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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.

Yearly Impact:

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Journal: 

BAGH-E NAZAR

Issue Info: 
  • Year: 

    2018
  • Volume: 

    15
  • Issue: 

    63
  • Pages: 

    57-68
Measures: 
  • Citations: 

    0
  • Views: 

    796
  • Downloads: 

    479
Abstract: 

The truth comes from a single source, and it has spread in all levels of the universe. The essence and divine truth are of tradition and wisdom does not deny the truth of holiness.One of the old artistic traditions that has been the product of almost eleven centuries of gradual development of Shiite’s ceremonial mourning is coffee-HOUSE PAINTING, which was found in fourteenth century.What has given originality to these artworks is the inner feature of them according to which, the artist, in a figurative form, has revealed by code and allegory. What has been problem here, is based on the idea of an ideologist, in Ananda Coomaraswamy1 the content of the definition and function of traditional art with this work, there is a ratio between the PAINTING of a coffee-HOUSE with a divine truth or the same examples, that artist also created a virtuous activity based on rational activity.Aims: This paper intends to determine the divine truth of the artwork based on Ananda Coomaraswamy’s ideas and to indicate its relation to the coffee-HOUSE PAINTING, as a traditional art.Research methodology: he research methodology in this paper is of a theoretical and qualitative nature, and the data collection is done based on a documentary study. In this regard, two instances of the coffee-HOUSE PAINTING, were randomly selected, and the concept of the divine truth and its relation to the above artworks were explained based on Coomaraswamy’s point of view.Conclusion: Divine Truth is the same as heavenly source whose memory conjures upof the immortal representative image. Coomaraswamy considers art as the embodiment of a pre-conceived form in material form that, firstly, perceives the stage of liberation (observing the perception of the immortal truth) and then, dedicating a physical body to the idea, seeks for the stage of captivation.Based on Coomaraswamy’s ideas, the coffee-HOUSE PAINTING is a manifestation of the Divine Truth and of those images that the artist creates based on his rational activity and also devotional activity.What makes these works authentic is their inner meaning and the truth the artist has expressed in a symbolic and allegorical manner through physical form. A coffee-HOUSE PAINTING is not a crafting skill and art but is based on knowledge and rules whose source of inspiration, methods, and origins transcend the limits of the individual and independent human mind and the artist is merely a channel of mercy motivated by the spiritual universe.

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Issue Info: 
  • Year: 

    1384
  • Volume: 

    23
  • Issue: 

    77-76
  • Pages: 

    18-18
Measures: 
  • Citations: 

    0
  • Views: 

    124
  • Downloads: 

    20
Abstract: 

مقدمه: در این تحقیق روش In-HOUSE ELISA برای ردیابی آنتی بادی IgG اختصاصی بر علیه هلیکوباکترپیلوری مورد ارزیابی قرار گرفت.روش ها: نود و هفت بیمار مراجعه کننده برای اندوسکوپی دستگاه گوارش مورد بررسی قرار گرفتند. دو نمونه بیوپسی از آنتروم معده و یک نمونه سرم از هر فرد بدست آمد. آزمایشات باکترولوژیک (کشت و رنگ آمیزی گرم و آزمایش اوره آز) بر روی نمونه های بیوپسی انجام شدند و سوشهای هلیکوباکترپیلوری جدا شده از نمونه های جمعیت های ایرانی (بومی) به عنوان منبع آنتی ژن در آزمایش  In-HOUSE ELISA مورد استفاده قرار گرفتند و آنتی بادی IgG اختصاصی بر علیه هلیکوباکتر پیلوری از طریق روش In-HOUSE ELISA ردیابی گردید.نتایج: سطح آنتی بادی IgG اختصاصی علیه هلیکوباکترپیلوری بطور کاملا مشخص در افراد مثبت از نظر وجود هلیکوباکترپیلوری بالاتر از افراد منفی از نظر وجود هلیکوباکترپیلوری بود. حساسیت و ویژگی روش In-HOUSE ELISA به ترتیب %90 و %88 بدست آمد.نتیجه گیری: روش In-HOUSE ELISA آنتی بادی های اختصاصی بر علیه هلیکوباکترپیلوری را در بیماران با استفاده از یک مخلوط هتروژن از آنتی ژنهای سویه های مختلف و بومی هلیکوباکترپیلوری را ردیابی نمود. این روش فوایدی از قبیل قابل در دسترس بودن و قیمت پایین داشته است و همچنین در این روش آنتی ژنهای بومی آنتی بادیهای موجود در یک جمعیت با منشا جغرافیایی متفاوت را تشخیص می دهند بنابراین روش برای تشخیص عفونت ناشی از هلیکوباکترپیلوری مفید می باشد.

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گارگاه ها آموزشی
Journal: 

BAGH-E NAZAR

Issue Info: 
  • Year: 

    2016
  • Volume: 

    13
  • Issue: 

    42
  • Pages: 

    19-32
Measures: 
  • Citations: 

    0
  • Views: 

    1484
  • Downloads: 

    1353
Abstract: 

Coffee HOUSE PAINTING that is among few remained folk arts in Iran was originated from the public national and religious attitudes in Qajar era. These PAINTINGs are supported by the imagination and the myth, which are rooted in the intellectual talent and the collective spirit. The imagination constitutes the formal motif of the PAINTINGs as well as national and religious myths constitute the content motifs of the works, which are rooted in the Iranian rich culture and collective spirit. Coffee HOUSE PAINTING that was founded by the artists who didn’t go to the school was according to the imagination and myth-oriented bases somehow the painters called this style as imagination-drawing and stated that its relationship with the imagination was the source of creating their works. Myth-oriented (drawing the national and religious myths) is also considered as one of the important elements of this art and the confrontation between the good and evil forces forms its main concept; these contrasting manifestations are hidden in the unconscious ego of the artist who didn’t go to the school and can be decoded by Gillbert Durand’s nocturnal regime and diurnalregime theory. Gillbert Durand knows that these conflicting manifestations are related to the unconscious ego of the human and his fear of the unknown death universe that is imposed by the time on the human; this case can be examined about the artists who were drawing the pictures in terms of their imagination and were PAINTING their imagination without education spontaneously. This is a research based on the descriptive and analytical studies of the imagination and myth manifestations in the coffee shop PAINTING; this was started by introducing the scope of the imagination, myth and Gilbert Durand’s theory and this important research has been conducted by the library studies, collecting the books and the articles and translating the essays. This paper tries to investigate the place of the imagination and the myth as well as the effective roles of the imagination and myth-making elements in the coffee HOUSE PAINTING according to Gillbert Durand’s nocturnal regime and diurnal regime theory and by a documentary and library method. The results of this research indicate that the artists with the coffee HOUSE style drew the personal fear (fear of death) and the collective unconscious egos of their compatriots with the help of the imagination and its creativity power as well as with the assistance of myth-making and drew the contrasting elements against the fear simultaneously.

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Journal: 

BAGH-E NAZAR

Issue Info: 
  • Year: 

    2017
  • Volume: 

    14
  • Issue: 

    46
  • Pages: 

    57-70
Measures: 
  • Citations: 

    0
  • Views: 

    253
  • Downloads: 

    147
Abstract: 

Apart from functional aspect; architecture can convey the meaning and express its own meanings clearly. Other arts such as PAINTING also can deliver several messages that can be different in various madeia. Many contemporary architects constantly attempts to convey a message of an artwork to architectural media and in this regard, they try to restate the ideas and concepts in a symbolic environment. Without doubt, the meaning of an artwork can be imported with components or other expressive symbols, and thus the litigant meanings of an artwork can be transited to another. In this regard, one of the issues that is missed in architecture area, is the discussion of conveying the meaning from other art media to the architecture. This paper tries to explain how to convey the meaning from PAINTING to architectural media. It is assumed that conveying the meaning of other art medias to architectural media can help the architects to create the meaning and B) Using metaphor, plays an essential role in conveying the meaning from other art media such as PAINTING to architecture. In this paper, in order to answer the research hypothesis, the way John Hejduk restates the Madame D’Haussonville PAINTING by John Auguste Dominique Ingres and the studio series by Georges Braque in the architecture of the wall HOUSE 2 are discussed. The Methodology of this paper is based on descriptive analytic methods and logical reasoning. It also relies on the discussing and analyzing the library information. Finally, this study shows that conveying the meaning from one art media to another can develop ideas from other arts such as PAINTING to architecture and vice versa and be effective in the enhancement of both of these art media.

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Author(s): 

ZANDI M.H. | BAHRAMPOUR A.

Issue Info: 
  • Year: 

    2004
  • Volume: 

    4
  • Issue: 

    2
  • Pages: 

    209-216
Measures: 
  • Citations: 

    0
  • Views: 

    661
  • Downloads: 

    164
Abstract: 

Several theoretical models for description of the injection locking lasers are presented by previous investigators. Nearly in all of these theories, the temporal and spatial variations of gain of the active medium is neglected. In these theories there levant difference equation of the boundary condition of the input mirror is approximated by an ordinary differential equation and solved. In this paper a classical model for the behavior of the active medium is presented and the governing equations are solved. The time variation of the output power for the injection frequencies are calculated. The results for several detuning angels are presented in this paper, the results are in good-agreement with the previous published data.

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strs
Author(s): 

AHMADI F.

Journal: 

SOFFEH

Issue Info: 
  • Year: 

    2006
  • Volume: 

    15
  • Issue: 

    41
  • Pages: 

    90-113
Measures: 
  • Citations: 

    2
  • Views: 

    2572
  • Downloads: 

    87
Keywords: 
Abstract: 

An essential feature in spatial arrangements of Persian plaTEAu, the central courtyard is an integrated solution for both material and spiritual needs of its inhabitants. The arrangement is much influenced by its surrounding environment both in its formal composition (overall geometry versus the geometry of details), and construction methods (materials and technology). It thus exploits all potential advantages of the environment with the least possible intervention (deformation or pollution). Prudent treatment of natural elements (sun, wind, water, and soil) has created a pleasant comfortable microclimate in the harsh warm desert climate. The "Central Courtyard or the City-HOUSE" thus creates a shelter which harmonizes with the sun movement and demonstrates the nature in an intelligent abstract way which bestows it with an archetypal dimension. On the other hand, the progressive Sustainable Architecture approach which values design solutions in response to socioeconomic, cultural and environmental constraints, recommends techniques in line with the central courtyard arrangement in the plaTEAu. Therefore the arrangement can be constituted as functional and thus learnt from in the present context.

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Author(s): 

Hakim Azam | Dadvar Aboalghasem

Journal: 

NEGAREH

Issue Info: 
  • Year: 

    2018
  • Volume: 

    13
  • Issue: 

    47
  • Pages: 

    95-109
Measures: 
  • Citations: 

    0
  • Views: 

    126
  • Downloads: 

    223
Abstract: 

Religious art is rooted in theology and TEAchings of the same religion, such as the religious Coffee HOUSE PAINTING and also the Gothic PAINTING. School of Coffee HOUSE PAINTING was formed and became widespread in the late 13th and early 14th century AD. A Coffee HOUSE PAINTING was ordered for a variety of places, including a coffee HOUSE, a Husseinieh and etc. The theme of the Coffee HOUSE PAINTING is wide-ranging; from religious to epic, romantic, and routine. One of the religious themes of this school of PAINTING is depicted in Ashura PAINTINGs. Ashura Coffee HOUSE PAINTINGs, as a big part of the history of Persian PAINTING and other religious PAINTINGs such as Christian religious PAINTINGs, are narrations and therefore depended on written and verbal text. Christian PAINTING from the beginning and more since Christianity was declared the official religion in forms such as illustration of books, mural PAINTING, typography, mosaic work, glass PAINTING, portraiture iconography, tapestry scenes and PAINTING on canvas narrates topics such as biblical narrations and anecdotes related to the Apostles and saints. Most of these PAINTINGs were created for the church or ordered by the same place. Gothic PAINTINGs and issues related to the life of Jesus Christ are part of Christian PAINTINGs which in this study will be discussed. Although Imam Hussein and Jesus are different in terms of the history of religion in the two missions of the Imam and the Prophet, they are similar in the works of PAINTING in the periods discussed due to the orientation of these characters. These two types of PAINTING, despite their formation in different times and places, have similar characteristics. As part of comparative studies emphasizes on similarities to study the relationship between texts, the purpose of this study is to show these similarities and in the next step to answer to the question that what causes the similarities? The results indicate that continuous composition techniques (continuous simultaneous and non-simultaneous) constitute the most important similarities between the two areas of PAINTING and the repetition of the uniform visual patterns is another shared aspect in techniques of their visual expression. On the other hand, besides depending on linguistic narratives, the similarity of the attitudes of the creators of these PAINTINGs and their educational and religious use in relation to their audience, i. e. general public, are also among the factors that played a significant role in the aforementioned similarities. According to the research history, there are few examples of comparative and inter-cultural studies in the field of Coffee HOUSE PAINTING. On the other hand, no article that has been written independently on the comparative study of Ashura in Coffee HOUSE PAINTING and Gothic PAINTING has been found. The present paper, with a periodic selection of the history of Western PAINTING, and discovering of similarities and common grounds in creation and receiving of works with regard to Ashura in Coffee HOUSE PAINTING and Gothic PAINTING, aims to provide a fresh reader on how to narrate the images. The research is descriptive, analytical and comparative. In each of the domains, two samples are selected purposefully and based on the questions and hypotheses of the paper.

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Journal: 

ISLAMIC ART

Issue Info: 
  • Year: 

    2011
  • Volume: 

    7
  • Issue: 

    14
  • Pages: 

    61-80
Measures: 
  • Citations: 

    1
  • Views: 

    1399
  • 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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Issue Info: 
  • Year: 

    2004
  • Volume: 

    9
  • Issue: 

    1 (Serial number 33)
  • Pages: 

    37-42
Measures: 
  • Citations: 

    0
  • Views: 

    99
  • Downloads: 

    40
Abstract: 

Introduction: Hemophilia is one of the most important coagulation disorders. At the present time the current treatment is factor replacement which may lead to many socio-economic problems and also transmission of some viral infections. In this study we evaluate an alternative treatment to factor replacement to decrease the aforementioned problems. Material and Methods: This was an interventional study and the statistical population included all Hemophilia patients that referred to Besat Hospital. They were randomly divided into two groups: an intervention group of 13 patients and a control group of 15 patients. Tranexamic acid was only used for the intervention group (15 patients). Then the data was assessed by spss win software. Results: In the intervention group bleeding episodes were reduced significantly (from 4.07 episodes per month to 3 episodes per month) and so was the need for factor replacement (from 80.1 u/kg/m to 58.7 u/kg/m). In the control group bleeding episodes and the need for factor replacement did not differ prior to and during the study. Conclusion: The results of this study showed that daily prophylactic use of TEA is effective in reducing bleeding episodes and decreasing the need for factor replacement in hemophilia patients. However, due to increased PTT and decreased serum clotting factors in patients, the risk of life threatening bleeding is likely to be high. Thus we don’t recommend the use of TEA as a prophylactic measure in hemophilia.  

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