Abstract:
Today, the dominance of modern media is growing thanks to various soft wares, graphic patterns and fonts.Although it has created a visually universal language to ease communication, it has also marginalized certain visual cultures around the globe. Such threats in Iran have appeared in the form of damaged views of cities and monumental patterns replaced with unfamiliar elements. In order find solutions to such concerns, every now and then, issues like Iranian identity, applications of Iranian pictures, and Iranian domestic content have come to the fore. The present study aimed to reach a comprehensive approach to deal with the problems mentioned and with how to represent domestic visual culture effectively. In fact, it aimed to revitalize national archetypes and to represent them in a new way based on modern graphic principles. The questions of the research include: what is the Iranian visual culture? What is meant by representation of Iranian visual identity graphically? The result indicated that Iranian visual identity is the visual similarity of a work to other Iranian works so that it is distinguished from the works of other nations. Iranian visual
identity is divided into general and corporate identities. Iranian visual identity is inspired by representation and recreation of Iranian pictures and motifs. Visual corporate identity include formally approved symbols, and flags which generally follow certain norms and principles. Graphic representation of Iranian visual culture implies a given degree of similarity to Iranian visual culture so that the quality of being Iranian can be readily recognized. The present study is an applied qualitative research. Data were gathered based on library sources and media databases.
Machine summary:
"9 The Scientific Journal of NAZAR research center (Nrc) for Art, Architecture & Urbanism Asghar Javani, Mohammad Khazaei, Mansour KolahKaj / Bagh- e Nazar, 13 (40):39-46 Introduction In the realm of visual arts, the concept of visual identity can be examined in different aspects.
The Scientific Journal of NAZAR research center (Nrc) for Art, Architecture & Urbanism 41 Asghar Javani, Mohammad Khazaei, Mansour KolahKaj / Bagh- e Nazar, 13 (40):39-46 • Basic concepts In order to address different kinds of visual identity, two terms are discussed here: visual identity and visual corporate identity.
42 The Scientific Journal of NAZAR research center (Nrc) for Art, Architecture & Urbanism Asghar Javani, Mohammad Khazaei, Mansour KolahKaj / Bagh- e Nazar, 13 (40):39-46 decorative elements can be seen creating a sense of aesthetically visual identity (Fig. 3,4).
44 The Scientific Journal of NAZAR research center (Nrc) for Art, Architecture & Urbanism Asghar Javani, Mohammad Khazaei, Mansour KolahKaj / Bagh- e Nazar, 13 (40):39-46 به تصویر صفحه رجوع شو Fig. 6.
• The sources of Iranian visual identity and its graphic representation The sources of visual identity in this research include picture of Iranian art, outstanding symbols of cities, The Scientific Journal of NAZAR research center (Nrc) for Art, Architecture & Urbanism 45 Asghar Javani, Mohammad Khazaei, Mansour KolahKaj / Bagh- e Nazar, 13 (40):39-46 natural and man-made symbols as well as plant and animal symbols and the like."