کاربرد میراث کهن ساسانی در طراحی نشانه (مطالعه موردی: نشانه دانشگاه تهران) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
توجه به پیشینه تصویری و عنایت به فرهنگ و سنت های هنری گذشته همراه با نوآوری، مهم ترین عامل در دستیابی به عظمت و هویت هنری کنونی هر سرزمین می باشد. از این رو بررسی ریشه های طراحی گرافیک در ایران و چگونگی کاربرد آنها با توجه به مفاهیم نمادین، هدف و مسئله بنیادین این پژوهش به ویژه در رابطه با نشانه دانشگاه تهران بوده است. در این نوشتار، پس از اشاره به کاربرد نقش مایه های کهن ایرانی در طراحی نشانه های معاصر، بر اساس روند پژوهش، مفاهیم نمادین به کار رفته در طراحی نشانه دانشگاه تهران با توجه به پیشینه تصویری آنها در دوران ساسانی مورد تحلیل قرار گرفته اند؛ در این بررسی مشاهده می شود که بال و پر در هنر نمادین ساسانی، نمادهایی از ایزد بهرام هستند که شاهان ساسانی به لحاظ نیاز به افزایش قدرت فره ایزدی به این ایزد توجهی ویژه مبذول می داشتند و او را بسیار ستایش می کردند. این مفهوم با توجه به نوشته خوانده شده بر روی این پلاک گچی ساسانی و همچنین فرم دایره و ویژگی های آن در طراحی مفاهیم و معانی نمادین دانشگاه و اهداف سازمانی مورد انتظار، به شیوه ی قیاسی و تحلیلی مورد بررسی قرار گرفته استThe Usage of Ancient Sassanid Heritage in emblem Design
Noticing the pictorial background, culture and the past artistic conventions along innovation are the most important factors to attain grandeur and identity of contemporary art in each land. Exploring the impact of symbolic concepts in Iranian emblem design constitutes the main purpose of this study. Thus, the goal and the basic matter of this research is based on investigating the graphic design roots in Iran and the way of applying them regarding the symbolic meanings, especially in Tehran university logo. This survey has focused on analyzing symbolic meanings in the relevant logo beside its pictorial background in Sassanid period through a plaster plaque. While a passage between pictorial past and design renewal in an expertly process can bring into life a new chapter of motif in every culture, it can develop a new graphic visual identity. On this basis it appears predominant to use semiotic knowledge with ancient asset in designing contemporary emblems; the characteristics of this Sassanid plaster plaque in brief are: 1.Wing and feather in Sassanid art are symbols of the Bahram god (Mars), which Sassanid kings due to their need for expanding the power of their divine splendor needed the patronage of this god. Wing motif besides being a symbol of the Bahram god can be a symbol of mythical Simurgh (phoenix) and its significant role in Sassanid art. Moreover it is a symbol of bird and ascending to heaven. 2. Circle is a symbol of sun and its surrounding pearls being a symbol of harvest, are two of Mithra symbols frequently seen in Sassanid art. In addition it is supposed to have a relation with Anahita- the water goddess; Motifs being placed inside this circle can be a symbol of divine splendor which help the designer to gain the organizational points of the university. 3. The short Pahlavi inscription placed above this Sassanid seal which means excessive glory is similar to the way the word "Iran" is written. There is also an apparent resemblance between the word of Tehran University writing in the present logo and the plaster plaque. This study besides observing ancient Sassanid legacy in designing Tehran University logo can be also outstanding for studying the main stream of Iran contemporary graphic design. Since visual value and conventional and national motifs are considered as the continuity of cultural stability of every country, rupture of this historical artistic process, which in recent years in the world due to communication expansion has entered into a new era, eradicates small non original identities and spreads dominant cultures. Therefore, it is advisable to use the conventional and national pictorial elements to develop a graphic visual identity and to actualize the potential capacities in creating logos. Recognition of Iran’s artistic identity and constitutive elements of Persian art in authoring artistic books on logo design, also presenting Iranian culture to the art students and graphic designers altogether with directed training can be effective for this goal. The Style of data collection is compound and the method of writing is descriptive- analytic.
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