نوع مقاله : مقاله پژوهشی
نویسندگان
1 کارشناسی ارشد، پژوهش هنر، دانشکده هنر، دانشگاه سمنان saharnajafi@semnan.ac.ir
2 هیئت علمی گروه پژوهش هنر، دانشکده هنر، دانشگاه سمنان (نویسندۀ مسئول) F.afarin@semnan.ac.ir
3 مربی، گروه نقاشی، دانشکده هنر، دانشگاه سمنان samavi@semnan.ac.ir
چکیده
کلیدواژه‌ها
عنوان مقاله [English]
نویسندگان [English]
In the study, we have studied the peace or the anti-war posters of Iranian and American designers. Beyond the analysis of the visual elements, At the level of poster interpretation the question of whether the selected works have utopian, or dystopian aspects in showing the peace or antiwar messages, is answered. Mehdi Saeedi's posters lead us to move from the obvious level of visual elements to the levels of hidden content, with meanings such as criticizing and questioning the idea of peace in the societies. In Ghobad Shiva's peace posters, the language of the image is universal. In other words, the artist seeks a design and style that involves international taste. In his poster collection, Seymour Chowst also shares the idea that human beings can’t be safe from war and the harm and destruction of military weapons. Glaser also used body language to express his ideas and concepts, which are often shared. The form of the bird of peace in the universal language is a common understanding in all the states but the hands perform the new utopian idea of peace. Mehdi Saeedi`s posters and American works rely more on dystopian aspects. Ghobad Shiva has not taken a critical approach to the symbol of world peace. By following the symbol of world peace, he has paid more attention to the utopian aspects. So the Americans and Saeedi took a critical view and relied on dystopian aspects. So they did predict that human beings' destiny will go to the dystopian aspects.
کلیدواژه‌ها [English]
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