نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی کارشناسی ارشد پژوهش هنر، دانشکدۀ هنر و معماری، دانشگاه گیلان، رشت، ایران
2 استادیار گروه گرافیک، دانشکدۀ هنر و معماری، دانشگاه گیلان، رشت، ایران
3 استادیار گروه هنر، دانشکده ادبیات و علوم انسانی، دانشگاه محقق اردبیلی، اردبیل، ایران
چکیده
کلیدواژه‌ها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
Due to the restriction of metal utensils throughout the Islamic period, pottery was a substitute, with many designs and inscriptions depicting religious and educational themes. Among the most notable potteries of Iran's Islamic period is the pottery of Nishapur from the Samanid dynasty. The designs and inscriptions on these potteries have passed on cultural and aesthetic knowledge from one generation to the next. According to intertextuality theory, no text is formed arbitrarily or without context but is dependent on previous texts or contents. The Islamic typographic technique has had a significant impact on contemporary Iranian typography. This research aims to examine contemporary Iranian logotypes through the lens of their Islamic connotations in Nishapur potteries. Another goal of this study is to look at the intertextuality types between these works (Travestissement and Pastiche). The research issue is the relationship between contemporary Iranian logotypes and Islamic typography. According to the studied works, the research hypothesis is based on the fact that due to the written form, there are many similarities between the two areas. This study is descriptive-analytical in terms of methodology. The data collection method is based on library review (i.e., note-taking and image analysis) and data analysis was done qualitatively. The findings indicate that, in terms of similarity between Persian and Arabic written forms, the effects of Islamic art can be seen in contemporary Iranian logotypes. In other words, Islamic calligraphy has influenced contemporary Iranian typography. In many cases, the use of shapes and forms used in the typography of Nishapur potteries, such as plant forms can be seen in contemporary Iranian logotypes. Selected specimens in Neishapur potteries are written in Kufic script and case specimens are inspired by Kufic script. According to Genette’s intertextuality theory, all logotypes fall into the category of Pastiche intertextuality due to features such as changes in form, content, and the addition of new text.
کلیدواژه‌ها [English]
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