تأثیر نقوش و تزئینات ایرانی اسلامی بر نشانه های پیشگامان گرافیک ایران (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
نشانه (آرم) در حوزه گرافیک یکی از ماناترین مباحث گرافیکی است و این نشان از اهمیت نشانه در کاربرد روزمره جامعه دارد. از سوی دیگر، نشانه می تواند هویت ساز باشد؛ یکی از راه کارهایی که گرافیست ها به جهت هویت از آن استفاده می کنند، بهره گیری از گنجایش نقوش سنتی است. در این میان بسیاری از آثار نشانه نسل پیشگام گرافیک ایران بر مبنای نقوش ایرانی و اسلامی شکل گرفته و این نقوش، بسان بُن مایه و پایه طرح بسیاری از طراحان گرافیک به کار رفته است. نقوش ایرانی اسلامی با محتوای غنی، هویت آثار نشانه را شکل می دهد. این مقاله با هدف شناسایی پایه طراحی این نشانه ها و چگونگی تأثیر نقوش ایرانی اسلامی بر طراحی نشانه های نسل پیشگام گرافیک ایران نوشته شده است. رویکرد پژوهش بر مبنای روش توصیفی تحلیلی بوده و همچنین انتخاب نمونه های مطالعاتی به صورت آگاهانه از آثار هنرمندان پیشگام گرافیک ایران می باشد(هنرمندانی که آثار متعددی از نشانه دارند). داده های مطالعاتی از منابع کتابخانه ای یا پایگاه های اطلاعات علمی گردآوری شده است. پرسش اصلی این مقاله چنین تدوین یافته که نقوش ایرانی-اسلامی چگونه در طراحی نشانه های معاصر ایران نقش ایفا کرده و چه تأثیری بر هویت بصری این آثار داشته اند؟یافته ها مبنی بر این است که در چهار دسته نقوش هندسی، اسلیمی، نوشتاری و تلفیقی در هنر اسلامی ایران دسته مایه اولیه طراح برای رسیدن به نشانه بوده است. طراح گرافیست نسل اول ایران با الهام از نقوش ایرانی اسلامی توانسته آثاری درخور ذائقه ایرانی بیافریند و وظیفه مهم نشانه که جذب مخاطب با استفاده از سادگی است را به انجام برساند.The influence of Iranian Islamic motifs and decorations on the signs of Iranian graphic pioneers (50s to 70s A.H.)
Communication and dialogue play a significant role in human life and the all-round progress of human life. One of these types of communication is visual communication, and sign design, as one of the most prominent branches of graphic art, plays a key role in transmitting messages and cultural identities. A sign, such as a single or two-word text (or acronyms), a minimal image, or a combination of these two forms, helps in this communication to introduce an individual or collective identity. In today's world, where visual competition has spread to all aspects of life, paying attention to cultural and historical aspects in sign design is of great importance. The structure of the sign can also be designed in the form of traditional motifs. Traditional Iranian-Islamic motifs are the same patterns that show our Islamic and Iranian identity and can also be seen on various utensils, tools, and equipment, or architecture. Iranian-Islamic motifs, as an inseparable part of Iran’s artistic heritage, have a special place and, with deep roots in Iranian history, art, and architecture, are not only a symbol of national identity but also a tool for preserving and strengthening contemporary visual identity. In the introduction to Alireza Vakili’s book, Signs, a review of Iranian sign motifs, Ebrahim Haghighi notes that whether an Iranian designer wants it or not, he unconsciously steps into the realm of his ancient visual culture and displays them in his works. Today, our environment is full of various signs that try to introduce and symbolize a product or organization and are used as a coherent visual pattern. Those signs that have remained since ancient times, the same signs that revive a nostalgic feeling in today’s contemporary world, are the same works that have often been designed and executed by pioneering Iranian graphic artists. By utilizing Iranian-Islamic motifs, Iranian graphic designers were able to design signs that, while maintaining cultural authenticity, were in harmony with the needs of the time. Studying the signs of the pioneering generation of Iranian graphic artists can provide a deeper understanding of how traditional and modern elements are combined in graphic art and offer a solution for preserving cultural identity in the face of global trends. The main question of this research is: How did Iranian-Islamic motifs play a role in the design of contemporary Iranian signs and what impact did they have on the visual identity of these works? The aim of this research is to identify the basis for sign design in this period and analyze the impact of Iranian-Islamic motifs on them. It also attempts to propose a model for the innovative use of these motifs in contemporary design by examining selected examples. In addition to analyzing historical examples, this research highlights the importance of using Iranian-Islamic motifs as a tool for conveying Iranian identity and culture in contemporary graphic designs. Studying the works of this generation in advancing the art and industry of graphic design, on the one hand, and the effective use of traditional Iranian-Islamic motifs in a different way and the different functionality of the motifs, is of great importance in advancing the studies of graphics and Iranian-Islamic motifs. Finally, it is hoped that the results of this research can pave the way for graphic designers to benefit from this artistic treasure. Many of the signs of the pioneering generation of Iranian graphics were designed based on the motifs of the past Iranian Islamic culture. The motifs obtained were all formed based on Iranian thoughts and perceptions over the centuries and became the motifs for creating works. The use of these motifs, in addition to helping to create the sign, has been able to give the signs a specific semantic and identity. These motifs in a geometric, Islamic, written and combined framework have been able to serve as the basis for design and instill important concepts about presenting to the audience, such as balance, solidarity, order, etc. using Iranian Islamic decorative motifs. In the collection conducted based on what was examined, it was observed that many geometric motifs have been able to be used in cultural fields and government institutions. Plant motifs have also been an assistant to the designer in artistic, cultural and Iranian fields. Calligraphy and written arts have also been used for religious and national cultural purposes. Finally, the findings indicate that in the four categories of geometric, plant, written and combined motifs in Iranian Islamic art, the primary motif was the designer's primary motif to achieve a sign or logo. The use of these motifs in sign design could have been both a direct interpretation and an inspiration and adaptation that the designer could have had from those motifs. Studying and understanding the rich content of Iranian Islamic motifs and the correct use of these motifs can be a very effective and important step in presenting innovative and modern designs in accordance with today's tastes in line with a new movement in Iranian graphics.
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