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Showing 2 results for Illustration
Mehdi Movahed, Volume 2, Issue 3 (12-2020)
Abstract
Around 800 AH/1499 CE Mansur ibn Muhammad wrote a treatise on anatomy re- nowned as the first Persian illustrated anatomical work with full-page diagrams of the human body which were depicted in squatting position. In contrast with these "tradi- tional" illustrations, it seems that the "modern" depiction of the human body became popular right after the introduction of European medicine to Persia. Accordingly, to shed light on the way Persians passed from the traditional anatomical illustrations to modern ones, investigations are still needed to be done. In addition to explaining the features of these illustrations chronologically, this paper provides information to push forward the understanding of the interaction between advances of medical sciences and anatomi- cal illustrations until the end of Qajar dynasty. As a result, it is evident that anatomical illustrations of Mansur's treatise established a tradition, which continued for about half a millennium. This long-lasting tradition was due to the continuous reliance of Persian medicine on its Galenic origin, which was dominant from the 3rd century AH. It also indicates that in spite of being familiar with the modern figures of European anatomi- cal books from the 11th century AH, Persians made use of "modern" illustrations of the human body in the second half of the 13th century AH. The earliest images of modern human body appeared after the establishment of Dar al-Funun (c. 1266 AH). Thereaf- ter, "modern" images of human body replaced "traditional" illustrations. Following this change, a wide range of modern images appeared in Persian anatomical print books.
Mrs Farzaneh Alvandi, Phd Somayeh Ramezanmahi, Volume 4, Issue 6 (12-2024)
Abstract
In art education, there are always fundamental issues that artistic understanding in any subject depends on. One of these issues is the teaching of art history, the teaching method, along with the media or means of its transmission, has been one of the most controversial issues in this field in recent decades. In this study, the effect of the visual medium in teaching art history to adolescents is examined with the theoretical approach of Gerard Genette's intertextuality and hypertextuality in reading two works by Fausto Gilberti, a contemporary writer and illustrator. The main question raised in the study is what effect visual capabilities have on the transmission of art history concepts to adolescents by applying Genette's intertextuality and hypertextuality approach in their reading. In order to answer the research question, after reviewing Genette's transtextuality theory, a reading model according to the selected approach has been presented and study samples have been analyzed based on it. The results indicate the existence of explicit and implicit intertexts, as well as the purposeful creation of images based on hypertextual relationships of the sameness and transsimilarity type between the symbolic system of writing and image, and ultimately create works that, while simple, have an aesthetic dimension appropriate to the adolescent age group, a humorous and sometimes enigmatic expression in order to communicate with the audience and their participation in conveying the concepts of contemporary arts.
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