed applied developmental research approach as well as exploratory-qualitative method with phenomenological approach.
The study population consisted of educators, artists, and researchers actively involved in the field of indigenous arts, especially puppets, and engaged in art education.
The sampling method used was purposeful and homogeneous which, taking into account the inclusion criteria, reached the theoretical data saturation with 9 individuals.
Moreover, semi-structured interviews were used to collect data for this study.
The validity of the data was confirmed by evaluative criteria of Lincoln & Guba (1985), Denzin (1978), and Patton (1999). The data was analyzed through inductive method using Collaizi's seven-step method (1978).
Based on the findings, the challenges of community-based arts education were categorized into two main intra-institutional and extra-institutional levels and 18 themes.
At the intra-institutional level, the challenges included the lack of a comprehensive approach to art education, coaching skills, audience analysis, dialogic production, multicultural knowledge skills, and social leadership skills.
At the extra-institutional level, the challenges were the social welcome, the reduced status of art to pleasure and delight, semantic evolution, ritual confinement, functional threat, intertwining of symbols and intergenerational expectations.
The results showed that the development of a community-based educational approach is considered a necessity in contemporary Iranian art education. Acknowledging the art, the culture, and the heritage of their communities and benefiting from them in their curriculums, the educators can empower learners’ cultural identity.
Besides, the study outcomes indicated that the educators who, through experience, have been able to integrate folk arts such as dolls into their art education program, have experienced unintentionally the social functions of community-based arts. According to another part of the results of this study, local community-based arts should be capable of producing intellectual challenges and audience engagement as well as producing content appropriate to the audience, while this is absent in the current education process for these arts.
The extra-institutional challenges section illustrates that community-based arts are not a concern for current society, and one of its important reasons is the shift in intergenerational expectations, semantic evolution, and ritual confinement, limiting the doll to the ritual field, which seems to be considered of no use in today's society. In addition, the current society has at best reduced art to a level of enjoyment and recreation; and thus, learning from arts is not much taken seriously. Community-based arts in this sense cannot be central to society.
The paper at hand has employed a descriptive-analytical method of research and the data has been gathered through the desk study of library resources as well as field survey (filling out questionnaires). The survey included two groups: (1) artists, art graduates and students at different academic levels from six prominent universities in Tehran and (2) general audience comprising of those with artistic background as well as the general audience studying in various academic levels and disciplines at different universities in Tehran. Three factors were considered in the selection of the general audience: (a) strategies in choosing the artistic style; (b) ethics in the creation of the artwork and (c) ethics and the audience. Using the Variance Formula and F-test, the results obtained included 49/59, 26/191, 81/346 respectively.
Based on the statistical results, 2/65 of the first group approved the use of strategies and the choice of artistic style above 50% on average. A comparison of the opinions of the members of the same group showed that the use of the ethics in the creation art work is at 29%; i.e. less than the average level. These numbers indicate that in this group, considering the option of audience and ethics in the creation of works of art by 40.2 is consistent with their views. A comparison of the artists' opinions with respect to items such as their years of artistic activities, shows a difference of ideas among them. However, the application of strategies and artistic style and ethics in the creation of artworks are different.
A comparison of the viewpoints of the second group of participants in the study reveals that there is a relation between the rate of employing ethics in the creation of artworks with the author’s academic level. Ph.D. holders of non-art disciplines were more interested in strategies and styles (8.76) and B.A and B.S. holders were the least interested while those with master’s degree had the least interest in ethical factor (2.31). The analysis of the findings related to the art style and ethics indicates that the general audience expect 79%, 63%, and 83% more than average that artists should use style and the ethics for the creation of artworks and believe these are a part of the intrinsic value of the artwork.
The statistic results show that the rate of the ethics employed in the creation of art works is lower than the average. There is a meaningful difference between pro-ethic public audience and artists who think of no limitation for the creation of the artistic work in terms of ethics. Standard deviation is higher with the general audience too. Experimental F, also shows the same opinion on the part of the non-specialist audience. The findings of the study indicate that the content-ethnics is not similar for the artists and audience.
In response to the study questions, it seems that the ethical factor for general audience is more important than the artists. However, artists and specialist audience are on the side of creativity and artistic values of the artwork than the ethical issues. The conclusions drawn from the study, reveals that among the artistic community, there is no direct relationship between ethical values and aesthetical values of a piece of artistic work. However, the ethical values can be taken into consideration in theoretical and practical education of the art students to make a balance between ethics and artistic works.