The appropriateness of the form and line is effective in attracting the audience of the inscription

According to Fars news agency, Fatemeh Akhwan, the judge of the flag and inscription section of the 14th Ashurai art mourning, said in a conversation with Fars news agency: “Inscription is a combined Iranian art, the language of calligraphy and writing, which is a scientific and artistic project in Ashurai art mourning with great roots and history.” is considered.

He stated: What has always been important to me is that inscriptions and inscriptions in our country have a historical precedent, and in the past, what was put forward as a point of belief and manifested in religious ceremonies, has referred to important content. Sometimes based on the narration and sometimes based on the advice of the elders, azkar was used in the inscriptions, or based on the taste, taste and culture, a content related to that religious atmosphere was taken into consideration.

The referee of the flag and inscription section of the 14th Ashurai art mourning, emphasizing that the most important discussion and theme in the inscriptions has been Seyyed al-Shaheda, Karbala and Muharram, and said: In the inscriptions, the content is the main flow, so the pattern and decoration should serve it. To make the content look better. Accordingly, the content is very important in the process of writing inscriptions for mourning, and it should have a good richness.

By stating that the pattern and decoration become important after the content and have more of a complementary position in the inscription, he stated: Visually and scientifically, it has been proven that the fit between the content, form and pattern is one of the most important points in the inscription and although in All arts, especially in the traditional arts and inscriptions of Iranian artists, have not written these rules in an academic, scientific and official manner, but in a self-taught and trained manner, they follow certain rules, which means the importance of proportion between form and content in the works.

The brotherhood stated about the points that the participants in the flag and inscription section of the 14th ashurai art mourning should consider: with the arrival of modern arts and the integration of arts, in some stores of religious tools we see perfect works in harmony of form and content, that is, sometimes form and role In bold productions, the content is not visible, and sometimes the works are so disproportionate that we see the original Iranian calligraphy next to the modern and fantasy motifs.

He added: By combining the world of technology and modernity and the introduction of graphics, people have been able to combine several roles, but sometimes the lack of fit has caused the roles to go out of the original Iranian state and cause damage to this space.

The judge of the flag and inscription section of the 14th Ashurai mourning art also pointed out that the use of traditional art in the modern space has started due to the introduction of technology, but there is a lot of work to be done, and emphasized: in order for an inscription to become rich, heavy, lasting and attractive to the audience You should pay attention to all the details in the fit of the form and line.

He said about the role of mourning in Ashurai art in the production of innovative and new works: mourning helps new innovations to happen through its expertise and judgments, which of course does not mean leaving the framework.

Akhwan stated: Since the inscription is intertwined with people’s belief, ritual and culture, and people are dependent on their traditions and cultures, therefore, whatever is familiar to their eyes is naturally more pleasing to them, so if we can have a correct and graphic use of traditional arts with a new presentation. If it is not repetitive, has rich originality and reminds the audience of tradition and original thought, we can attract the attention of the new generation to this art.

He explained about the subject of the flag and inscription in Ashurai art mourning: Arbaeen is a two-sided debate, which means it is both a matter of belief and a global movement. The point in the design of inscriptions is that, on the one hand, the richness of the art used in the inscription, such as calligraphy and engraving, or the type of fabric and the art of patchwork and embroidery, etc., shows different cultures and rituals, which is very attractive and On the other hand, language and art are common among different societies

The judge of the flag and inscription section of the 14th Ashurai Art Mourning, saying that sometimes the inscription is designed with the view that it is a common and unifying symbol in the global movement, he said: We have a series of national symbols and a series of international symbols that use common symbolic colors or a universal symbol. It has a great impact in establishing a relationship with the global audience and leads to a pleasant design for all people.

At the end of his speech, he emphasized: I believe that the discussion of form, role and color will gain meaning by going to the international and common symbols that have meaning for all the people of the world. In fact, with a scientific and expert view, these elements can be used in works to be attractive to any audience.

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