Investigating the applications of Sistan glim, (Introducing Shaal Sistan)
Mahdie
Shirazi
Art University of Isfahan
author
text
article
2020
per
Glim is one of the most versatile woven in terms of application, design and dimensions. Motifs, textures, and most importantly, the use of glim in each area is different from the other. In Sistan, the glim has a variety of uses, designs and sizes. In old Sistan, there have been various types of woven and used glim. This is evidenced by the printed glimak in the Sistan rug, which is in museums around the world. It is important persistent of wove glim, especially the shaal, among the people of Sistan. Shaal is a local term for any zirandaz nonporz by the podume method. The glim in Sistan has subcategories such as: Shaal (Glim with the application of the zirandaz), floor tablecloths, bread tablecloths and bag, little information on the shaal or cushions in the Sistan carpet book by Mr. Ali Hassouri, in this book about wove Somach and khersak have been spoken, which shows the age and ability of wove this glim among the people of Sistan. Sistan woven in the modern era of traditional dyeing and use industrial dyeing. Traditional and less woven motifs are woven into the area, threatening the oblivion and deterioration of this traditional weave. Nearby, tablecloths are woven in close proximity, but Sistan's breatableclose is of a very unique length, having lost its original use of bread preservation and has continued to live on the counter. Bags or jval have also disappeared and fewer people use this type of woven with the evolution of the means of transport. This traditional and traditional weave demands the attention of the artisans so that it will not be forgotten. These woven have geometric motifs that in highlights look like these mental motifs are woven and have happy colors. The grounds are often plain or woven with colored wool. The background colors are limited and do not go beyond a few green, red and white. The wool selfish is also an example of the old and traditional weaving. The designs of the moharramat are of a great variety and have added to the beauty of this weave. aim of this study was to investigate the Sistan glim and its different applications along with introducing Sistan shaal. Questions such as: What are the applicable subgroups of Glim Sistan? Progressive research has been done through field research and descriptive-analytical method.
Journal of Field of Art
دانشگاه هنر
2717-2678
1
v.
2
no.
2020
http://mmh.journal.art.ac.ir/article_948_44b1e793bd45a8f250ae3d3441687322.pdf
Analysis of Difference and Correlation of Creativity with Personality Traits among Art Students
Mehdi
Ebrazeh
Art University of Isfahan
author
Ali
Zadehmohammadi
Associate Professor, Family Research Institute, Department of Psychology, Shahid Beheshti University, Tehran, Iran
author
Nader
Shayganfar
Assistant Professor, Faculty of Supreme Studies of Art and Entrepreneurship, Department of Art studies, Isfahan University of Art, Isfahan, Iran
author
text
article
2020
per
Understanding the artists' creative process and their personality traits and knowing their relationship to each other can be used in understanding and analyzing the cognitive factors that influence the formation of an artwork. The purpose of this study was to find out the difference and relationship between creativity and personality traits among art students. Subjects were selected non-randomly from among the students of painting, graphic, photography, industrial design and architecture. The research method was descriptive and quantitative. The research tool for measuring creativity was the Torrance Creative Thinking Test (TTCT) and the NEO-FFI for measuring personality traits. It assesses four levels of creativity, including: 1) Fluency: the power of producing many ideas and answers (Question 1-15 is for measuring the fluency dimension of creativity); 2) Flexibility: the ability to change the direction of thinking or the ability to produce diverse ideas (Question 16-30 is for measuring dimension individuals' flexibility); 3) Originality: Ability to produce new or innovative ideas or products: Individual responses that have not been seen before and are new. (Questions 31-45 are for reviewing this dimension of creativity); 4) Elaboration: Ability to pay attention to details associated with an idea: That is, creative people pay more attention to the details of an idea. (Questions 60-46 are elaborated on in detail for creativity dimension). The total number of questions consists of 60 questions. Each question consists of three levels. The way it is calculated is that all four sub-scales of fluency, flexibility, originality, and elaboration are brought together in detail to get the total score of creativity. The creativity score range is 0 to 50 (very low creativity); 50 to 75 (low creativity); 75 to 85 (medium creativity); 85 to 100 (high creativity); 100 to 120 (very high creativity). The NEO-FFI shortened form was used to measure personality traits. Each of the five factors of personality traits comprises six attributes, respectively: The first factor is Neuroticism: Anxiety, Hostility, self-conscientious, impulsiveness, vulnerability; the second factor is Extraversion: warmth, gregariousness, assertiveness, activity, excitement seeking, positive emotion; the third factor is openness to experience: fantasy, aesthetics, feelings, actions, ideas, values; the fourth factor is Agreeableness: trust, straightforwardness, altruism, compliance, modesty, tendermindedness; the fifth factor is conscientiousness: competence, order, dutifulness, achievement striving, self-discipline, deliberation. The NEO-FFI instrument has been shown to be a valid and reliable shortening instrument with 60 items. The scoring method is defined on a 5-point Likert scale which includes strongly disagree=5, disagree=4, neutral=3, agree=2, strongly agree=1. Interpretation is performed separately in each factor and is divided into three categories: low=12 to 24; medium=24 to 48; high=48 to 60. Pearson correlation coefficient was used to analyze the relationship between variables and one-way ANOVA was used to analyze the difference. The findings indicate that there is a correlation between creativity and personality traits, and there are some differences.
Journal of Field of Art
دانشگاه هنر
2717-2678
1
v.
2
no.
2020
http://mmh.journal.art.ac.ir/article_949_980e30c238c0a7c569afe3b549ead968.pdf
dx.doi.org//mmh.2020.15
The «Precious Music» in Iranian Contemporary Music Literature: A Sociological Analyze
Faraji
Mohamadreza
Art University of Tehran
author
Hamid
Askari Rabori
Assistant Professor, Music Faculty, University of Art, Tehran, Iran
author
text
article
2020
per
"Precious music"; a post-revolutionary term having come into the musical literature of Iran in which its widespread variety of usage requires a great deal of independent research just to achieve a specific definition of the term, the origin and its multiple uses among the contemporary art community of Iran. In order to get a convenient result amid the effort, researchers have come up with a survey-based research in which questionnaires are widely used and a library enquiry is made. It includes academic music professors, the boarding directors of the house of music, artistic managers from the ministry of culture and Islamic guidance. Based on the results, the term "Precious music" owns a semantic ambiguity to itself which not only shows various impressions of the term, but it also represents the dispersion of conceptual understandings with the ones who aimed to bring "Precious music" into existence. This research shows that the origin of this word is somehow a gumption made by the art directors of state-owned music institutions who wish to last against the alien art/culture, provide people with their auditory needs and satisfy the music critics, and finally, a way to exonerate the pre-revolution art of Iran.
Journal of Field of Art
دانشگاه هنر
2717-2678
1
v.
2
no.
2020
http://mmh.journal.art.ac.ir/article_950_2c57ecd84e5d887f684e1c5ee617cce0.pdf
dx.doi.org//mmh.2020.16
A reading of the novel in search of Lost Time based on the Heidegger’s Anxiety-Awareness idea
Kiani
Masud
Art University of Tehran
author
Amir
Nasri
Associate Proffessor philosophy of art, university of Allameh Tabataba’i, Tehran, Iran.
author
text
article
2020
per
n Search of Lost Time is a novel about the workings of time. In this novel, Proust presents different dimensions of time and temporality. His approach uses a cyclical structure, rather than a linear narrative. Writing from the perspective of Marcel, the author considers the characters’ life-span – not from the inside, at the micro-level, but from the outside, as if seen through a telescope. Separately, in the second part of the book Being and Time, Martin Heidegger assumes temporality as the main element of the existential structure of Dasein. His point of departure is the two characteristics of Dasein Being-toward-death and Attaining completeness in death. The issue of death for Heidegger is a discussion of possibility and hence ‘Future’. The ultimate purpose is Being-toward-death. In anticipation for the ultimate possibility, Dasein refers to its deepest Being. The death of Dasein is an impossibility that he must face to attain human existence in its totality. But this death will not happen easily and will be accompanied by a fear that distinguishes authentic Dasein from the inauthentic. This is the fear that Marcel faces in The Search and it is only after this point that Proust, as the Marcel character, awaiting the end, and through the process of writing, attempts to immortalise and repeat the Being moments. And when he comprehends the true phenomenon of death which according to Heidegger, has remained hidden due to everyday traditions and rituals, and fundamentally reviews his relationship with death, Anxiety-awareness overcomes him and he moves towards the Dasein of becoming authentic. Thus, in the following proposal, after investigating the structure of time in The Search and the manner of its influence on the cyclical narrative of the novel, we shall turn to conforming this structure with the meaning of time and temporality in the philosophy of Heidegger. Furthermore, we shall endeavour to establish a true relationship between Marcel (the narrator of the novel) and the Dasein of Heidegger. Accordingly, the aim of this work is to delve into the idea of ‘anxiety-awareness’ with respect to death, as is in the heart of The Search – and to do this through the winding tunnels of Heidegger’s mind.
Journal of Field of Art
دانشگاه هنر
2717-2678
1
v.
2
no.
2020
http://mmh.journal.art.ac.ir/article_951_a49739d67b099aa9a0fb9124180a875c.pdf
dx.doi.org//mmh.2020.17
Footprint of Qanun in Persian literature
Parichehr
Khajeh
Art University of Tehran
author
text
article
2020
per
The main aim of this desk research is to study Qanun instrument in Persian poetry from the 4th century to 11th century (solar Hijri calendar) in order to seek the roots of this instrument in Persian literature. Indeed, the literature of every nation in each era mirrors cultural, social and political circumstances of that state throughout ages. Qanun belongs to the family of stringed instruments like Dulcimer (Santour) or Chang. Over the ages, Chang has manifested itself in disparate forms, one of which is an instrument with a trapezoid shaped resonance box called Qanun.Today, the identity of Qanun instrument is employed by the neighboring countries of Iran such as Turkey and some Arab nations. Nevertheless, the presence of Qanun instrument in the history of music in Iran has long been extant and this existence can be observed in numerous poems in Persian literature during different centuries. From 4th to 11th century (solar Hijri calendar) various poetic styles emerged, the most notable of which were Khorasani, Iraqi and Indian styles. The use of the word ‘Qanun’ in the poems of Iranian poets has had multiple aspects and meanings some of which include concepts such as rules and principles, name of books and name of instruments.According to research findings, the meaning of Qanun as a musical instrument was not common in Khorasani style poetry and was first observed in the poems of the sixth century (solar Hijri calendar) poets. It appears that the name ‘Qanun’ as a musical instrument was not used in the poems of the poets living in the eastern parts of Iran. In the sixth century (solar Hijri calendar) the name ‘Qanun’ was applied in the verses of Khaghani Shervani and Nezami Ganjavi both of whom were living in the western parts of Iran and not the eastern regions.Among the other significant findings of the study, one should point out the numerous uses of Qanun instrument in the poems of different poets in the 10th and 11th century (solar Hijri calendar) of the Safavid era. The frequent use of the name “Qanun instrument” in the poems of the Indian-style poets is noteworthy. This is apparent to such an extent that in the poems of Bidel Dehlavi “Qanun instrument’ is mentioned forty times. Surveying credible dictionaries, one can realize that the word ‘Qanun’ has an amphiboly embodied in itself incorporating three separate meanings: 1. The central meaning of Qanun 2. The name of a book written by Avicenna (one of the most significant physicians, astronomers, thinkers and writers of 10th-11th centuries) and 3. The name of the instrument. Therefore, not in all the literary verses where this word has been used, it explicitly refers to the Qanun instrument. In order to recognize this, the relevance and relationship of the verse in context must be identified even though this may prove truly difficult at times. The research method in this article is qualitative and exploratory. Furthermore, the collection of data has been done using library method.
Journal of Field of Art
دانشگاه هنر
2717-2678
1
v.
2
no.
2020
http://mmh.journal.art.ac.ir/article_952_efd1eb10e23551aa1094ee124705bb37.pdf
dx.doi.org//mmh.2020.18
Non-Metric Music Is Not Absolutely Without Meter
Sepehri
Hadi
University of Tehran
author
text
article
2020
per
Music, at the first level of analysis, consists of two components of temporal meter (temporality and timing) and the spatial component of sound (pitch levels). The dimension of time in music is one of its two main constitutive aspects, because without time no piece of music can be produced or understood. Today's capabilities can measure the temporal extensions used in music far more accurately than the human brain can perceive. With new information from physics, philosophy and psychology are related to sound and sound perception in the 20st and 21st centuries. Accurate and scientific approaches to the recognition of rhythm and meter have been developed. In this article, we first briefly present information on the perceptual limitations of the auditory and perceptual systems of the human brain in the field of sound and music. Listening and perception of music, though most of all depends on the sense of hearing, but a small amount of the process of sound perception depends on other senses and their health. Performing music involves more of the body's senses and muscular abilities. The limitations of the senses and the neuromotor abilities to respond to stimuli or to move a part of the body create a temporal impediment to music performance. Practical music performances have a much wider scope than merely listening to music. The next section is to provide comprehensive definitions and prevent some of the most fundamental and fundamental issues related to time in music. In the Definitions section, it has been attempted to provide definitions in accordance with the standard scientific method for the topics and, if necessary, to provide a better explanation, examples were mentioned. Although definitions are first introduced in this form, they are based on a wealth of learning and resources. When the difference between the categories became clear, we discussed the differences in meter types associated with an evolved graph compared to the previous one. In the following, the topic of free meter is explained and it is attempted to clarify the conceptual perceptual errors in this topic. Then, we will briefly discuss the similarities of the time themes used in music and language. At the end of the paper, two issues about the role of speed in the perception of meter types, and the quantification of extension values, are briefly discussed. The result is discussion of the differences in meter types in music.
Journal of Field of Art
دانشگاه هنر
2717-2678
1
v.
2
no.
2020
http://mmh.journal.art.ac.ir/article_953_54fed052b2ab905870b693b3f00540df.pdf
dx.doi.org//mmh.2020.19