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مرکز اطلاعات علمی SID1
مرکز اطلاعات علمی SID
اسکوپوس
مرکز اطلاعات علمی SID
ریسرچگیت
strs
Journal: 

NEGAREH

Issue Info: 
  • Year: 

    2011
  • Volume: 

    6
  • Issue: 

    18
  • Pages: 

    69-81
Measures: 
  • Citations: 

    0
  • Views: 

    1974
  • Downloads: 

    2187
Abstract: 

Iranian PAINTING has had inseparable bond with Persian language and national and religious themes and an evidence for this claim is presence of valuable PAINTING copies which have been kept as memento in museums of Iran and the world. Each of these copies has been created based on the highly valuable Persian texts and national and religious themes. FICTIVE PAINTING as one of the variants of Iranian PAINTING has a tight link to Persian literature and its themes hinge mostly round life events of national and religious heroes. Due to popular origin of FICTIVE PAINTING and its artists, immediate link with commonpeople, these painters have had particular interest in people, s wishes and desires. Present research with the purpose of finding reasons for inclination of FICTIVE painters to epical and hero-centered in written and verbal literature and religious themes, tries to answer this question whether the tendency to literary, national and religious themes in FICTIVE PAINTING is like that of other kinds of Iranian PAINTING or it has other reasons? In this paper, descriptive and analytic methodology is employed and the samples used in it have been selected from among the most typical teahouse PAINTINGs.

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Author(s): 

Issue Info: 
  • Year: 

    2017
  • Volume: 

    55
  • Issue: 

    -
  • Pages: 

    1138-1143
Measures: 
  • Citations: 

    315
  • Views: 

    4687
  • Downloads: 

    9195
Keywords: 
Abstract: 

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Journal: 

ISLAMIC ART

Issue Info: 
  • Year: 

    2011
  • Volume: 

    7
  • Issue: 

    14
  • Pages: 

    61-80
Measures: 
  • Citations: 

    1
  • Views: 

    1394
  • Downloads: 

    1112
Abstract: 

Sogdian PAINTING in terms of both content and form has a direct relationship with Persian PAINTING and its roots such as the Sasanian art of and Manichaean art as well. In other words; the opinion of those Russian art researchers who know the art of Transoxiana (also called Fararud / Ma Wara'un-Nahr) apart from Iranian art is incorrect, since this art is indeed part of Persian art, but independent from the Sasanid Court.Being far from the power center not only led the rich Sogdian artists to be more creative, but it made also possible for them to loan some artful elements from the neighboring lands and mix them with those of Sogdian art.Moreover, this distance made it possible to preserve the past heritage in different dangerous situations like Alexander or Arabs attacks, and it was reasonable that the first intellectual, cultural, and art movements of Iranian started from the Great Khorasan and Fararood. Hence, Sogdian art had latitude in portraying folklores, mythical- athletic legends and women's stories; the subjects which never found the chance of appearance in the official or Sassanid courtier art.Sogdian PAINTING, with the consideration of its executive style and the themes in common with those of Persian PAINTING, could have been an inspiring source for the Iranian art. This inspiring headspring has neither the fundamental difference of themes and aesthetic nor the time distance with Byzantine art .Moreover, it has also no Ideological and color bases differences with Chinese art and the themes’ maladjustment or the Hirbodian mood of Manichaean art as well.Objectives:1- Looking for origin of Persian PAINTING of Islamic era.2- Understanding the similarities between Sogdian PAINTING and Persian illustrations.Questions:1- What similarities exist between Sogdian and Persian miniature PAINTING?2- How it is possible to indicate the relationship between Sogdian and Persian miniature PAINTING, and to express this trade?3- What was the role of Khorasan and Fararud or in other words, the East of Iran in this process, particularly facing with the invasions of these nomads?

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گارگاه ها آموزشی
Journal: 

TANAFFOS

Issue Info: 
  • Year: 

    2019
  • Volume: 

    18
  • Issue: 

    4
  • Pages: 

    346-350
Measures: 
  • Citations: 

    0
  • Views: 

    9938
  • Downloads: 

    9655
Abstract: 

Background: Automobile spray PAINTING is considered a high-risk occupation for respiratory diseases. The present survey aimed to assess the effects of automobile paint vapors on spirometric parameters among workers of a PAINTING workshop in a large automobile manufacturing plant in Iran. Materials and Methods: This cross-sectional study was conducted on 820 workers of an automobile manufacturing plant, including 431 spray painters (case group) and 389 assembly line workers (control group). Spirometry was conducted for all participants under standard conditions, according to the American Thoracic Society (ATS) Clinical Practice Guidelines. The forced expiratory volume in one second (FEV1), forced vital capacity (FVC), FEV1/FVC, and forced expiratory flow at 25% and 75% of the pulmonary volume (FEF25-75) were reported. Results: Painters with more than ten years of work experience had significantly lower predicted values of FEV1/FVC (P= 0. 005), FEV1 (P=0. 008), and FEF25-75 (P=0. 003), compared to the control group. Also, painters who were exposed to solvent-based paints were not significantly different from those exposed to water-based paints in terms of spirometric parameters (P>0. 05). Conclusion: The results indicated the impact of automobile spray PAINTING on the spirometric parameters. A slight decrease in the mean values of these parameters calls for attention to occupational safety, regular medical examinations, and effective measures.

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Issue Info: 
  • Year: 

    2014
  • Volume: 

    3
  • Issue: 

    6
  • Pages: 

    55-71
Measures: 
  • Citations: 

    0
  • Views: 

    4833
  • Downloads: 

    1449
Abstract: 

The term “simultaneity” means the exhibition of various spaces without time and place sequences in an image using the principle of synchronicity. The term “spatial simultaneity” has been used for referring to Persian PAINTING and Cubist PAINTINGs of Picasso. For this reason, the main objective in present paper is to identify similar and different aspects of the two aesthetic systems of Persian PAINTING and Picasso PAINTING each of which displays spatial simultaneity in its visual structure. Moreover, it is tried to show that “spatial simultaneity” lacks enough precision for describing Persian PAINTING. Accordingly, similar and different aspects of the concept and visual structure of “spatial simultaneity” in Persian and Picasso PAINTINGs are explored. To fulfill the objectives of this paper, library sources and descriptive-analytical method are used to explore the concept of space and the manner of showing perspective in these two visual systems. The results of observations in this paper show that spatial simultaneity in aesthetic system of Persian PAINTING and Picasso PAINTING involves similarities and differences. For instance, in Persian PAINTING, space is devoid of material constraints and it is in relation to the World of Ideas, whereas, in Picasso PAINTING, space is perceptual and dependent on the material world. For this reason, it can be concluded that the term “spatial simultaneity” is not sufficiently precise to define visual structure of Persian PAINTING because such term has been used for the first time to define Cubism style in PAINTING which is not in complete correspondence with Persian PAINTING.

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Journal: 

Naghsh Mayeh

Issue Info: 
  • Year: 

    2013
  • Volume: 

    5
  • Issue: 

    14
  • Pages: 

    113-124
Measures: 
  • Citations: 

    0
  • Views: 

    163
  • Downloads: 

    133
Abstract: 

The reason behind the creation of a PAINTING and the method applied, hold many hidden secrets within it and can be influenced by ever-changing internal and external conditions. One of the most important of these factors is an inner existing aspect called the evil force which with the help of the artist’s creative mind and his ideology and beliefs, and in accordance to the prevalent social, cultural and religious condition, not only creates works of art with similar content and different appearances, but also displays them through different styles such as abstract, figurative, expressive and etc; although these figurative works of art could exhibit the concept of evil and even multiply its existence to the observer. Therefore the evil force can be considered as one of the many forces that have been placed within human beings and while it is considered as a destructive nature, humans are able to employ its infinite energy as a stimulant towards artistic creation and show their beliefs and inner beings in the form of displaying the evil force (as Satan), or through passing this corporeality.

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strs
Issue Info: 
  • Year: 

    2010
  • Volume: 

    1
  • Issue: 

    2
  • Pages: 

    131-170
Measures: 
  • Citations: 

    2
  • Views: 

    3886
  • Downloads: 

    1181
Abstract: 

This paper is an attempt to study the factors that affect the PAINTING market in Iran. Based on our preliminary assumption these factors were divided into four groups: social and personal factors concerning the artist, aesthetic and artistic factors concerning PAINTING, the role of galleries and dealers, and price evaluation of PAINTING. The examination began by field study of the distribution and sale of PAINTINGs in galleries and exhibitions in Tehran. Based on survey findings and interviews with painters and critics, the influence of unaesthetic factors on aesthetic assessments was established. 414 PAINTINGs were studied through the empirical model. The samples were chosen from sale centers in Tehran which were active in the first four months of the year 1378. Through employing a regression model, the analysis showed the influence of age and gender, form factors (size, frame and material), aesthetic aspects (style, technique), and different ways of presentation PAINTING (gallery and exhibition) on the price of artworks. The findings can be used in economical attempts to restore order in the art market as well as preparing the ground for developing taste in the Iranian art society.

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Author(s): 

HOSSEINI MOJGAN

Journal: 

Naghsh Mayeh

Issue Info: 
  • Year: 

    2009
  • Volume: 

    1
  • Issue: 

    2
  • Pages: 

    107-114
Measures: 
  • Citations: 

    0
  • Views: 

    1046
  • Downloads: 

    553
Abstract: 

Since the first decade of the 20th century PAINTING has been considered seriously and has developed even more so during the recent decade. The attempt of researchers and art critics of today have developed the range of Iranian PAINTING's perspective and based on valuable documents. These have been collected during decades of search conclude that researchers work on gathering and cataloging was based on aesthetical and historical viewpoints. As a result taking into consideration the documents in hand, by viewing some of Mohammad Siaghalam (famous painter of 9th century's) works, who was one of the famous Iranian painters of his time, we realize that because of his imagination and the ability to draw extraordinary creatures, he is considered the best in his field of work. In this research according to documents we analyze the composition of initial elements and their arrangements in his works. Accordingly we will refer to documents of this period and compare his works with the Spanish painter's, Pablo Picasso (1881-1973).We hope that by analyzing and considering his works, it will lead to deeper research with regards to his work and a new perspective in the way we see Iranian PAINTING.

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Author(s): 

ABOLGHASSEMI MOHAMADREZA

Journal: 

Kimiya-ye-Honar

Issue Info: 
  • Year: 

    2019
  • Volume: 

    7
  • Issue: 

    29
  • Pages: 

    4-18
Measures: 
  • Citations: 

    0
  • Views: 

    150
  • Downloads: 

    20
Abstract: 

Persian PAINTING has usually been studied from historical point of views. But its formation is rooted in a specific social context. In this study, we will try to contextualize it and we will show that this social context has a crucial role regarding its aesthetic. Persian PAINTING is an art of royal courts and it represents the life of princes combined with Persian epic legendes. This social context and its impact on the Persian PAINTING will be studied here, showing that ordinary life of royal families is the central theme of these PAINTINGs and not, as it is said usually, the sprituality of mystical realms. The formation of the Persian PAINTING in the 14th century is typically related to the Persian cultur ruled by the Mongols and Timû rids who tried to legitimize their kingdom by supporting the arts and particularly PAINTING. That is why the art of PAINTING flourished in Persia during their dynasties.

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Issue Info: 
  • Year: 

    2020
  • Volume: 

    4
  • Issue: 

    13
  • Pages: 

    137-159
Measures: 
  • Citations: 

    0
  • Views: 

    139
  • Downloads: 

    130
Abstract: 

Throughout Iran’ s history, there have been governments, however large and small, of local rulers and rulers that have been the source of significant influences in the history of our country’ s art and civilization. These local rulers are not well-known throughout history, among them the local government of Al Inju and then al-Muzaffar. After the collapse of the Ilkhanid dynasty in Iran, the regions of Kerman, Yazd, and Fars were presented with a competition between the two families claiming al-Inju and Al-Muzaffar. However, the period of the local rule of Al Inju and Al-Muzaffar is bed into significant artistic and cultural developments, which can be seen in Shiraz’ s orthography. This is because the remaining copies of the book-layout of Al-Inju and al-Muzaffar are proving to this claim. The question is: What effects has Shiraz’ s PAINTING school had on the Iranian PAINTING art during Al-Inju and Al-Muzaffar? The method of this research is descriptive-analytical with library data collection. Case studies are PAINTINGs of Shahnameh version 733 AH in the Russian National Library in St. Petersburg and Shahnameh 731 AH in the Topkapi Museum of Istanbul, Turkey, and Shahnameh Qavam al-Din Hasan 741 AH, all belonging to the Al Inju period, as well as PAINTINGs of the 771AH Shahnameh, exists in the Topkapi Library of Istanbul in Turkey, as well as the Khamseh Nezami version, in the late 8th century related to the Al-Muzaffar period in the National Library of Paris. Studying the characteristics based on formal, structural, and themes of Shiraz Artography during the Period of Al-Inju and Al-Mozaffar, the effects of Shiraz PAINTING School on the art of PAINTING are distinguished. Based on the results of this research, al-Inju’ s PAINTINGs were under the effect of the tradition of old Iranian PAINTING (reminiscent of Sassanid graffiti) and visualization of Ferdowsi’ s Shahnameh and it’ s martial scenes, and the use of specific tables for writing parts (calligraphy), the illustration of lyrical systems in the Period of Al-Muzaffar, the application of brilliant colors in the PAINTING of Al Inju and Al-Muzaffar have had a tremendous impact on Iranian PAINTING in the later era.

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