Analyzing the structure and aesthetics of contemporary Iranian water-based jewelry and investigating the conditions of its presence in the world markets - the title of the practical thesis of making modern and traditional patterns of water-based jewelry in a bed of precious metals

Academic Thesis in Islamic Art Master's Degree

Felz Orientation

Abstract

The present abstract has been written with the aim of identifying, introducing and reviving water art in the contemporary era, and in the present research, this goal can be realized with the structural and aesthetic analysis of the works in contemporary Iran and also its sale in reputable international markets. In general, the production of watercolor works with the examined and introduced styles should have the necessary features and quality to meet global success and move towards practical use in the field of contemporary watercolor art. Now, in response to the question of what is the most effective talent and characteristic in the sale of Iranian water-based jewelry in the world markets and how to create a special place for this historical art at the global level, a questionnaire has been compiled and provided to a defined statistical community to help collect the required information. The preparation and adjustment of the information obtained from these questionnaires was initially done in the field method and with the analysis combined with library studies, the data and findings of the research have been collected. The results obtained from these findings indicate that, first of all, by reviving the glass beads of the past and applying quality and creativity in the reconstruction of these types of works, a special place can be made in the global art markets, which will result in the acceptance of customers, which will place the works among the best handicraft souvenirs. Novin

Introduction

The quality of any work of art depends on the content of ideology, artistic taste and the level of interest of the audience. Although the appearance of the artwork is also important; But compared to its spiritual content, it is of secondary importance, and apart from the material purpose, fulfilling the spiritual needs of a work, such as the acquisition of creative knowledge and the audience, and aesthetics are also special features of the art market.

If new ideas are supported and welcomed, they will have the chance to remain and grow, now if the support is from a special audience and art lovers, it will lead to the qualitative growth of the artwork, and if it is noticed by the general audience, in addition to the qualitative growth, A little growth will also follow the effect; So that the consumer deals with it on a daily basis and makes art a practical part of his life, and this is the solution that leads to the evolution of the artwork. It is in this way that it is possible to present cultural and artistic concepts in a new way for today's generation and convey it in a way that is pleasant and attracts his attention. This activity can be realized even in fields such as domestic and international biennials with an active and brilliant presence.

In other words, this approach by analyzing the structure and aesthetics of water-based ornaments and combining handicrafts with the concept of art means creativity and non-repeatability, although it is hardly possible; But it is possible to transform a work by innovating and integrating other disciplines such as painting, graphics, along with handicrafts, as well as using jewelry techniques, to turn a repetitive and uncreative product into a new and original, yet attractive work. For example, a painting can be used as an ornament instead of being installed on the wall in a more practical way. These innovative works can be created with transparent materials and at the same time have a deep background along with updated creativity and innovations and be available to art lovers and beauty lovers. The presentation of these works should be in such a way that they reflect the ancient and contemporary national art and culture of Iran and transfer it outside the borders and stabilize and expand this cultural richness in the world markets.

The present research is compiled in four chapters and in the first chapter, the generalities of the research, which includes the theoretical literature, questions and goals and the research problem, are discussed. The second chapter includes a history of glassmaking in Iran from before history to the Islamic era, which has been examined in order to enter the main discussion. In this part, in order to get familiar with the concepts, definitions related to the background of the research in the theoretical background, through library search, internet search and reference to the conducted research and projects, relatively extensive studies were conducted. The description and results of these studies are reflected in the second chapter.Based on this information, the basis for the interview and then the questionnaire has been obtained. In the second chapter, the contemporary mechanism of the global art economy and the analysis of the attractive themes of contemporary Iranian art and the relationship between the art market and the market economy are discussed, which have been examined in order to enter and supply the works to the world markets. In the third chapter, the structural and aesthetic analysis of Iran's contemporary silver jewelry has been done, and in this chapter, the characteristics of suitable packaging to face economic and cultural fortunes and globalization have been discussed. In addition, detailed questionnaires and statistics obtained from them have been compiled in this chapter. In this research, the questionnaire was used as the main tool for collecting field data. Because it was not possible to collect information with this amount and in this limited time with other tools. In addition, the questions are coordinated and the same for all subjects through the questionnaire. This itself can be a step towards the accuracy and validity of the collected information. As mentioned; The propositions related to the questionnaire have been obtained using library studies as well as interviews with several experts, which are discussed in this chapter. In order to achieve the goals of the present research, the final chapter is dedicated to discussing the conclusions based on the findings of the research and based on the answers to the main questions of the plan. The first chapter:

Generalities of the research

-1 Statement of the problem, the necessity and importance of choosing the subject

Attention to the art of watercolor, taking into account its rich history in the past and the age and quality of its construction throughout history from different perspectives is important, and this importance in Dealing with the field of watercraft jewelry making in contemporary Iran is intensified by considering the lack of quality works. Due to the lack of necessary and sufficient importance to this valuable and indicative art and the limitations of the researches conducted in the field of water-based jewelry, it was necessary to know this part of water-based art and plan such a topic. For this reason, the current research has been written in order to present an organized plan for the interpretation and identification of contemporary abgeine jewelry art.

The necessity of investigation, research and research in this field is the integration of two categories of art in its general sense and handicrafts in the applied art concept, which leads to the creation of an innovative and unique work, and by providing solutions in the field of understanding the world markets and how to present the product in this field, we try to introduce the talent of Iranian abgeine. It is in the form of ornaments. Also, in this research, the necessity of reviving the national culture in the form of handicraft art and finding a successful and lasting place for Iran's contemporary glass ornaments among different classes and different consumer markets has been brought up.

3- How can the glass ornaments of the past be revived with new techniques and methods and presented in the place of today's art?

4- Can contemporary glass ornaments be considered among the best handicraft souvenirs of Iran?

1-3 Research hypotheses

Regarding the basic research questions It is suggested that they can be a possible answer to the questions. These assumptions are:

1. Islamic and Iranian motifs and designs of the past have recently emerged as global motifs. These designs and the role of materials in different formats such as ornaments, clothes, carpets, etc. have appeared The global reception experienced about this type of motifs gives rise to the impression that the presentation of Abgineh ornaments in the form of Iranian-Islamic motifs and motifs can also be met with success in global markets.

2. Creating a creative work of art with characters liked by the audience of every generation is one of the most effective ways to create a successful position in the global market. Also, having high quality and using suitable packaging are among the factors that can increase the chance of facing global success.

3. By matching the works with the tastes of today's different classes, it is possible to make water-based ornaments. Also, today's new methods and techniques and the ease of production compared to the past lead to the advancement of quality and increase in quantity, and in general, lead to the creation of a work that knows the taste of its audience and presents the desired product to him.

4.