Introduction and Symbolic Snalysis of Pateh Motifs of Kerman
Atefeh
Garossi
M.A. of Iranian Art Painting, University of Tehran, Iran.
author
Shohreh
avadi
Assistant Professor of Advance studies of Art, Fine Arts Campus, University of Tehran, Iran.
Abstract
author
text
article
2021
per
Embroidery of Pateh is one of the decorative-applied arts that has been common among Zoroastrian women in Kerman since ancient times and has been considered a special and popular art. Even today, Pateh can be seen in decorating all kinds of decorative and functional items, which has become a reason for the spread of this art among the people. In the present research, an attempt was made to introduce, decipher and eliminate the existing ambiguities in the field of original and new motifs of Kerman’s Pateh by identifying the motifs and their symbolism. The article is applied in terms of purpose and descriptive-analytical in quality. Data collection was done in the form of library (documentary) and field studies (face-to-face conversations with experts, including: tailor, mender and seller of Pateh). From the statistical population, 21 types of Pateh motifs were analyzed in the form of a table. In the division of Pateh motifs, three main categories and each of them including smaller divisions can be named: 1- Plant 2- Geometric and abstract 3- Birds. Some motifs have been common in the past, such as cypress, but some have been used in modern times, including bats. The above-mentioned motifs are often symbolic (cypress tree symbolizes immortality, bergamot symbolizes the movement towards the initial perfection) but some motifs are taken only from nature and sometimes mentally, or are not known until now, such as: (flowers and roses that are used to fill the background space). Handicrafts in each period are a representation of the beliefs, tastes, thoughts, and culture of that period that by examining art and culture, one can realize the specific characteristics of each in different periods. Accordingly, Kerman’s Pateh embroidery is considered to be the most original art of this region due to its antiquity, and its motifs and drawings are a reflection of the ancient Zoroastrian culture.
Journal of Art and Civilization of the Orient
Nazar Research Center
2345-6612
9
v.
32
no.
2021
5
16
http://www.jaco-sj.com/article_130248_ab05a948568b8a58e7bd552b51a9ce40.pdf
dx.doi.org/10.22034/jaco.2021.274891.1190
The Role of Letters and Calligraphy in Public Art
(Comparison of Three Examples of Iranian Public Letter-Based Art with Three Non-Iranian Examples Over the Decade)
Mahsa
Dawachi
M.A. Graphic Arts, Iqbal Lahori Institute of Higher Education, Mashhad, Iran.
author
text
article
2021
per
This study aims at analyzing the effect of calligraphy on providing a relationship between the audience and the work in the public art context. The relationship between artistic work and audience is one of the most underlying issues in postmodern art, which can be achieved in public art more than in other types of art. Accordingly, the type of relationship caused by using letters varies in public art. This is because the letters play a cultural role as a visual element in history. To compare the effect of using letters and calligraphy in public art, three Iranian and three foreign letter-based works were compared. The study employs the descriptive method as a subset of qualitative studies. This study aims at explaining the cultural significance and nature of letters and calligraphy in the new and postmodern arts of Iran, and its importance in communicating with the audiences in public arts.Which indicators can result in an effective audience-work relationship by using letters and calligraphy in public artworks? using letters and calligraphy in public arts can result in a better audience-art interaction in addition to its communicative function in the field of transferring the concept if it is used based on the identity background of audiences. In the studied examples, two works of Al Seyed and Parviz Tanavoli have been recognized as successful works in the field of public art. The entanglement of these works with the urban context, and the relationship of letters with a cultural context of the audience are the most effective factors in the success of letter-based works. According to obtained results, the following characteristics can be counted for public art, which can communicate with audiences compared to other types of postmodern arts: public display, public audience availability, influencing the masses, inviting the audience to participate, creating a sense of joy and happiness, beautifying the urban space, better conveying the message, and stability of information. Also, if the proportion of language and calligraphy with the culture and identity of audiences is considered in public art that used letters and calligraphy as a visual factor, the most underlying aspect of communicating audiences in these works can be realized. Hence, one can make sure of effective audience-art interaction.
Journal of Art and Civilization of the Orient
Nazar Research Center
2345-6612
9
v.
32
no.
2021
17
28
http://www.jaco-sj.com/article_132147_ff3b7b4ba38ed759ade5c50aa1d6cde6.pdf
dx.doi.org/10.22034/jaco.2021.289567.1202
A Comparative Study of How the Thoughts of the Poet and Designer are Reflected in the Architecture of Tomb Garden
(Case examples: Hafez and Saadi Tomb Garden)
Zahra
Yarmahmoodi
Ph.D. Candidate, Department of Architecture, Shiraz Branch, Islamic Azad University, Shiraz, Iran.
author
Fatemeh
Niknahad
Ph.D. Candidate, Department of Architecture, Shiraz Branch, Islamic Azad University, Shiraz, Iran.
author
text
article
2021
per
The garden of the tomb is the design of a symbol and a memorial that reflects the ideas, views, and beliefs of the person resting in it. Therefore, since people will visit this place in the future, it is better to be eternal and stable. As stated in various studies, the secret of a work’s immortality is its relationship with its viewers and users. Adherence to cultural and climatic patterns and adaptation to the conditions of the region and society is essential. Therefore, flexibility, appropriateness of the time, and the transfer of meaning are among the requirements for the design of spaces and monuments. The research uses the descriptive-analytical research method and employs the phenomenological approach to determine the relationship between the poet and the designer’s thought and the architecture of the tomb and in recording and transmitting the cultural-spatial identity of the city. In this regard, two examples of tombs in Shiraz as a city with several tombs were selected. The data was collected, analyzed, and interpreted through the bibliographic method. According to the results and deductive measurement of samples based on Iranian architecture, culture, and living environment (Shiraz) has influenced the thought of the poet and designer in the architecture of the garden of tombs. The principles of Iranian architecture considered in the monastery include the following: the combination of traditional and modern architecture, symmetry, human scale, decorations, symbols, materials, and principles of gardening of Iranian architecture, which ultimately has created architecture appropriate to the culture of the region.
Journal of Art and Civilization of the Orient
Nazar Research Center
2345-6612
9
v.
32
no.
2021
29
44
http://www.jaco-sj.com/article_132857_8b18e31c152e08016566ce5daddad0bc.pdf
dx.doi.org/10.22034/jaco.2021.288405.1199
A Study of the Semantics and Characteristics of Representing Ancient Egyptian Mythology in “ Assassin’s Creed: Origins” Computer Game
Pooriya
Tahmasebi
M. A Student of the history of Islamic Art, Faculty of Fine Arts, University of Tehran, Iran.
author
Mahyar
Asadi
Assistant Professor, College of Visual Arts, Faculty of Fine Arts, University of Tehran, Iran.
author
text
article
2021
per
Nowadays, the creators of computer games represent a variety of events and themes. Reconstruction of ancient civilizations and the use of historical and mythological capacities are among the topics that have been considered in many games. Myths are one of the main cultural elements of any civilization. Understanding the mythological culture of any civilization will lead to more familiarity with the attitude of its predecessors toward the phenomena of existence. The language of mythological works is symbolic. As the category of symbols and symbolism has always been reflected and discussed in many branches of the humanities; given the capabilities of computer games in reflecting symbols and myths, this category can also be considered and recognized in this new artistic medium. One of the most successful computer games that has realistically reconstructed ancient civilizations is Assassin’s Creed: Origins. The game received many positive reactions with the reconstruction of the ancient and great civilization of ancient Egypt. One aspect that has been reconstructed in this game is the attention to gods, myths, motifs, and symbols. For the first time in the country, the present study examines and symbolizes the symbolic elements and myths of Egyptian civilization based on images taken from this computer game in a descriptive-analytical manner. The purpose of this study is to study the symbolism of mythological elements in an internationally successful computer game and to analyze the various methods used in this game to reflect these civilizational and mythological capacities. Finally, from the sale of this game at the international level, it can be concluded that mythological fields and cultural symbols have a wide potential for use in computer games, And by analyzing the elements of this game, it is possible to produce computer games based on the rich mythological and civilizational capacities in the Iranian-Islamic civilization.
Journal of Art and Civilization of the Orient
Nazar Research Center
2345-6612
9
v.
32
no.
2021
45
56
http://www.jaco-sj.com/article_132856_81186704ef1ad997c8fc28b4a1aba7ef.pdf
dx.doi.org/10.22034/jaco.2021.289055.1200
A Study of Mithraism in the Culture of Bakhtiari People
Amin
Ahmadi Birgani
0Bachelor of History, Payame Noor University, Farsan, Chaharmahal and Bakhtiari, Iran.
author
text
article
2021
per
One of the most important issues in preserving an area’s indigenous values is finding traces of the past. Bakhtiari rituals, as an intangible heritage of the Bakhtiari people, have been passed down from one generation to another over a long time. The rituals are full of symbolic concepts that have originated from their myths, culture, and beliefs over time. The purpose of this study is to identify the symbols of Mithraism along with other pictorial symbols derived from the concept and stories of Mehr in the culture of Bakhtiari people. This study is based on a comparative study of documents and research on mythology, history of religions, and ancient Iran. Mehr ritual is one of the rituals in which symbolic images have been used as a visual language for conveying the concepts and principles of this ritual and its followers. Over time, these images have been preserved with the same hidden meanings in them and the following centuries have been used in the same way However, they were modified and their concepts have developed and used in a wider sense.
Journal of Art and Civilization of the Orient
Nazar Research Center
2345-6612
9
v.
32
no.
2021
57
66
http://www.jaco-sj.com/article_132858_e878d45c433d793a8ff3d3ded3b8658b.pdf
dx.doi.org/10.22034/jaco.2021.257749.1174
A Study of the Developments of Islamic Calligraphy
in Contemporary Turkey
Hojjat
Amani
Ph.D in Analytical and Comparative History of Islamic Art, University of Tehran, Iran.
author
sara
Farahmand Daro
Master of Painting, Yazd Faculty of Art and Architecture, Yazd University, Iran.
author
text
article
2021
per
With the formation of the Republic of Turkey and the rise of Western propaganda, the art of calligraphy, which was of great importance during the Ottoman period, was suddenly abandoned. This process which was started by artists such as Sheikh Hamdullah (Şeyh Hamdullah), was stopped for decades. In the 1980s, with the aid of the government of the time, the religious and Sufi communities, this art was revived. This study used a historical-analytical method on contemporary Turkish calligraphy and with reference to the works, lives, and speeches of Turkish calligraphers showed that two distinct approaches to Turkish calligraphy had been formed so far: 1. An approach that remained faithful to traditional calligraphy and spelling methods and made changes only in the materials and tools of the calligraphy. 2- Another approach in which the artist was influenced by modern art, such as abstract painting, with more emphasis on calligraphic forms than on principles of writing. But the important point is that in both approaches, the method of master-student education caused the traditional and religious identity of calligraphy to be preserved. So that even in the modern approach to calligraphy, mystical concepts were still emphasized by artists. In this way, not only did the confrontation of Turkish art with Western art not diminish the traditional values of Turkish calligraphy but also the presence of Turkish artists living in Western countries caused modern art to be influenced in some areas of Islamic calligraphy.
Journal of Art and Civilization of the Orient
Nazar Research Center
2345-6612
9
v.
32
no.
2021
67
80
http://www.jaco-sj.com/article_132354_0cf6d43967c32276a971e6f4692d263f.pdf
dx.doi.org/10.22034/jaco.2021.277929.1192