نشریه هنرهای زیبا - هنرهای تجسمی
سال بیست و دوم شماره 3 (پیاپی 71، پاییز 1396)

During the first decades of last century, the standards of beauty among Iranians witnessed a significant change. A survey of late nineteenth and early twenties century photographs, and comparing them with countless remaining photographs of 1930s and 1940s, namely at the time of passing through the Qajar times and succession of Pahlavi dynasty, demonstrates a move to new beauty models, which replaced the old typical Qajar beauty standards. This essay, with studying the -visual and verbal- historical texts of this time, intends to study the processes by which the modern Western aesthetic models in personal appearance became the normal Iranian models.
A survey through visual history of Iran, from the ancient civilizations to the very beginning of Qajar dynasty, clearly embodies a general way of image-making for the physical appearance and gestures of men and women, which rarely seems odd or detestable to the contemporary viewer. But, in the mid-Qajar dynasty’s visual resources, and specifically Naser al-Din Shah’s rein, appears particular standards of feminine beauty thoroughly different from its former and latter standards. The photographs of royal women and courtesans of “Naseri” and “Mozaffari” periods cannot be considered indisputable proof of feminine beauty model of Qajar era. Notwithstanding, this model, itself ambiguous in origins and precedence, saw a fundamental alteration in a brief time; round face, plump belly and thighs and buttocks, and the delicate line of moustache above the upper lip, became inelegant signs in a woman’s appearance.
In this period, Iranians encountered a new western beauty model, through visual communication system of western world (I. e. illustrated publications, photography, and cinema), via postcards, magazines, memento photographs, and movies. These visual media played a key role in westernization of outward appearance and features of Iranians lives. This process of replacing western model was so radical and rapid, that Qajar-type beauty standards seems quite unbelievable today. Western-type personal beauty acquired a mythical aspect; a predominant myth, which manifested itself as natural, postulate, and eternal; although a construction of dominant orders, like visual communication system, in reality.
The most recent European fashion journals were available for Iranian citizens from the 1930s onward; Likewise, Iranian magazines and newspapers promoted the same discourse about beauty as western media, in which image of modern Iranian femininity, and masculinity as well, increasingly relied on adaptation of last western fashions and modes of appearance and gestures. With popularity of cinema in Iran, as a medium which addressed a mass audience from different social classes, the process of adaptation of western beauty culture amplified. Not surprisingly, a great number of religious and non-religious traditionalists severely challenged this new visual medium. However, despite all oppositions, and in spite of obvious contradictions between western film productions and traditional Iranian culture, cinema enjoyed a great popularity in Iran, and had a massive impact on Iranian’s way of life.
Transformations in clothing systems and personal beauty models was not always a result of imperative politics of Iranian governments, but a consequence of worldwide cultural policies, as enormous myth-making systems.

In formal research in Art and Design, one of the most urgent debates has been about methodology. How can we carry out rigorous and respectable inquiry using methodologies and methods appropriate to practice – research without using merely theoretical, laboratorial and scientific methods. It was clear, and still is, that there are no simple answers! The most fruitful way to identify appropriate methodologies has been through an analysis of completed researches, and through evaluations of research in progress. The growth of completed research degrees in arts past two decades by using practice-based methods in many universities in other countries is a sign of the inadequacy of the methods that penetrate by irrespectively the nature of the arts. Because of the diversity and innovation in this field of research, is expected to be various maps depending on the nature of each project so this article presents a selective review of recent PhDs that identify and analyze the methodological innovation that is occurring in the field of arts, in order to give a general map. Practice-based Research is an original investigation undertaken in order to gain new knowledge partly by means of practice and the outcomes of that practice. In a practice-based research, claims of originality and contribution to knowledge may be demonstrated through creative outcomes in the form of designs, music, digital media, performances and exhibitions, etc. Four characteristics were found in practice-based art PhD innovations in the format and structure of the thesis, a pick-and-mix approach to research design, situating practice in the inquiry, and the validation of visual analysis. Research through practice refers to research where art or design practice is the vehicle of the research, and a means to communicate the result. And finally, research for the purpose of practice aims to communicate the research embodied in a piece of design. Artists and designers have taken an active role in contextualizing and interpreting the creative process in practice, as well as the products of this process, by looking at the process itself and the works produced through it. From this new point of view, the knowledge and the skills of a practicing artist or designer form a central part of the research process, and this has produced a new way of doing research. In this new type of research project, part of the research is carried out as art or design practice. The central methodological question of this emerging field of research is: how can art or design practice interact
with research in such a manner that they will together produce new knowledge, create a new point of view or form new, creative ways of doing research? In this article, the making and the products of making are seen as an essential part of research: they can be conceived both as answers to particular research questions and as artistic or designing argumentation. As an object made by an artist–researcher, the artefact can also be seen as a method for collecting and preserving information and understanding.

This research studying the phenomenology of artistic image in the contemporary painting according to Gaston Bachelard's theory of poetic imagewhich is combines and identifies between the material and thought, consciousness and subconscious, assuming the existence of a correlation between the artistic and aesthetic production of contemporary painting and Bachelard's phenomenological poetic image. It aims to detect the phenomenology of artistic image in the contemporary painting and its dimensions in terms of: its creativity, its existence, and its sublimation. So that, and in order to achieve its goal, the research came on three sections: the first one dealt with the creativity of artistic image as a combination between objectivity and subjectivity and the resulting cooperation between realistic and unrealistic and with the help of their functions, while the second one took up its existence by considering itan intense moment of consciousnessand an attempt to direct Anthology, and the third one interested by studying its cosmic considering it phenomenology of spirit because it is both spirit and mind, material and thought, expression and form. The research found a set of 1-The artistic image generates as a result of the exchange of jobs between the matter and thinking; it is a combination between the objectivity and subjectivity (communication and estrangement); ie: phenomenological, and the artistic image in contemporary painting is an installation and similarity between the expression and meaning. 2-The artistic image is a phenomenon of isolation that carries the imagination. It must be imagined to know it; the imagined consciousness, which opens up to an isolated self-image, is a primal consciousness open to innumerable experiences; therefore, the artistic image is original. 3-The artistic image in the contemporary painting is a moment of intense consciousness; it is an attempt to direct anthology; because it is independent of causality. The relationship between the new artistic image and archetype in the depths of the unconsciousness is not causality; that is, it is not a simple alternative toa certain reality, which is not a symbol; as it turns out, the symbolism confirms; because it has history. 4-Art is not subject to the control of thought, it is a phenomenon of freedom belonging to the self, to the interrupted time of the matter (moment), not to the time of continuous thought (permanence), and tampering is the source of this freedom.5-The artistic image in contemporary painting is a synthesis between the soul and the mind; it is an idea when it acquires a cosmic value, and this cosmic image belongs to the isolated and solitary soul. It is a reality and phenomenon; therefore, we are accompanied by its phenomenology (its cosmic and its materialistic) towards an ethereal world, a spiritual world away from objective reality. 6-The contemporary painting is a phenomenology of the Spirit rather than a phenomenology of mind; because the unconsciousness is the origin of consciousness; this unconsciousness that precedes the consciousness has phenomenology nature; ie: the material of artwork is both material and formal cause at the same time (expression and shape).

Explaining the relationship between art and morality, has played a major role in the body of philosophical thoughts. Because of the cultural contribution of the art in society and it`s impact on ethical practices and behavior, this relationship has always been reviewed.
Therefore, with the advent of philosophy and it`s continuation until now, the relationship between moral values and aesthetics values has always been scrutinized by many theorists and philosophers. The two basic views about this relationship can be seprated based on theories and putting other views in the subset of those two. The first point of view which is known as «Ethicism» points that a qualified work with aesthetics value do not violate moral concepts and stengthen ethics. The second point of view which is called «Autonomism», basically has questioned the relationship between aesthetics field and ethics and considers a seprate domain for each of them. On the other hand, to avoid dogmatism and absolutism of these two views, we can refer to moderate views in ethics which considers a moderate idea and Contextualism about the existence or none-existence constant and direct relationship between aesthetics and ethics. This one is a kind of general provisions of two views.
In commercial graphics, which is the demand of today`s society and art, we encounter less propagandas with objective representation of goods and services. Multitude of commercial propagandas, represent false product features, by using imaginative elements in expression and video techniques. By adopting an ethical approach to this issue, the lack of truth in commercial advertising, is an example of moral evil. According to this view, by entering these two statements «conventionalism» and «cognitive», we can add an exit for the relationship between art and moral.
Ethics has contracted moral concepts of good and evil as default and examine the issues and the impact of these actions on thoughts and human societies. The relationship between art and morality is rooted in the depth of West St. mainstream thinking and the relationship between art, as an aesthetic issue, and philosophy which is an area of thinking and explaining the facts by the concepts was beloved by numerous philasophers and theorists. From ancient Greece so far, a kind of philosophical mainstream had been common which linked the good and evil moral to good and evil point of aesthetics view. The prominent example of this is eighth Plato's attack. In the republic, he almost takes issues of all forms of art imitating. Since he considers them as the false trigger of emotions and feelings which causes false knowledge. Causing «false knowledge» is the example of lack of ethics and it is placed among the «moral evil».
On the other hand, objective presentation of product and it`s real features may deface creativity and the artist remains in a dilemma of showing reality or performing arts. The current studies rereads the theory of art and ethics by using discriptive methods and the datas collected through library and shows the Berys Gaut application of Contextualism in these contradications between moral duty and aesthetics.

Showing identity of something in the form of visual and written material, is one of the most complicated responsibilities of graphic designers and designing such projects for more complicated, multiple and widespread phenomena like cities, is even more difficult. Designing Visual identity for places and cities is the subject matter of this study which is an emerging discipline, and requires specialist attention. Nowadays, cities of the developed countries, apply different strategies, to distinguish themselves from others and draw attention in the scene of global competition; For this purpose there is a need to visual plans that integrate all these strategies and activities, and relate them to each other as a unit. These visual plans are called visual identity and graphic designers are responsible for designing it.
To investigate city visual identity we study the main elements and components of city identity at first, that any visual plan and identity design must follow up them to succeed. Then it is shown that identity of each city can be described, analyzed and measured through recognition experiments, and it is a necessary tool to help understanding the identity of the city and then applying it to it’s design. Finally we define and specify the key components of cities visual identity containing sign, typeface, color palette, websites, advertising campaigns, navigation system and pictograms that is extracted from heretofore designed projects like New York city, Amsterdam, Melbourne, Abu Dhabi and Santa Monica.
Also in this research differences of city visual identity with other types of it, like corporate and product visual identity are determined. The results showed that the most important urban visual identity projects are composed of other types of visual identity elements like sign, but perhaps the most important difference between them is that designers have more options to create the harmonic identity for city; for example a navigation system or other artificial elements of city environmental graphics can be used as facilities for designers intent to promote and disseminate their plan more and more extensive. Also we came to this conclusion that one of the most important elements of city visual identity which play a key role in the expression of identity is its website; a city website with classified information, appropriate appearance and sufficient Infography can communicates audiences who are out of a city and links them to related content, leading to positive image of the city and its identity.
Addressing this issue is of great importance because of not only it’s physical and cultural advantages for cities, but also this fact that designers are at the beginning of their path in designing city visual identity; Therefor studying theoretical and applied knowledge of successful examples in this field, can help them to move in the correct direction. Research Methodology of this study is descriptive, and in terms of data collection, information from authoritative databases centers, libraries and websites have been used. The author hopes that this research attracts the attention of Graphic designers to this issue.

Economy and art are important parts of culture and civilization. Economic and artistic discourses encompass the similar components, such as rationality, creativity, technique and intuition. But, their priority is different. In the modern society is important their functional independence. Functional differentiation of systems is the nature of the modern society. Economic motivations are prevail over any other human activity, but artistic activities are an exception. Artist motivation is inner. Therefore, econmic motivation can not take effect in him/her. For this reason art economics is an exceptional economy. That's mean can not be estimated that how much has earnings an artist. This feature is found in visual arts as well. Prices in visual arts are dependent on several factors such as the name, style, historical identity and nationality of artists on one hand, and critics and dealars on the other hand, and most importantly sometims passing of time can be the most important factor. Sometimes interval can be the greatest of chance to broaden its aesthetic experience from an artwork as we have seen in Pollock’s works. The buyer of art is other than its audience. Then, a buyer enjoyed from its economic value but an audience enjoyed from artistic values. Of course artistic value can raise economic value, for example the discovery of fractal patterns Pollock’s works. However, one can not estimate in any stage of production of a paintinr or sculpture because it is that art structural features require that art dont put its hands in the hands of economy directly. The relationship maintains the independence of art. Art has always been to maintain its longtime respect is fought by artists such as Duchamp that created some of works against the commercialization and mechanical reproduction. Despite all the changes art system has not changed its nature of structural. The sturcture of art dont have a goal unless maintaining of the continuity of its life. Now persistence of exceptional aspects of the art economy does not allow an artwork becomes an economic object, and this more is realized in the exceptional economy of visual arts. This paper tries to express the conditions of encounter of art and economy in visual arts and their similaries and differences. There is growing international interest in the potential of the cultural and creative industries to drive sustainable development and create inclusive job opportunities. In these conditionsif art to be removed, then a large number of people get jobless. This means that art and economy are equally importatnt for society. The method of this research is description and analysis data that finaly show cultural productions can be defined as those whose major outputs have some symbolic value – such as fine arts, film and craft – but also possibly including jewellery design, publishing, advertising and fashion Cultural industries can be defined as those whose major outputs have some symbolic value – such as fine arts, film and craft – but also possibly including jewellery design, publishing and fashion which play an important economic role but not entirely subdued economy.

Safavid is considered one of the most important historical periods in Iran. In this era, extensive developments were made due to civilization knowledge maturity. With the arrival of Shah Abbas, Safavid experienced the peak of its power. The art were supported and strengthen due to the persistence of cultural and religious aspects and longlife of Safavid and the wonderfull support of artists by the court.
During the reign of Qarchoghaykhan and his descendants (in Shah Abbas era), Mashhad witnessed remarkable advances in the fields of politics, culture and arts. Manuchehrkhan and his son, Qarchoghaykhan II, were prominent supporters of the written arts in Mashhad in the eleventh century AH.
Effective role Pedanius Dioscorides (Greek philosopher), author of Alhshaysh in the history of botany and zoology numerous translations of his books in the Islamic world and Islamic grounds followed by multiple copies of this book at the time. In most works, the images relevant scientific text accompanying them. Artists of different ages imaging in addition to text and images before his commitment period represent their aesthetic tastes had somewhat.
Materia medical attention Safavid old man and advances in the field of imaging to provide a copy of the court Alhshaysh = Manuchehrkhan's Golestan Palace.
Manuchehrkhan's Alhashayesh edition with 833 colorful papers is one of irreplaceable and priceless scientific illustration books in the Safavid era. It was completed on the evening of the third Friday of Ramadan in 1038 AH with request and support of Manuchehrkhan, the governor of Mashhad. Now it is kept in Golestan Palace Museum. Copying the book was done by Mohammad Al-Hafiz, an accomplished calligrapher of the time. None of the images in this edition has no a signature except for one, Soorat Alkasfarah (page195 of the book), which is signed by: "Malek Hussein Isfahani."
Furthermore the history of medicine in Iran and the Islamic World and then in Safavid era, and the influential role of the book Alhashayesh and its author, Dioscorides, on plant science and zoology of Islam is described. Alhshaysh artist in the image of some plants rely on their subjective perceptions and the reality of the world is avoided. Illustration edition of Golestan Palace, even those who are unaware of the text of the book or are not able to read them, the book is absorbed. Those interested can with a little, Safavid art in scientific images version of Alhshaysh through the Golestan Palace, in clear view. This version also allows collocation of Safavid art schools as well as the past. The author selects some examples of the Golestan Palace Alhshaysh edition and examines the relationship of images with the scientific edition and similar samples in other editions of Alhashayesh. The use of comparative and historical review as well as scientific and technicall analysis of some images is a feature of this research. Finally, the author concludes that the Astan Quds Alhshaysh edition is the copying source for all editions of the Safavid Alhashayesh including the Golestan Palace Alhshaysh edition .

One of the most important tools that have been used by designers in a modern era in order to design style of cars is paying attention to the customer reaction. This paper aims to review product personality of the best Sedan cars through Kansei engineering. So on this purpose, after introducing relevant concepts and researcher's research in these fields, we choose 5 superior sedan cars in 2013 in Iran and global market and through using Kansei engineering, a questioner with 20 aspects of personality and in the framework of 5 scales likert in the field of product personality was designed and 40 users (20 boys and 18 girls) at the age of 22 to 35 years were chose so each car was evaluated through using 5 faces. Output data were analyzed statistically and while the results showed an agreement between customer's idea and statistics of global sale and manifest the present trend of Iranian customers. Car manufactures such as Ford, Volkswagen that has classic tendency in style designing achieved familiar concepts and keywords for global customers through studying psychological mechanism and customer's reaction. The knowledge of designing automobiles and the development of technology have provided the possibility of obtaining the best forms and designs from engineering – technical view point and aesthetics principles and the conformity with human's mind models through new procedure of designing .
Today, passenger cars play an important role to form an external image for cities as inseparable part of urban and suburb transportation system. The external style of these cars has a particular connection with the action of this industrial product and automobile manufacturing companies try to make a sort of form and design for the body of their productions in a way that in addition to providing their customer's needs, they can indicate the identity and nature of their organization's trade name and their automobile rank among other products and also they can absorb new customers in a good and splendor market of automobiles manufacturing group , using modern process of organic design, and the result of the research has been performed on body style of sedan automobiles as sample. It has also been tried to inspire natural and local sources of Iran, regarding the analysis of causative layers in this processes , and in higher layers , based on needs , some historical and cultural models have also been inspired in order to obtain the style of conceptual automobile .
This way, it can be a worthy representative for Iran' automobile manufacturing industry in global markets and it can compete and compare itself with the best conceptual automobiles in family passenger car class. One of the most important conclusion of this research is the design of body style of final automobile, the extraction of method and standard process for designing styles in different classes , using the identity of trade names based on designing process and particularly the process of organic design that has been presented for the first time in this field .

The remaining works of Persian miniature painting which have survived the wars, fires, etc. indicate that from the middle of the eighth century A.H. the solved silver was used by the painters for coloring and for representation of the surface of water instead of drawing blue lines. This usage raises various questions including why these artists developed such a change. Did this shift have its roots in a forgotten prior tradition or was the result of a novel and fresh view which paved the way for this decision? The present research tries to benefit from a historical and descriptive approach to trace the significance of silver in the representation of water in older traditions (i.e. Sassanid and Manichean traditions). Then it moves on by reviewing the findings of some of the scientific fields contemporary to this turn of the usage such as alchemy and astronomy and optics in an analytic-descriptive method. It is based on Ibn Al-Haytham’s manuscripts about optics, al-Manazir. Ibn Al-haytham or Alhazen was a pioneer of modern optics. He was an Arab Muslim polymath. who made contributions to the principles of optics. In other words in order to find the reasoning behind this decision, the scientific findings of the time has been borne in mind. To gather the proper data that supports the claim, the researcher has used the documentary approach. To analyze them, the qualitative method has been used. The samples presented here are selected in a way to reflect the development of representation of water in Persian miniature painting as a process. This research benefits from a historical and fundamental point of view which led it to a reasonable conclusion. The analysis proved that the application of silver for presentation of the surface of various forms of water for example the seas, rivers, Persian pools and the water in Persian gardens which reflects the sky as a link to Heaven and God, is not in debt of any prior or ancient traditions or any astronomical findings (related to alchemy at that time). But in fact, it is the optics that affected such a choice. The miniaturists used this method to bring a sort of harmony and balance to their work of painting in accordance with their visual understanding of the world around them. Due to the fact that the modern researches attempt to read various works from different perspectives, it seems vital that we also read the Persian works of miniature with a fresher and more open range of possibilities that what have always been applied to them. For instance one can bring the scientific advances contemporary to the creation of these works in dialogue with the decisions made by the painters and see how the scientific advances can affect the artistic creations of an era and the way the artists behave inspired by these findings. Having the same goal in mind, the research in hand, tries to present a scientific reason behind choosing silver for portraying the surface of water in Persian miniatures.

By paying more attention to “concept” of artwork in Postmodern and Contemporary Art, and with the advent of Hermeneutic and Intertextual topics in art, attentions to “title” effects on transferring and turning of concept have increased. Conceptual Art has concerned with these effects more than the other movements because, “concept” is its central pillar. The “title” has an important and undeniable place in visual conceptual artworks due to “language” and “writing” importance in these works. The purpose of this study is identifying of “title” function in visual conceptual art and “title” effectiveness on audience's perception of these works. The article has been conducted on the basis of a Sequential Multi-Method including Semi-Experimental, and Content Analysis methods in 2 steps. the researchers have been experimented “title” effects by semi-experimental method on perception of the sample group members of 2 visual conceptual artworks in the first step. Each one of these two works which made by the researcher have been presented to respondents in 3 situations in which that has been requested them with a separate questionnaire including an open-ended question in order to write their perception of the artworks. These situations for the first visual conceptual artwork are “without title”, titled No.1: “Love Elixir Fell on My Copper And...” and titled No.2: “Nothingness”. In the second one they are “without title”, titled No.1: “Modernity” and titled No.2: “Looking for Authenticity Preservation”. The information has been processed using content analysis method in the second step. In this way the authors have code concepts of the questionnaires text sentence by sentence. At first they have collected all codes and studied on them. Then, the researchers have combined similar codes together and the general codes came to being. The questionnaires contents have been rewritten on the basis of these general codes. The authors have counted absolute and relative frequency of the general codes in all of 3 situations for each two artworks and presented in tables. The results have been analyzed quantitatively and qualitatively. The authors have based Set Theory in qualitative study part of “title” function and following that, they have been able to measure 4 factors in respondent’s perception: the amount of ‘limitation”, “expansion”, “unity” and “changes”. This research also has calculated the amount of concept “turning” by these titles which have opposite implications. this article has innovation not only in applying combined methodology in art territory studies, but also in studying “title” effects quantitatively. The results show that “title” in a visual conceptual artwork is considered the part of a work itself and it’s not something separate from it. Furthermore, “title” involves in transferring visual conceptual artworks concept and can change their concept between 70% to 80% and turning it between 50% to 64% and concentrate it into some concepts that itself predicate on them, but cannot thin it out into one. “Title” is also able to limit audience’s perception of these works between 47% to 61% and expand it between 19% to 32% and create new concepts.

There are differentiations from design process of products for real markets and other product design approaches. Design for real needs of markets has their own instructions. These guidelines emerge from local demands. Local experiences of product design can improve local knowledge of design. Third world design disciplines have to growth to make appropriate knowledge for our distinctive needs. It is important to study of international experiences too. These two approaches can make new visions on design knowledge. Design thinking principles are most important wisdoms for every designer to know. Design thinking as a whole knowledge of great designers manners leads other designers to human centered problem solving. Design thinking has appropriate view on something that a designer may meets in a project. Design process is one important subject in design thinking topics. The focus of this paper is on product design process that occurs in real projects. There are different processes for design products. Abstract process is one of these ways that has many benefits. Abstract processes of product design are high efficiency methods for navigate design projects direction successfully. Abstract processes are proportional with design thinking principles and purposes too. Simple structures of abstract processes are fit with design methods and tools. There are many design tools with various functions for a lot of design demands. Shadowing, Fly on the wall, Role playing, Brain storming, Card sorting, Empathy tools and Dirty prototyping are some of famous cases of these methods and tools. In this situation tools select and use for specified purposes. This structure can provide high flexibility. The ability to customization of process for diverse projects is biggest advantage of this structure. Design thinking point of view has congruence with abstract processes procedure. We study the design of two med product’s processes in this paper. These products ordered by two different Iranian’s companies. Our teams as independent designers do these projects at 3 and 5 months. Abstract and method based process that used to lead these projects reported directly. We did sketching; market analyzing, user study, solution making, prototyping and test in per tow cases. Representation of these market based processes reveals differences of classic process of product design from real one. Results of projects were acceptable. There were enough congruence between two projects process with abstract and method base processes. Design thinking principles leadership caused efficiency. In conclusion we represent new model of design process as Cup of design. In this model problem data and solutions are suspended in divergent and convergent spaces of project direction. Designer scrolling from these two spaces repetitively. There are some filters between path that filter data and solutions to generate adequate solution. The settlement of solution particles and parts check by designers for finding paramount combination. If gained combination does not have desirable properties the process of suspension, filtering and combination iterate. This model of design process shows some properties of design in real finding solution way. This is a good issue for future studies to seek relations between other forms of design representations and facts of design process.

About one and half century from the official and governmental determination for recreation and renewing of Iranian handicrafts has passed and about half century from forming an official field by the name of industrial design in Iranian universities had passed and yet no research has been done which directly has a formal or structural relation with these two important vast field of art and industry at the same time by any authorities. Among this, Forgetting and gradual weakening of each one of arts and crafts and the methods of preserving and reclamation of them should be interpreted in a bigger context such as the culture of a society. This is the reason why each artistic foundation not only reminds the sources of sociology but also reminds a conscious process not an unexpected event and it conveys the culture of that society. The present paper with assuming the absence of structural and aesthetic approaches in arts and crafts in Iran, First it goes to the huge break which happened for arts and crafts in Iran during the industrial revolution in west which causes the transitive situation in tradition and modernism. Then we go to the general effect of modern industry in arts and crafts in Iran. Among this, the industrial design in most of valid western sources is a modern phenomenon which formed with changing and interpreting in the traditional design texts and constantly connect and disconnect its boundaries with handicrafts and retells it. This outlook specially after holding the world first industrial exhibition in nineteenth century (Cristal Palace, London, 1851) which Iran with the efforts of Mirza Mohammad Taghi Khan Farahani (Amir Kabir) participated in it, became popular. The movement that had not repeated for social and political reasons and prevented Iran from accompany the other industrial countries in the world. With attention to this truth, the purpose of this primary study is surveying the historical linkage of industrial design or handicrafts in Iran and for this mean with relying on descriptive method, analytic and inductive is looking for an answer to this basic question that industrial design and handicrafts in Iran which historical point are connected to each other and emerge of industrial design in Iran, is for the cause of readout and the connection or handicrafts design? The findings of this study show that in this half industrialized country of Iran, despite of several reasons such as interaction, continuity and differentiation in this two mentioned areas, except university, it almost has not formed any connection between them and among this the industrial design is still an open book and it is being genesis and expositing and still has not defined its connection with handicrafts clearly. This abandoning of course is not only between handicraft design and the industrial design which is trendy and with more careful look, we can see the obvious presence of it among the relation with industrial designers and the industry of the country.