فصلنامه نگره
پیاپی 68 (زمستان 1402)

Literature and art of each nation are among fundamental bases of its culture. Epic, lyrical, didactic, religious and mystical literature are among the most widely used themes in art that have become the sources of creating lasting works and the richness of Iranian painting. Khamsa of Nizami is among popular literary sources that has been considered by artists in different periods and illustrated by painters. One of the valuable versions of this masterpiece of Persian literature is the version related to the year 1504 AD, which coincides with the year 909 AH, in the Bodleian Library of Oxford University, which was added to its digital library in 2019. The signature at the end of this version indicates that this version was written during Turkmen rule over Shiraz. This version can be studied in terms of aesthetic qualities and features with the stylistic features of Shiraz school which are among the recognizable features in that form and manner of combining elements. In this research, an attempt has been made to analyze and to identify the structure of the design and the formal and visual features of Khamsa of Nizami's figures in the Bodleian Library. Also, another purpose of this is to study the relationship between these figures and the stylistic features of Shiraz school. The research questions include: 1- What are the visual features and design structure and composition in the figures of Khamsa of Nizami's version? 2- Is there a relationship between these figures and the stylistic features of Shiraz school? In terms of purpose, the present article is a fundamental-theoretical type which has been conducted using a descriptive-analytical method. The method of data collection is documentary, library-based. A total of 30 figures of the desired Khamsa of Nizami's version were studied as statistical population and the authors examined 6 figures of the most prominent figures that have the most structural diversity selected by judgmental or purposive sampling (non-probability sampling) based on the considered components using qualitative data analysis method. The results of the research indicate that the figures of this version can be divided into five groups in terms of content, of which 11 figures have instructive themes, 7 figures have romantic assemblies themes, 6 figures have war assemblies themes, 2 figures have festive assemblies themes and 4 figures have common themes. In the study of the determined components, the results of the research indicate a kind of unity and integration in the formal structure of the figures in such a way that the viewing angle, frame of the pages and its coloring, the non-interference of the text in the image, the same number of strata of image, and the placement of the main elements in the second stratum have been observed in almost all assemblies. Also, the book size is in the style of Iskandar ("Alexander") Sultan's period and almost close to the Vaziri size (Medium octavo). In addition, the figures are single-sheet and faces have moods and express emotional feelings and sentiments. The compositional structure of the figures is simple and mostly based on the vertical and horizontal system, which, of course, in a few cases, such as the figure of Shirin Meets Farhad, the artist has used the circular system in a rudimentary manner. simplicity mixed with precision in drawing visual elements, significance of human figures and transforming them into the most important parts of the images, simplicity, solitude, and smallness of natural landscapes and framed drawing of plants and turning them into filling spaces, using mixed colors such as purple, light green, blue in several tonnages, which marks the beginning of using this kind of color in later schools and the conscious use of past agreements to create a link between text and image and to create more visual appeal are other visual features. This version jointly combines the components of the Turkmen royal court, such as rich and exciting colors and exciting moods and faces, along with the commercial components of this method, such as simple combinations and unadulterated natural landscapes. Finally, the existing features and quality of the figures of this version are in proportion to the stylistic features of Shiraz Turkmen School and the aesthetic effect of the figures when viewing the work can be understood by the forms and their combination together.

Decorations in Iranian architecture refer to both aesthetic and infrastructural aspects such as social beliefs and religions. These sources have been effective in the way of decorations in Islamic architecture, so that the content of the image and the way of expressing that narrative are related to these tendencies. However, this process has undergone changes in different periods. Qajar period tiling is an important example of how to express the ideas and life of the people of that period. By recognizing these images, a clear and significant understanding of the cultural situation of that historical period can be obtained. It should be noted that these works of art are in danger of destruction and with their destruction an important part of Iran's cultural heritage will be lost. Iconography is that branch of the history of art which concerns itself with the subject matter or meaning of works of art, as opposed to their form. Originally, iconography referred to the description and classification of religious or artistic objects/images, while iconology referred to the interpretation of their meanings, but these two terms now tend to be used interchangeably or as closely interwoven. In order to systematise the process, Edwin Panofsky constructed an integrated frame of three levels of primary, secondary and tertiary analyses. Primary level (factual description of representations): the purpose of this is to enable the researcher to see all aspects of the object/image in order to prepare for the next level. Secondary level (iconographical analysis at a more abstract level): seeks the meanings of the signs/symbols/images presented. Tertiary level (iconological interpretation): involves seeking the deepest meaning through clarifying how the signs/symbols/images reflect the underlying principles or period in which the object/ image was created). Although Panofsky did not suggest this, an overall alternative analysis can often help by giving you another perspective through which to view the image. Topics such as feast, religious Quranic, epic, political figures, soldiers, martial themes, poetry, hunting scene, erotic, special motifs, single frame, daily life, battle, decorative motifs and Slimmi (arabesque) were examined in these images. Even as the new hybrid forms of Euro-Persian design grew more prominent in court circles, the older traditions of vegetal, geometric, and calligraphic ornament remained in use. The latter two types predominated in the decoration of Qajar religious architecture, and the arabesque was frequently engraved on metalwork during the 17th-19th centuries. In this age, this industry had unique features and characteristics. Moreover, the cities of Isfahan, Qashan, Yazid, Mashhad, Shiraz and Kerman were among the greatest ceramic centers in Iran during this period. The purpose of this study is to find the components affecting the image formation in the tiling of historical houses in Shiraz during the Qajar period. The main question of the research is to know what are the visual values ​​of iconographic designs of Shiraz’s tile decorations? The research method in this article is based on library and field methods and based on Panofsky's iconographic method. The method of collecting information is through field observation and personal perception of historical houses and library-documentary studies. In this study, 15 houses with intact tiling were examined. Image analysis was performed based on iconographic method. The houses names are Forough Al-Molk, Saadat, Tavalaee, Salehi, Modarressi, Tawhidi, Atrwash, Basiri, Owji, Tavakoli, Javaheri, Ardakani, Dokhanchi, Ziaeyan, Manteghinejad. The studied houses are located in the historical context of Shiraz and the researchers have done the research based on the photography and analysis of each photo. The study area includes a collection of eleven old neighborhoods. It can be seen that there is a clear method and a coherent narrative process in the pictures drawn on the tiles of the historical houses of the Qajar period in Shiraz. This shows that there are three trends in how the image is formed and expressed in these works. Adherence to public culture due to the use of national-lyrical and religious images, the tendency of the homeowner to modern thoughts such as images of European mansions or jobs centered on industrial technology as well as the inner desires of the individual are three major trends shaping these images. These three tendencies can be seen, not only in the general form of the image, but also in determining the color and type of expression of each narrative. Human paintings represent the highest percentage of the researched study pieces. They have been found to be highly varied and rich. In addition to including various age groups, the human paintings carried different body features, costumes and themes. Human images were used on the pieces represented by some tiling; while another tiling included portraits represented only general themes. The researched ceramic ones reflected distinguished paintings of birds, horses, fish and some animal like those which were depicted in paintings.

Riza Abbasi’s signatures were unprecedented in Persian painting in both quality and quantity. Although the advent of signatures in Persian painting goes back to several centuries earlier and it became common practice for painters to insert their generally concealed signatures into their works toward the end of the sixteenth century, Riza, the noted painter of the Isfahan school of art, was the one who dared to trespass on the lofty realm of calligraphers and to use their signing and inscribing manners. In addition to signing his name, he puts conspicuous inscriptions on single-sheet works and also on manuscript illustrations which seldom carried inscriptions previously and thus enunciates autonomy for the art which was broadly considered a heteronomous one; the painter’s name and the painting’s completion date are manifestly provided alongside the calligrapher’s name and execution date. Riza even outstripped calligraphers in recording different aspects of his making conditions in the writings. In fact, he broadened the definition of signing, which formerly was just meant to establish the authenticity of the artwork and to record the name of the painter, and was followed by his epigones in this field, too. This article aims to discuss Riza Abbasi’s presence in his works through his autography and poses two questions: Firstly, what features do Riza’s signatures and inscriptions have and how do they develop through his career? And secondly, how do the autographs represent the painter’s artistic characteristics? Signature is generally categorized as a verbal self-reflective phenomenon, but when its visual features and form are also taken into consideration —such as the execution manner and position— it will change into something more than mere words; with the addition of this aspect, it can take a dual role in examinations. This study, using grounded theory as its methodology, has examined Riza’s writings from both viewpoints. It is comprised of two sections; one is descriptive and the other is analytic. In section one, a detailed description of the artist’s signatures and inscriptions has been provided. First, his signatures have been divided into two categories and their features and transition process have been discussed. This descriptive section shows that unlike the later ones, Riza’s earlier signatures were inconstant and are not to be found in all the works belonging to the first category; a fact which alludes to a transformation in Riza’s perception of his status in the middle of his career. Moreover, other scholars’ statements on the subject have been reviewed in this section, to wit, the contentious issue of the time at which the title of “Abbasi” was conferred upon Riza by Shah Abbas the Great, or conceivably was taken by him of his own volition. The present article, furnishing some convincing evidence (chiefly by denying the authenticity of the pre-1610 signatures which bear the title), has determined the year 1610 AD (1018 AH), which was a turning point in Riza’s career, as the date he earned the epithet; thereafter, he signed each and every one of his works —single-sheet works and illustrations— by using a visually and verbally constant phrase (“Work of the humble Riza-e ‘Abbasi”), calligraphically executed and aesthetically pleasing, which attracts the beholders’ attention at once. No changes were introduced to his signature for about thirty years. This consistency could affirm the genuineness of his works and is an eloquent reminder of the artist’s resolute character. Then, a thorough examination of the inscriptions is provided in which their content and writing manner have been dealt with in detail. The description exhibits the artist’s creativeness, talent, and pertinacity. Lastly, in the analytic section, the manner of signing and inscribing —including the painter’s penmanship, the positions and features of the signatures and inscriptions, and the information they contain— has been analyzed to trace the representation of the painter’s status, state, and viewpoints. The study has observed the manifestation of Riza’s artistic characteristics in his signing and has found his autography to be a true reflection of his presence in his works. Indeed, the artist who enjoys painterly self-consciousness, uses his inscriptions to chronicle his creating conditions. He provides the precise completion date, which is indicative of his worldly concerns. He names either the master whose work has been imitated, the portrayed figure, or the person for whom the work is created, which bears testimony to his preoccupation with individuality. He has noted the reasons and motivations for producing the works, too. By means of inscriptions, Riza has tried to communicate with the audience and by employing certain terms, he has accentuated the distance of representation (the distinction between presentation and representation) and reminded the observers that they are beholding a made-up picture. Riza Abbasi’s signatures and inscriptions are the declarations of the artist’s elevated social status and portray him as a gifted, creative, innovative, perceptive, persevering, adamant, consummate, extrovert, self-assured, and influential painter.

The art of tiling in Iran during the Qajar period (especially from the Naser al-Din Shah onwards) was influenced by the archaic spirit of the court, its connection with the Western cultures and its artistic themes, the introduction of new media such as photography and printing, and finally the Persian Constitutional Movement. In some important cities of the country, such as Shiraz, tile paintings have gained such a status and prestige among the people that they have been referred to as the "folk movement of painting on tiles". The deep connection that was established between the tile-painters and the society during this period led to the creation of works that not only adorned the homes of ordinary people, but also were a mirror of their hidden and apparent tastes, beliefs and aspirations and a reflection of the thinking of the society of that time. The history of tile working in Shiraz during the Qajar era had various artists, among which "Mirza Abd al-Razzaq Kashipaz (1867-1937 or 38)" was one of the most prominent and was one of the few tile painters who have left a lasting and familial heritage. The aim of this study is to identify the circumstances, to classify the period of evolution of artistic life and finally to offer the typology of his works so that it can be a source for further comparative studies. Therefore, the key questions are 1- How many periods can Mirza Abd al-Razzaq's artistic life be divided into? And what were the factors affecting them? 2- Into what subjects and themes can the studied works be classified? And finally 3- What data can be historically deduced from other artistic figures of his time in these works? This research used historical method with the aim of achieving a monograph. In this regard, the necessary data have been collected in the field and with reference to published documents. Although a large number of tiles with the name of Mirza Abd al-Razzaq are expected to be available, many of these specimens are not available because they are either extinct or in private collections and private houses that could not be photographed. However, in this research, 10 works by Mirza Abd al-Razzaq are introduced, whose authenticities are not in doubt. What is known about Mirza Abd al-Razzaq's biography is the result of the first hand narrations by Rahim Gharbi (tile painter), Massoud and Ahmad Shishegar (tile painter) and Ismail Faghfouri (descendants of Mirza Abd al-Razzaq) in the writings of Hadi Seif (2013) and Atefeh Seyed Mousavi (2018).Mirzā Abd al-Razzaq was a "self-made" artist who, due to poverty, "had no master and instructor from the beginning" and "alone and helpless, learned the secret of the technique of tiling and tiling"; he was a "worthy, manager and resourceful" person. The findings of this research show that his artistic life can be divided into four periods: 1-Development (1877-1887), 2-Stabilization (1887-1892), 3-Pioneering (1892-1928), and 4-Lack of tile-projects (1928-1937). Most of his surviving works date from the third period, which spans more than three decades. In this research, works from 1897 to 1920 (from Mozaffar al-Din Shah to the Reza Shah Pahlavi’s period) were studied. The results of this study show that at least his works could be divided into five categories, including 1-tiles with flower and chicken designs, 2-tiles with epic themes, 3-tiles with religious themes, 4-tiles with icons and figures and 5-tiles with Vase and flowers. The tiles of Mirza Abd al-Razzaq also blended excellent examples of traditional themes of the Qajar era with the local taste of the people of Shiraz and created works that were mostly the decoration of houses and public places. For this reason, based on local taste, it has developed a tradition in Shiraz which, although similar in content to its contemporary counterparts, is unique in terms of aesthetics, composition, color and narrative style, which can be interpreted in the context of local culture and should be studied in the future. Sociologically, the study of the way in which titles are written on the tiles reveals interesting results that show to some extent how the social structure has shaped the relationship between the founder, the architect and the tile worker. In addition, a review of Mirza Abd al-Razzaq's works shows that there has been a kind of mutual cooperation between him and a number of prominent and well-known artists; "Ibrahim ibn Fereydoun" and "Abdul Ali Ashraf Al-Kottab Al-Yazdi" are two important examples. With the decrease in the use of tiles in the buildings in the Reza Shah Pahlavi’s era and the decline of the orders, it is important to consider the changes in his viewpoint. During this period, instead of "workshop", he used the word "industries" and words such as "repairs and restorations" and tended to restore the tiles of the city's landmarks; a trend that is later followed by his son (Karim).

Since the third century AH، the science of astronomy that had a special place among Iranians long before the advent of Islam، has been studied and completed by many Muslim scholars، and the Iranian art became a means of visual expression and better understanding of this knowledge. To beautify the astronomical motifs، the artists used symbolic concepts and they used them to decorate handicrafts. The people who considered the rotation of the stars to be effective on their happiness and misery، considered it important to persist. With the emergence and development of painting in Iran، astronomical symbols were used as a way to better express the difficult concepts of astronomical books and many illustrated copies of these books were written and dedicated to the king of the time.
One of these paintings that contains the concepts of accurate calculations of astronomical rulings is a two-page drawing from the book of Iskandar's birth. Although the reign of Timurid Iskandar Sultan was very short، it is one of the most brilliant periods of the flourishing of painting and illustration in Iran. In this era، many books، literary، historical and scientific works were illustrated and decorated in Timurid Shiraz School.
This book، or in fact horoscope، was written by Muhammad ibn Yahya ibn Muhammad al-Kashi (Emad al - Munajim) in the ninth century AH and painted by Pir Ahmad Baghshomali.
This painting is considered from several perspectives; first, in terms of examining astronomical symbols and the concepts of astrology hidden in it, second, using the Timurid Shiraz school of painting and paying attention to the salient features of this school and third, paying attention to the illumination designs used in the work and how to match it with the painting and the magnificent decoration of the painting intended to be presented to a Timurid prince.
Iskandar Sultan was very interested in astrology and astronomy due to his scientific work as a child at his father's observatory (Omar Sheikh) in Samarkand. He was also very interested in the art of book decoration and his art workshops were very famous in Shiraz. In these workshops, artists painted and gilded manuscripts and therefore, these two arts reached their peak during the Timurids. These symbols, which are derived from the astronomical symbols of that period, have been painted in a unique way. For example, the use of crowns in most symbols and the elegance of the design of clothes, in addition to having the characteristics of Shiraz style of painting show the glory of the prince. Actually the location of the planets in the zodiac sign showed the Sultan's omen in his future life and the meanings of the symbols referred to his greatness and glory.
In terms of astronomical symbols in the painting; they show the position of the planets and the horoscope of the twelve months at the time of the birth of Iskandar Sultan.
The art of Illumination, which was originally used to decorate the Qur'an, evolved over the centuries and was gradually used in the decoration of other books. During the Mongol rule in Iran and the support of princes for the art of illumination and illustrating books, art workshops began to work.
 In these workshops, books were illustrated with the arts of illumination and painting by the most skilled masters. The combination of these two arts, though having given glory to painting, is such that the viewer does not distinguish between them, as if they are both of the same type. Perhaps one of the reasons is the harmony of the colors of painting and illumination. The use of golden and azure colors in the background and costumes along with the golden crowns of the symbols shows the value of the painting offered to the Timurid prince.
The following research addresses these questions: how this beautiful tablet of Shiraz school has established the connection between astronomy and painting according to the scientific interpretations of the books of al-Mavalid، al-Bolhan as well as symbolic interpretations of drawings of Ajaib al-Makhluqat of Qazwini، Mounes al-Ahrar and al-Bolhan? And basically، the symbols in this horoscope indicate what concepts in the horoscope of the Timurid prince? The aim is to study this horoscope as one of the rarest horoscopes so far, in which, in addition to astronomical symbols, many scientific materials have been beautifully included. Using the symbols of the nine constellations, the gates of heaven, the guardian angels of the throne of God, the belief in the axis of the earth, the use of visual symbols of the zodiac and the planets have all been expressed in combination with creativity and innovation.
 The method of the research is descriptive - analytical - comparative historical, and method of collecting data is using library resources. The results of the research show how the painter has skillfully expressed his princes،s horoscope by using astronomical symbols and how he has brought the exact astronomical concepts beautifully in this two-page tablet with the painting of Shiraz school.

Mankind has always tried to achieve his desires by relying on occult sciences and the conquest of superior powers. This science has gone through a long history without any beginning date and no historical period has been excluded from it, because phenomena such as eclipses, comets, earthquakes, epidemics, wars, unfair taxes, etc. have always existed, and all have caused personal concern and insecurity. While human beings were defenseless against natural and unnatural factors, diseases, etc., occult sciences came to help mankind as a transcendental force, and with the help of amulets, spells, medical magic utensils, etc., brought him peace and security. The large number of written sources related to occult sciences is proof of this claim. Due to the connection of these sciences, especially talismans with images, some of these written sources are illustrated, because in order to practice talismans and enchantment, drawing pictures was also necessary.Daqa’iq al-Haqa’iq (Degrees of Truths); is one of these illustrated manuscripts which its paintings have not yet been examined. The images in this version are so valuable because they provide us with extensive information on the beliefs of Muslim elders in Minor Asia during the Seljuk period. The combination of occult sciences such as talisman, conjuring planets, chemistry, and astrology has influenced the formation of this book. This version was illustrated in Anatolia by al-Nasiri (Nasir al-Din Muhammad b. Ibrahim b. 'Abd Allah al-Rammal al-Mu'azzim al Sa'ati al-Haykali), extant in a Persian copy dated A.H. 10 Ramadan 670 and Shawwal 671. This manuscript was presented to Kay Khusraw III, one of the last Rum Seljuk rulers, when he was a child. This manuscript can be divided into three main parts. Its three treatises deal with astrology, angelology (study of angels), talismans, and magic, and emphasize prognostication. Its treatises have 51 paintings painted by the scribe.The first part of the book, which has no name, can be divided into two parts. The first part is related to talismans, the titles of which include revealing the secrets of the twenty-eight mansion of the moon, and the main text includes departures to summon the clients, including the names of God, the names of angels, verses from the Qur'an, tribal letters, and magic squares. The paintings in the version include images such as crabs and the moon, dragons, snakes, rams, etc., which have been depicted in order to summon the clients of life and achieve different desires. The second part deals with the rules of astronomy and it is determined what works are best to do in each month.This research seeks to study the concept of a painting that shows a man riding a bird in iconological way. As we know, iconology has three basic stages that can reveal the apparent and hidden semantic layers of patterns. The main question raised in this research is: What is the reason for using the painting of a man riding a bird in this book based on the iconology approach? This painting is based on what beliefs? And are these beliefs of Iranian origin? Where can we find the origin of this painting? The importance and necessity of examining the images in this version are due to their contribution to extend previous knowledge of the beliefs of the predecessors and the illustration of occult sciences in the seventh century. To answer this question with the iconological method, after describing the role of the man riding the bird and studying the text of the book, written sources with illustrations that have a similar theme have been collected to help us understand the reason of using this painting and its hidden roots. The above mentioned process led to the interpretation of the image of a man riding a bird.The most important result of the descriptive-analytical research is that the reason of using this painting is related to Indian cosmological concepts. Iran and India have had close historical ties over time. Over the millions of years, the country has had many cultural exchanges in language, religion, art, culture, food, and other traditions. This painting can be considered as one of these cultural exchanges, which must have been inspired by the goose (Hamsa) vahana (vehicle) of Brahma, the god of Jupiter, or Garuda, the vahana of Vishnu which is associated with Mercury.

Periods of Iranian painting, including realistic and academic painting, were postponed after the advent of modern painting in Iran. Copying the works of their predecessors, which was one of the prominent methods of these masters of painting, was highly condemned and persecuted. Hence, even with the emergence of new approaches to contemporary art and postmodernist practices such as “appropriation”, there is still much resistance to accepting and understanding such works. What can be deduced from the study of the works of Iranian artists from ancient times to the present day is that before modernism, using images of the past and copying the works of past masters have never been reprehensible in Iranian art, but has facilitated the way for mastery and becoming an artist. From the prominent traditions of Iranian art, from painting to the school of Kamal-ol-Molk, re-drawing on the images and works of former artists has always been important, and in this way, the methods of artists have always been different. Some made exact copies and remained faithful to the original work; One of the notable points in this matter is the fact that the artist's copy and signature are not covered, which is one of the approaches of postmodernism in owning and “appropriation” of a work. This study, by studying the copied works in the two periods of Persianization and then the period of Kamal-ol-Molk and the school of Kamal-ol-Molk, has examined the possible similarities with the “appropriation” approach in these works.In order to reach our goals of research, here, we have formulated two main questions: (1) why and how the painters from these periods have made copies of their predecessors’ works?  and (2) is it possible to have a new interpretation of their works as a way of modern concept of “appropriation”? What was lost was the presence of signs of the application of the goals and functions of the appropriation approach in these works. Therefore, according to the personal signatures of these artists on the copied works with similar methods of appropriation and keeping them in museums, it is possible to have a new approach to such works.This research has been formed by studying, reviewing and collecting the works of Westernization as well as the works of Kamal-ol-Molk and his students. The research method was descriptive-analytical and the method of collecting data and materials is that of desk study. In this research, the collected works have been analyzed with the approach of copying and matching with the original work of previous artists, and the presence of some functions of appropriation in these works has been investigated. For this purpose, a number of original works have been brought to better understand the audience. In this way, the methods and functions used by this generation of Iranian artists have been well visible and debatable and studied. It was not possible to present all the found and existing works in the history of Iranian art in this short article, therefore we have studied only a few that were in line with the objectives and division of the research and had the most similarity with the methods of appropriation.What can be seen today in contemporary art can be a follower of painting, Westernization, or the methods of Kamal-ol-Molk and his students. Therefore,  appropriation and the use of previous images have never been a new and fresh idea in Iran, and designing and making continuous copies from generation to generation from the work of prominent masters have been the method of work of all Iranian artists. Adapting and looking at pre-existing and popular images have always been commonplace, and as we have seen, repetitive forms and themes have been repeatedly represented and copied in Iranian art without detracting from the value of the old work or deeming the new work worthless. What is important is to keep all the copied works in museums and private collections of the world, although the idea and original design of none of these paintings, drawings and designs are from the artist himself, but like the original work, they have sought their luck and glory in the world. Iranian artists have unhesitatingly exploited and represented the works of former and Western artists to recreate them. What emerges from the study of the works in this study is the clear evidence that the methods of these artists are similar to the functions of the approach of appropriation in contemporary art. It seems that these artists had come to believe that in order for Iranian painting to continue, it is necessary to explore the world of European painting and to give it a chance to enter into dialogue and interaction with the world of Iranian painting and open a new path for Iranian painters. Perhaps it can be said that these artists understood the importance of appropriation for the continuation of painting in Iran.

Art has a special place and plays a significant and practical role in the development of cultural societies. Hence, the economics of art, especially fine arts, is one of the main drivers of artistic activities. The studied topic (art economy) is basically a young and new topic that has been raised in our country; therefore, it is necessary to deal with it comprehensively and to identify its capacities and to implement its results. Although less money is spent in the production of visual arts, they still command high and sometimes unbelievable amounts in the art market. This is one of the issues that shows the economy of this type of art more than other art fields. However, several elements are involved in valuing an artwork, such as the historical identity, reputation, style, and nationality of the artist, but if we want to ignore the author in this category as art criticism, we can point to other options such as critics, brokers, consultants and galleries. In the meantime, we cannot ignore the effect of the passage of time, because sometimes the time gap makes the work better seen. Since the structural characteristics of art make it indirectly related to the economy, the price of a painting or sculpture cannot be estimated in any of the production stages. Sometimes, according to people like Marcel Duchamp, it fights against the commercialization and reproduction of art in order to preserve its independent nature. The structural nature of art, despite all the changes and evolutions of styles in the visual arts, seems to be constant, and the modernization and post modernization of art have not been able to transform it, because according to the systemic theory, the structure determines the function and the structure of art always has an expectation which is the continuation of the life of art. Expectation is the same function that does not allow a work of art to become an economic commodity by maintaining the exceptional aspects of the economy of art, and this happens more than anything in the economy of visual arts. The present study while seeking to develop an active and functional relationship between art and economy, studies the research questions in terms of the economic situation of visual artists in Golestan province and after pathology, seeks and proposes solutions to improve it. The research method was mixed (qualitative and quantitative). The current research was conducted using a library and field method. The necessary data were collected from library and internet databases and in the field method through questionnaires and interviews. The statistical population of the present study included 3 categories: a) experts in the field of economics and entrepreneurship; b) Famous and skilled artists in the field of visual arts (painting, graphics, calligraphy and painting); c) Policymakers in the field of art. To do this, 10 people are selectively selected from each of the first, second and the third categories; a total of 30 people were considered. Delphi technique was used to analyze the data in the qualitative part to identify the damages and solutions to improve them. In the quantitative part, according to the opinion of experts and using the AHP technique, the prioritization of damages and solutions for their improvement were discussed. The geographical scope of the current research was Golestan province and the research timespan was 2018 to 2019. Findings showed that among the damages of art economy in Golestan province, factors of government, artists, media, society and economic activists are from the first to the fifth place. Sub-cases of each factor show that for artists the factor of decline in the quality level of art due to commercialization, for the government the factor of insufficient government support and incentive policies, for economic actors the factor of the absence of art guilds and financial dependence on the government, for the media the factor of lack of the spread of culture and art, for the society absence of art in the society's basket of expenses, and for the economic activists the absence of art guilds and financial dependence on the government are in the first place. In the continuation, the strategies for improving the damages of art economy were identified from the point of view of experts and the relevant institution for the implementation of that strategy was also identified. As a result, encouraging artists to create works that are relevant and appropriate to the needs and cultural and climatic dimensions of the society, improving the literacy of artists in the field of economic components of art; creating bazaars and cultural and art fairs and holding provincial auctions at the national and international levels; and the implementation of the plan to purchase and order cultural and artistic works and goods in government institutions are among the important strategies to improve the conditions of the art economy in Golestan province.

One Thousand and One Nights is among the earliest literary works worldwide. The manuscript of the tale of Seyf ol-Moluk and Badi' ol-Jamal from the One Thousand and One Nights collection was written in Persian in Nastaliq script in 1033 AH under Jahangir, the Mughal emperor in India. It demonstrates the profound influence of the visual traditions of the Indian and Iranian cultures and civilizations. The immigration of the artists of the Safavid court at the invitation of the Mughal rulers transferred Iranian artistic ideas to the Mughal miniature school. In India, the Mughal kings developed a culture and civilization exhibiting signs of Iranian art and taste. The visual traditions persisted in the Islamic civilization while preserving artistic values. The artists created impressive works and novel experiences. On the other hand, Mikhail Bakhtin, the 20th-century literary critic, theorizes the human being in relation and dialogue with the others and the community. The dialogical principle constitutes the basis of Bakhtin's thought, enabling the discovery of truth with the aid of the others. The resulting polyphony prevents one viewpoint from dominating the others. In dialogism, the ability to enjoy awareness draws upon otherness. The other's perspective and point of view affect human behavior, with the others occupying the audience's position. According to Bakhtin, realizing the situation implies knowledge of the world, and the path to consciousness travels through rich dialogue with the other. In Bakhtin's dialogical principle, the chronotope is highly important. Social situations and diverse interactions among the subjects reveal the notion of chronotope, understood by every individual as an independent position. The tale of Seyf Ol-Moluk narrates the story of a prince who falls in love with a princess named Bad Ol-Jamal and engages in conversations with the characters in the story while seeking his beloved, whom he finds by enduring many hardships. The tale of Seyf Ol-Moluk and Badi' ol-Jamal is made up of anecdotes that continue one another, each continuously influencing another event, illuminating novel meanings, and articulating the significance of the theme of love and dialogism among the characters for achieving the final goal. The story of Seyf ol-Moluk and Badi' ol-Jamal counts among the enduring tales in Iranian fiction__the only one with a perfect counterpart in the Persian language. The present study seeks to analyze the relationship between text and illustrations in the manuscript of the tale of Seyf ol-Moluk and Badi' ol-Jamal based on Bakhtin's theories. It also investigates how the text and illustrations of the manuscript mentioned above deal with polyphony and chronotope. The research questions are as follows: 1. What dialogical relation and chronotope exist between text and illustration in the manuscript of the tale of Seyf ol-Moluk and Badi' ol-Jamal? 2. How can similarities and differences of dialogism between the story narrative and the illustrations of this version be examined? The study employs a descriptive and analytical methodology and gathers data from library sources by utilizing note-taking and image reading. The research draws on a qualitative method to analyze the data. The findings suggest that Seyf ol-Moluk accomplishes his goal accompanied by polyphony among the other characters alongside the story text and illustrations. The dialogism among narrative elements and illustrations of this version is highly rich and harmonic. In keeping with the Iranian traditions and Indian indigenous culture, the human being is placed at the center of attention and contextualized in the environment. Essentially, the story puts forward dialogism between them. The element of language and dialogue play an influential role. The characters portrayed in the story narrative and illustrations of this manuscript hold a variety of viewpoints regarding one another. Polyphony and dialogism among humans are observed among human beings placed in the context of the environment. The stratification and structure of the space is richly described. Furthermore, the narrative and visual elements are equally important, each enjoying its unique language and dialogue. Despite all its ups and downs, the world of Seyf ol-Moluk displays a world in which the other matters. The personal world of Seyf ol-Moluk as an independent prince is not superior to the others and is not monologic due to otherness. Thus, the effects of polyphony are apparent in diverse manifestations, and the illustration artist has created a work based on Bakhtin's dialogical principle based on the story narrative. On the other hand, the chronotope in the text of the tale of Seyf ol-Moluk and Badi' ol-Jamal and the manuscript illustrations are in keeping with one another, demonstrating the importance of each character's life in their particular chronotope. The chronotope in the narrative text affects the fate of characters. With each chronotope in the story, a new situation emerges. The chronotope in the illustrations evokes the particular position of each character, displayed through unique visual components.

Achaemenid art is a royal art that has appeared in line with the propaganda goals of kings and mostly in the form of wall and rock reliefs. According to most scholars, Darius I (reign 486-522 BC) had the greatest role and influence in the formation of this art. Behistun's relief is the only historical-artistic work of the Achaemenids and a monument to the victories of Darius I over his opponents and enemies, which was erected at the beginning of his reign. The relief of Darius's tomb in Naqsh-e-Rostam, although a memorial to the deceased king, was erected during Darius's lifetime and under his supervision. The aim of the present research is to conduct a visual and semantical study of Darius’s image as the most important common element in the reliefs of Behistun and his tomb and to explain the relationship between the image of the king and other visual elements in these works. Further knowledge of the art and ideology of the Achaemenids, a better understanding of the motifs of the tombs of the Achaemenid kings and a clearer picture of the concept of king and god in the official Achaemenid art are among of the sub-objectives of this study. The research questions are: 1. What does the image of Darius show in the reliefs of Behistun and Naqsh-e Rostam, and what is the relationship between these two images? 2. What is the main line of communication between the reliefs of Behistun and the tomb of Darius and what does it mean? 3. What is the difference between the images of Darius in the two reliefs and where does this difference come from? The research method is descriptive-historical-analytical and the required information has been collected from library sources. In this article, the image of the Achaemenid king and other visual elements in two reliefs of Behistun and the tomb of Darius are examined and an attempt is made to show a clearer image of Darius as the most influential Achaemenid king in their official art.

 findings show these results In the relief of Behistun, the image of Darius represents the victorious and powerful Persian emperor who was chosen by the great god (Ahuramazda) and with the will of his god and the support of his allies and armies, was able to defeat the lying enemies and rebels and protect the order and unity of the vast Achaemenid empire. The image of Darius in Naqsh-e-Rostam shows the powerful, religious (pious) Persian emperor who was the chosen ruler of Ahuramazda and, with the will of his God and the support of his companions, had a powerful and just reign over many countries. He has now left his worldly position and is ready to go to another world with peace of mind. The image of Darius in Naqsh-e Rostam has many similarities and connections with his image in Behistun. The image of the victorious and powerful Persian king in Behistun is repeated with changes in Naqsh-e Rostam; the image of Darius in Naqsh-e Rostam is a representation of his image in Behistun. Despite similarities such as the armed men standing behind Darius and his portrayal as the emperor of many lands, the main visual line connecting the two reliefs is Darius standing in front of Ahuramazda in a two-way, unique relationship. Common elements of this line of communication include: 1. The king of Persia, who holds the bow of dominion in a similar way in his left hand, stands to the right and raises his hand towards Ahuramazda. 2. Ahuramazda, who appears in the form of a Persian man inside a similar winged circle in the center of the stage and above Darius, holds the crown of the kingdom towards the king and raises his right hand in a two-way relationship with him. The meaning of this common line of communication was that the Achaemenid king was chosen and helped by the great god (Ahuramazda) to rule the world (many lands); therefore, his actions and reign were in line with the truth and satisfaction of Ahuramazda. The difference between Darius's image in these two works includes the following: The difference in standing figure, differences in right-hand position, differences in appearance and crown of king and god. The above-mentioned differences were made for the following reasons: Different functions of the two reliefs (victory and burial memorial), localization of the image of the king and further simulation of the image of the king and God. The visual and semantic difference created in the image of Darius is due to the confrontation of the victorious emperor in Behistun relief with the powerful emperor in Naqsh-e-Rostam; this contrast has been due to the different functions of the two reliefs.

Throughout history, the land of Iran has been home to various ethnicities and religions. This proximity to the Armenian Christians, from the Safavid era onwards, has been well reflected in their Masonry art and has led to the creation of common artistic elements. Evidence to this claim is the Armenian historical and illustrative tombstones in the village of Khoygan Olya of Fereydounshahr in Isfahan. One of the most important things that always have secrets from the depths of history are the writings and drawings of the tombs that tell about beliefs and thoughts. Treasures, that like a written document, contain many hidden truths. In the village of Khoygan Olya in Fereydunshahr, there are four historical cemeteries in three places of the village; called the lower neighborhood, the middle neighborhood and the upper neighborhood, which is for the burial of the Armenians in the region. Of these four cemeteries that have been nationally registered, three cemeteries have the most tombstone motifs, many of which are common in the cemeteries, and in some cases, each cemetery has its own motifs. The existence of three churches in this village is one of the unique cases in Iran, which itself indicates the growth of art and architecture in this region. The time period and antiquity of the illustrated graves that are the subject of research is from the Qajar era onwards, and the date of some of the few examples, which often have only an inscription and do not have any painting, dates back to the Safavid period. The treasure of unknown motifs of the four historical Armenian cemeteries of this village can be divided into two categories: illustrations and inscriptions. The aim is to recognize the various signs and symbols of the past Armenians of the region. These signs in the form of engravings on tombstones contain unspoken facts from the depths of history. This research is an attempt to find answers to these questions: 1- What are the visual signs of Armenian tombstones in the Khoygan Olya’s cemeteries of Fereydunshahr? 2- What are the technical, aesthetic and conceptual features of the Armenian tombstones of Khoygan Olya? The research method is descriptive-analytical and the method of collecting information is a combination of library-documentary and field resources and the method of data analysis is qualitative. The results of the research show that the motifs of these tombs include all kinds of human, animal, plant, symbolic motifs and livelihoods of the people of the time. The theme of the motifs can be explored in several groups of decorative, religious and practical tools; decorative in order to beautify the tombstone, religious including motifs related to the religion of Christianity and practical tools such as tools and means of livelihood of the deceased. These motifs are surrounded by architectural elements. This architectural space includes elements such as columns, capitals and arches, which are rooted in Armenian art and architecture. In many cases, people stand on a flat platform in group formation. In fact, the cemeteries of the region can be called an exhibition of stone portraits. The motif of the couple (husband and wife) and the motif of occupations such as carpet weaving are also found in abundance. By the number of human images, the motifs show that the graves are one-person, two-person, three-person and sometimes four-person. Animal motifs are more limited in number and variety than other motifs and mostly include animals such as rams, horses, and pigeons. The pattern of the tree of life is the most significant plant of the tombs of the region. In terms of construction techniques, unlike most Muslim tombstones, these works are mostly horizontal; large monolithic cubic stones that are sometimes not more than half a meter high in the ground and are placed on it. Patterns are seen on the horizontal surface and sometimes on the vertical surface of the cube’s wall. The general characteristics of the Christian sculptural art of the region include: looking from the front or the whole image (full body and legs in profile), big eyes, joined eyebrows, showing hand gestures, attention to detail, gender distinction and induction of transcendental and religious atmosphere. Narration and showing jobs are of special importance in these graves. The types of concepts in the tombstones are inspired by the life of the deceased and in fact are a reflection of the worldly and otherworldly life of the person. For example, the most frequently carved carving on tombs is the cross, and after fringes, winged angels are the most important decorative element. These motifs are entirely modeled on the special Christian Armenian ornaments found in their churches. In general, it can be said that manifestations of the art of Christian Armenian painting in the church, book decoration and painting have been depicted in all their artistic elements, including the carvings of tombstones.

Had television emerged in Eastern lands like Iran, it would have undoubtedly had different aesthetic characteristics today. Cinema and television are modern amalgamations of the European traditions of art forms such as painting, fiction, music, theater, and architecture—traditions that inevitably followed the culture of their birthplace in their shaping of the rules of film and TV. If we recognize TV as a communication medium, then it becomes a channel to disseminate localized content, and creating such content calls for adopting elements from the culture and art of target regions.Not only is Iran, an Islamic nation, among the many countries that practice TV localization, it has also always considered it a top priority. According to the Charter of the Islamic Republic of Iran Broadcasting (IRIB), promoting Islamic culture should be the primary focus of the corporation’s TV and radio programs. Non-fiction religious/spiritual programs have a special place among the genres produced by the IRIB; however, designing sets that best represent the content of such programs has rarely been a priority to its producers and, when attempted, has often been flawed.In many parts of the world, the use of light as an independent visual element has long been part of scenic design, especially in theater. Even so, despite its long-standing philosophical and artistic significance to Iranians, light has never been employed as a primary element in scenic design for TV programs in Iran. Revisiting the rich Islamic–Iranian philosophical and artistic traditions seems to be the best starting point to do that. Since sets are an essential medium for the communication of content in non-fiction TV, a purposive use of light in their design may be the most effective way to evoke notions from Islamic mysticism and philosophy—traditions that have been described as “made of light”. Not only does this use of light aid faithful visual representation of the content of such programs, but it also improves their appeal and mystical quality.This article explores the aesthetics of scenic design from Islamic–Iranian religious and cultural perspectives and takes an intracultural look at the conception of light in Islamic mysticism. By doing so, it aims to introduce a style of scenic design that most effectively represents the content of non-fiction Islamic TV programs. The article also tries to answer the following research question: “Based on Islamic mysticism and the philosophy of Islamic art, how can ideas be communicated through the use of light and color in TV scenic design?” The study was conducted as basic research in terms of purpose and analytical–descriptive research in terms of scope. The research information was collected from print and electronic sources alike and organized using note cards.The interdisciplinary nature and newness of the topic necessitated finding similarities between the information from the two domains—philosophy of Islamic art, and TV scenic design. This was to reveal how Islamic art’s approach to aesthetics, light, and color overlaps with the aesthetics and the use of light in TV scenic design, an originally non-Iranian craft. Accordingly, the information was inductively analyzed, whereby a general conclusion was drawn by synthesizing data from different sources. The study reviewed the literature on the conception of light, color, and aesthetics in Islamic philosophy and art to extract principles that could guide the use of light and color in TV scenic design. In establishing a link between scenic design and Islamic art, the study relied on the theory of “form–content congruity in Islamic art” by philosopher of art, Hassan Bolkhari Qehi, making the research also comparative in this regard.The study found that consulting the philosophy of Islamic art, along with the embodiment of its conception of light in Islamic–Iranian art and architecture, makes it possible to achieve a sophisticated aesthetic and the highest degree of form–content congruity in scenic design for non-fiction Islamic TV programs. Since the study focused only on design and content, further research is needed to investigate viewer experience in practice.