كليدواژه :
هنر سنتي , هنر اسلامي , مسابقات بينالمللي قرآن كريم , طراحي پوستر
چكيده لاتين :
The concept of Islamic art has an irreconcilable relationship with tradition and traditional thought and the religious and spiritual views of the world. This concept has many functions and its various manifestations throughout Islamic culture and civilization, both in past works and in contemporary works, can be seen. Throughout the history of graphic design, there were many artists who used traditional musical designs in their graphic design work. This has been seen in the history of Iranian graphic design, and many artists have always used cultural, indigenous, national and religious elements in their logos, cover books, posters and other works. In most of these works, combining elements of traditional art with a variety of subjects is a smart choice and helps to better translate the message. However, the use of these elements is not always a choice and not likely to be, for designers, such as lack of recognition and sufficient experience have used Iranian-Islamic motifs in the design of unrelated themes, which resulted in the reduction of the function and the place of valuable motifs into a mere decorative texture. From this perspective, the use of traditional arts without studying their background and function can create uneven links in the design of graphic arts and other arts, which both diminishes the value of these designs and duplicates graphic designs. The purpose of this research is to identify and analyze elements of traditional arts in poster design. Therefore, in the present study, while referring briefly to the term traditional, traditional arts and Islamic arts, posters of the past six years, 1391 to 1396, the international Qur'an contest emphasizes The poster of Sioux is the fourth time that has been held in the Mashhadi Imam Khomeini in Tehran from April 30 to May 6, 1396. Therefore, this research is essentially a fundamental research. Descriptive-analytical method and purposeful sampling were selected for this research. The essential information was also collected using combination methods such as observation and library. The main tool for producing data in this study is the view and the snap. So, after observing the samples, the variables were analyzed by semantics in the artworks proposed by Pahlavan (2005 and 2008). According to the research questions, the designed observation card includes several categories of questions about the visual, figurative and linguistic aspects of the works. The procedure was followed by six samples being originally numbered. These numbers were used as inbound and unchangeable codes for information, up to the conclusion stage. Then, a sample image of each poster, with the number insert below its picture and its design year, appears at the top right of the card. The results of the observation card were presented in five tables. Then the thirty-fourth poster of the tournament was examined and described more precisely. After recognizing elements of traditional Islamic art in this poster, its features were studied in terms of traditional art standards. Finally, the results of the study were presented in four tables. The most important findings and outcomes are: the use of elements of traditional art and its combination with new arts such as graphic design can be clever for national, religious, and cultural issues, because in addition to aligning with the chosen subject, there are references to the forgotten traditional art of society and On the other hand, artists are forced to take a deeper look at the revival of the traditional arts of their community. From this perspective, it can be concluded that by knowing enough of Iranian and Islamic visual traditions and combining them with contemporary graphic design, in many cases, good results can be achieved and this is something that should be considered by graphic designers.
