علیرضا خواجه احمد عطاری

Narratology is one of the methods of understanding the principles governing narratives. Many theorists have researched in the field of narratology. Gérard Genet is one of the most prominent structuralists in this field. Genet's theory focuses on how to look at the text and allows the reader to understand how texts are internalized in other texts. Accordingly, there are five factors to analyze the body of a narrative: continuity, frequency, order, face and tone – which are related to time. Interestingly one of the characteristics of the art of painting in Iran is its connection with poetry. One of the goals of painters has been to use visual themes and spaces in poems. The stories of Shahnameh have been illustrated many times by painters. These stories, in addition to entertaining function, have an educational and moral aspect. The story of chaining Zahhak is one of the stories of the Shahnameh, which has an educational aspect due to the dominance of light over darkness and good over evil. It has inspired the painters who emphasized the permanence of this part of the story, that is, to drawing oppression and darkness and portraying and narrating it in different ways in different periods and schools according to the characteristics unique to their time. The purpose of the present research is to analylze the visual narrative of the arrest of Zahhak in Baysunghur Shahnameh according to the factors describred in Genet's theory of narratology. The research method was descriptive-analytical, while describing the visual space, its interrelation with the verbal text has been explored. Visual and written data collection was desk-based. Consequently, questions have been raised: how can the narrative analysis of the mentioned image be based on Genet's theory? Also, how did the painter show the time in the picture? Due to the structural differences between the verbal text and the visual text, it is not possible for the painter to use the continuity of the image to show the events like the poet. By using the story and its features, the poet can follow the connection of events step by step and in this way use all the verbal capacities such as the orderly sequence of events, the repetition of story spaces and the continuity of an event. But this capacity does not exist for the painter. Therefore, he tries to break the time sequence of events and display image by connecting two or more events and in this way by intervening in things such as face, it draws new angles for the audience and makes the role of the audience more colorful from this point of view. It can be said that the painter's role is more colorful in tone as a visual expression and acts as an omniscient.

Iranian painting has always been the stage for showing the stories of poets who have had their hearts in Iranian stories. Throughout history, versions of the poems of precious poets such as Ferdowsi, Nizami, Saadi, Khajovi Kermani, etc. have been depicted. Shahnameh is a great epic work of the famous poet Ferdowsi, visualized many times by Iranian painters. Throughout history, Iranians have respected this great work and passed it down to the next generations. Paying attention to human values, national identity, good and evil, and good and bad have been among the themes of Shahnameh. A large number of Shahnamehs were painted in the Mughal period. The most important Shahnameh commissioned by the Mughal patriarchs in this period was the great Shahnameh recited and illustrated with the names of Ilkhani’s Great Shahnameh, Abu Saidi, Damut, Bahadri, Mostofi, and Rashidi. On the other hand, the Mani religion has been one of the great and challenging religions. Mani’s beliefs were based on good and evil, light and darkness. Manoism believed in the absolute duality between matter and spirit.Manichaeism, which ultimately led to its founder’s execution, is depicted in Ferdowsi’s Shahnameh through Mani’s conversation with Shapur and Mobadan, reflecting Ferdowsi’s perspective in the poem. In the meantime, the artist depicted this picture with the influence of Ferdowsi’s poetry, which was unique in its kind. The question arises regarding how the contrast between Mani and Ferdowsi’s perspectives is depicted in the image of Mani hanging from Ilkhani’s grand Shahnameh. This research is a descriptive-analytical method and data collection has been done in the form of a library and using internet sites. From the obtained results, it seems that Mani was hanged because he thought of mixing different religions and rituals, which did not please the taste of the Shah and the religious people of that time and caused the Shah to resent Mani and the debate between Mani and Mobdan was inconclusive. In Shahnameh, Ferdowsi showed his monotheistic attitude and opposition to dualistic thinking. Therefore, Mani’s hanging was inevitable. In the meantime, the painter tried to show a picture of the execution of Mani, based on this, Ferdowsi had his narrative of the opposition of monotheism and dualism, and the painter only represented Ferdowsi’s poetry.

In the aftermath of Arab conquest of Persia, Iranians were afflicted with some feelings of inferiority. The first important political activity of Iranians after Sasanid collapse, was their participation in Mokhtar’s uprising, to avenge the murder of third Shiite Imam. Anti-Ummayad movement of Iranians, continued and reached to the point of replacing Ummayads with Abbasids. The most powerful leaders of Abbasid revolution in the eve of victory were Abu Salama and Abu Moslem, and the former was to bring Alids to the power instead of Abbasids. Therefore, Abbasids in the first year of their rule, ordered Abu Moslem to kill him and some years later, they killed Abu Moslem too. Abu Moslem passed away but his name remained alive, as a Javānmard in futuwwa culture and as an Ayyār in folk literature. Afterwards in the third century of Hijra, a javānmard artisan whose name was “yaqub ibn al- layth”, quitted his job as an artisan and became Ayyār which means bandit in this context. He gradually became commander, ruler and finally the most powerful man of the caliph, but in some point he stopped obeying the caliph and finally invaded his army. He was the first Persian king to invade a caliph after Sassanid collapse.In some Safavid paintings, mythological and historical kings and knights of Iran or a high-ranking lady, are seen riding a horse, while an axe holding footman, named Ayyār and Shāter , serves as their forerunner, and in some cases, this man is looking after his master’s horse. The purpose of the present article is to reconstruct the discourse that such men were related to, through tracing for the nationalistic, religious and political meanings and implications of the image of Ayyār for the people of Safavid era .The research, in the framework of Vandijk’s Critical Discourse Analysis, tends to describe and analyze the data related to the term Ayyār in Persian language and the image of Ayyār in Safavid paintings. It concludes that, if Safavid painters depicted Ayyārs in their works, Safavid kings had such men among their servants, and the axe wielding men who played a violent role in the religious transformations of Shah Ismail’s reign, were apparently the same axe holding Ayyārs depicted in Safavid paintings. Men whose axes are reminiscent of “Abu Muslim’s” axe, claim to be taught by the prophet Khidr, or having esoteric sciences, to legitimize their violent deeds. The image of Ayyār , for the people of Safavid era, who were culturally aware of the matter, was the symbol of a discourse rooted in pre-Islamic Iran, and thus related to Shiism in an ambiguous way. Tending to rebuild the Persian identity and authority in post-Islamic period, this discourse developed in a culture coming out of the above-mentioned image. Ayyārs were well-known in Safavid era, to the extent that, despite Ferdowsi’s silence about them, Safavid painters depicted Ayyārs in Shāhnāmeh illustrations.

The drawing of Zahak is one of the subjects that have been the focus of painters.  In many Shahnamehs, including the Shahnameh of Tahmasabi and Rashida, this issue is depicted in a different way. The purpose is to compare the pictures with the text and with each other. Gerard Genet is one of the theorists who has researched in the field of narratology, he is one of the structuralists and has offered a comprehensive plan for examining narrative texts. In his theories, he has paid attention to examining three aspects of speech, i.e., tone, time, and mode. The main question in this article is how the story of Zahhak was represented in the two paintings of Tahmasabi and Rashida with the title of tie up Zahak according to Genet's point of view. In this research, the elements and components of the story and narration have been used, which include background color, characters, point of view, theme, atmosphere and time, and how they are placed in the body of the story and visual narrative as influential components. The research method was descriptive-analytical and library sources were used to collect the materials. From the results of the research, it has emerged that the sequence of time in the story is based on the events, but in the paintings it is formed based on the removal and highlighting and the use of the text of the poem to connect the events by the painter. In the image to tie up Zahak in the Shahname of Rashida, the painter has limited himself to one scene, but the image in Shahname of Tahmasbi has depicted several events, which has contributed to this sequence. On the other hand, several narrators are used in the text of the poem, but the limitations of the narrator are seen in the above images. In terms of aspect or angle of view, it is also open, it is in the hand of the poet, but the angle of view in the pictures is different from that of the poem due to its visualization. Each of the images has the possibility to show more events due to the focal length. In this regard, Tahmasabi's Shahnameh has shown more details and more figures due to the focal distance, which has caused more action in the events.

Pottery in the Samanid period (3rd and 4th centuries AD) was one of the most important artistic periods, and the importance of these pottery is due to the presence of various inscriptions in Kufic script and the use of birds in calligraphy. The open-mindedness of the Samanids, along with the promotion of Islam and the extensive connections of the Samanids in different regions, provided the basis for the expansion of science and culture and the prosperity of the period. On the other hand, due to Iran-China connections, the Persian language had influences on that region which equally reached China. This shows the closeness of the two Kufic and Chinese scripts in terms of form, and although both regions had special values and rules for calligraphy, so far, no focused research has been done on the influences of these two scripts on each other. In this regard, the question has been raised that the variety of Kufic lines and simplified bird motifs in Samanid pottery have similarities with the Tang pottery motifs and its thinking.This article aims to know the common visual and semantic features of calligraphy and other pottery motifs of the two regions of Neishabur and Changsha, based on the assumption that the intercultural relations between these two civilizations in form and content are based on the cycle of time, the cycle of nature and especially the relationship between man and the world. This research is descriptive and analytical, and Gestalt design principles have been used in an adaptive manner. Gestalt, or the totality of perceived experience, is the rules that determine the relationship between forms; principles that have been used the most in visual arts. At the same time, what we have experienced in the third century BC in Chinese philosophy and in the language of Lao Tzu, and in Iran in the third and fourth centuries of Hijri in the thought of Ikhwan al-Safa, has been seen later in the twentieth century. Gestalt design principles show that these principles were considered centuries before and after Christ and during the Islamic period in Iran. The sampling method was non-random and purposeful, and for this purpose, five bowls from each region (Neishabur and Changsha) were studied on desk. The results of this research showed that the motifs of both Neishabur and Changsha pottery follow similarities, continuities, common fates and other Gestalt design principles and both regions are influenced by Daoist (Chinese) and Islamic (Iran) thinking.  In the meantime, considering the presence of works of Chinese pottery found in Iran and the relations established between Iran and China, it can be seen that there are traces of Chinese thought In Iran and its art.

Armenia is one of the areas that has undergone successive attacks throughout the history by different ethnic groups and has been confronting with the cultures of other ethnic groups. After repeated attacks by the Ottomans on this land and the migration of this people to Iran during reign of Shah Abbas I, as well as the transfer of privileges by him on the basis of utilizing the Armenians in the economic, political and cultural situations, the establishment of intercultural relations with Iranians and, at the same time, the survival of ethnic identity of Armenians could be observed. This was due to the common historical background of these two ethnic groups in ancient Iran and before the Safavid era, as Armenian territory used to be ruled by the Iranian kings in the ancient era of Iran. The present study is trying to answer the question regarding the different factors that created the intercultural relations between the Iranians and the Armenians of the land of Armenia. Thus, it is assumed that the common historical and cultural backgrounds of Iranians and Armenians of ancient times have led to the interactions between the two ethnic groups during the Safavid period. Regarding the importance of Armenian migration to Iran during the Safavid period, considering the state of their interactions with the Iranians is the essential requirement in carrying out this study. In this respect, the aim of the present study is to identify the bases for the establishment of intercultural relations between the Iranians and Armenians of Armenia, to examine the effective components of the ethnic identity of the Armenians, and also to analyze the cultural commonalities between the Iranians and Armenians. Regarding its aim, this study is based on the developmental approach and for its methodology and nature, it is on historical and descriptive-analytical basis. Hence, it has sought to achieve its aims through desk studies and reliable sources. The obtained results indicate that the Achaemenid and Parthian governments in ancient Iran have had a significant interaction with the lands of Armenia and their common background was due to the interactions of these two ethnic groups in the fields including language, ceremonies, music and architecture. Nevertheless, their identities had independent subjective and objective characteristics that preserved the values and stability of Armenian ethnic identity in Iran during the Safavid period.

Humans have been dependent on hunting for survival, but the role of hunting somehow changed in the Assyrian civilization, and became a tool to show the power of kings in the form of images of hunting powerful animals or war scenes. One of the subjects that was worked as a relief or seal in the Achaemenid period in Iran was the king’s battle with a hybrid animal. On the other hand, this image is demonstrated in the form of a relief in the ancient Elamite civilization, called Enumaleiš. The comparative study of the creation myths of ancient Iran and Mesopotamia could reveal the common concept of battle with lions or hybrid animals in the Achaemenid and Babylonian reliefs. This research takes a comparative approach to study motifs and myths. According to the alignment of the myths of Iran and Mesopotamia, the question is, what was the purpose of raising this issue in Iranian and Mesopotamian art? The research method was descriptive-analytical and the method of data collection was library-based. The results of the research showed that the artists’ motivation in creating these reliefs was to explain their surrounding world based on the transformation of nature, fertility, and peace. Also, the king’s battle with the hybrid animal has illustrated the myth of order and disorder and good and evil, which has been the commonality and intellectual unity of neighboring civilizations in dealing with nature and establishing order in it.

The aesthetics of the Iranian handmade carpet is based on the aesthetic belief and understanding of the Iranian man from the system of existence, the Iranian carpet has grown over the centuries of technology and beauty to the feet of Iranian culture and civilization, the element of beauty can be most prominent Handmade carpet found that other elements, including quality, efficiency, reputation and reputation, are all based on it. In the collection of small handbags in the Bakhtiari nomads, the pillars are considered as valuable for fibers and applications. Patterns of these handcrafts are subjective and based on the beliefs and beliefs of tribes with the help of nature. These motifs of the tribes of the Bakhtiari tribes have specific features and visual values ​​based on the use of nature and its beauty in terms of design and color. Since the function of no pre-prepared maps and not customized, the superior position to Have allocated themselves. These mental designs are considered as the best document for the study and search of tribal beliefs and beliefs in the Bakhtiari region in this research, which they inherited from their predecessors or influenced the nature of the region. The purpose of this article is to explain the features and beauties that are inherent in the motifs of these handcuffs. This feature and the motifs of beauty, part of the features and the beauty of the collection (hand-woven back, woven, woven, woven, and other woven) Nomad is. The main question of the article is that the motifs of the nomadic handcrafts reflect what are the visual features, and where is the place of nature and its beauty in terms of design, color and composition in the creation of subjective motifs in the tribal pockets of the Bakhtiari region, and how are the motifs of the pods from The nature of the region has been affected or abstracted and abstracted. The research data were collected using a field, interview and library methodology to discover and extract what is considered by the nomadic weaver according to the ethnic background and the nature of its life environment, and then recorded and categorized. In another glance, the proper and unconsciousness of the correct relationships of visual elements in the beautiful composition of the embroidered designs of the tribes of the Bakhtiari region has demonstrated the creativity of the knights of the region with an emphasis on the look of nature. As a result of this research, the achievement of a complete range of types of plant, animal, geometric and visual designs has been achieved taking into account the widespread dimensions of the culture and lifestyle of the Bakhtiari tribal elders. Also, the percentage and rate of use of tribal knitters in the region from native and traditional fibers were obtained from factory fibers. Concerning the use of Bakhtiari tribal weavers from traditional and herbal colors compared to chemical paints, this research has yielded significant results Has brought along. The point is more important than the results of the research on these handcrafts, the effect of their dimensions and their application on handcrafts.

As subway stations are regarded as public spaces in cities, their frontages, involving public artworks, especially murals, are taken into account as part of the urban townscape. The artworks on frontages can provide a medium for interaction, functioning as a visual communication system among the artwork, the artist, and the public. Therefore, it is important to identifying the factors influencing the visual preferences of the audience. The aim of this paper is to investigate the effect of the visual elements of murals on the perceptual-visual desirability of frontages at the Tehran Theater subway station. It seeks to answer the question of how the visual elements of the murals at the station affect the perceptual-visual desirability of the station frontage.

Among the large number of visual components assumed by various theorists, the main common components taken into account is this research include color, shape, texture, line, tonality, and light  (Jansen, 1998: 69). This study investigates element quality, the quality of the relationship between elements, and that for figures and the ground (Pakzad, 2006) to achieve the degree of visual desirability in response to questions about the aesthetic component and the scape quality. The element quality is mural, and the relationship between the murals is considered for appraisal of the quality of the relationship between the elements. Moreover, the relationship between the mural and the wall is considered for appraisal of the quality of the relationship between the figure and the ground. The components related to the quality of the element include intensity, tension, and ingravibility, those pertaining to the quality of the relationship between the elements include balance, symmetry, proportion, dominance, clarity, and density. The components concerning the quality of the relationship between a particular element and others (figure and ground) include contrast, opposition, conformity, advantage, hindrance, emphasis, enclosure, narrowness, openness, sequence, and concentration (ibid.: 121-136).

For achievement of the research aim, a mixed method was adopted based on data collection through archives, observations, interviews, and visual preference techniques. Among different cities, Tehran was selected due to its position, and the Tehran Theater subway station was chosen among different stations because of its location in the proximity of Vali-asr Street, Tehran Theater, and Daneshju Park. Then, nine murals were selected from among those available at the station. Given the nature of the data, the methods of regression analysis and correlation analysis were used along with SPSS techniques for analysis of the collected data.

The results indicated that perceptual-visual desirability existed in all the three groups: untrained observers (citizens), trained supervisors (visual art experts) and creators of artworks (artists). The findings also demonstrated that tonality (degree of darkness/brightness), shape (design), color, line, and texture exhibited the greatest impacts on perceptual-visual desirability, in that order. The elements of shape, color, tonality, line, and texture played the greatest roles, in order of priority, in the perceptual-visual utility of the station frontage for the citizens, the elements of tonality, shape, line, texture, and color for the specialists, and shape and tonality, color, and line and texture for the artists. The most important reasons for these differences follow. The main reason why tonality was selected as the first priority by the three information sources is the community’s need to observe color diversity at different levels of the society. Unfortunately, this field has been neglected for years. However, its negative effects, such as the increase in the number of patients with depression, are evident. The second priority involved the designs and patterns used in the murals, which demonstrated the significance of form and content and of the choice of subject and consideration of the aspects of visual beauty. In the studied cases, the messages and feelings that the artist tried to convey to the audience had a negative impact on citizens’ perception although understood to a large extent by the audience, as the predicted lighting was not considered properly, the mural lights were used only occasionally, and inappropriate accessions led to visual disturbance. ConclusionThe results indicated perceptual-visual desirability in all the three groups of untrained observers (citizens), trained observers (visual art specialists), and creators (artists). Furthermore, the citizens’ and artists’ opinions were close to each other. The citizens appreciated the use of creative designs with rhythms and formal contrasts, being satisfied both with the location of the murals in terms of visibility and view-shed and with their association with the frontages, but not with the lighting of the works. These were identified as the main perceptual-visual desirability factors in the studied samples.

During the Safavid period, Iran underwent great political and social changes. King Ismail, the first Safavid king, declared Shi'ism the official religion of Iranian society and in addition to establishing a unified dynasty, prevented its dissolution in face of the Ottoman Empire and the Uzbeks. Inside the country, Safavid kings maintained a balance between different political groups, which led to the establishment of complex social, political, and economic relations, as well as between the people and the government. Since in any political and social system, the relations that lead to its stability and strength can be predicted, the impact of these relations on the various pillars of society can be predicted. It seems that these conditions also exist in the social systems of art. Researchers who have used sociological studies in the field of art rely on theoretical assumptions with different implications. On the other hand, this relationship has affected artists in the Safavid period. Painting workshops have always been in the shadow of the support of the Shah and the influential supporters of the court throughout the history of Iranian painting. This support also existed traditionally during the reign of the Safavid Shah Tahmasb. With the support of the court, the painters have illustrated books such as Shahnameh and Khamseh Nezami. However, since the middle of the tenth century AH, due to the escalation of political wars between Iran and the Ottomans in the northwest and the Uzbeks in the northeast, as well as the upheavals in internal affairs, attention to art decreased. The purpose of this article is to obtain the factors and reasons that have changed the political and cultural developments during the reign of the Safavid Shah Tahmasb and its effect on the painting of this period according to the theory of reflection. Accordingly, this study seeks to answer the question of how Iranian painters during the reign of Shah Tahmasb I showed social changes in their paintings. In fact, this theory has shown us how socio-political influences affect social activities, including art. This theory holds that art is the mirror of society (or is conditioned or determined by society). This approach focuses on researching works of art to enhance our knowledge and understanding of society. The reflection approach in the sociology of art includes a wide variety of research, which is the common ground of all of them (art is the mirror of society). Due to its diversity of social reflections and the views of sociologists such as Plekhanov, Max Weber, Panofsky, Hauser, and Wolf, this approach examines the various conditions of society associated with political, cultural, social, and ideological life. The research method is descriptive-analytical and has been used to collect materials from library sources. The Safavid government has gradually reduced its authority over Ghezelbash and increased the authority of Shiite clerics. At the same time, the court system, and the sufficient skill of the Iranians in that regard, had dominated the general structure of the administrative system of government. These changes took place during Shah Tahmaseb's dominance and after a period of turmoil and chaos caused by the power that Ghezelbashs considered to be both a right and a responsibility in the court. However, the pressure exerted on the Shah from all sides, as the center of political and religious movements, caused his influence on members of society, including artists, to disperse from the court. This dispersion, along with the support of wealthy newcomers and the Indian court, led painters to experiment with a variety of subjects and paintings, which gradually changed the previous way and indicated independence in the type of commission and dealing with everyday subjects. Therefore, the following results can be enumerated:- The court's support for the royal workshops and its reflection in the colorful works have shown the importance of the painted manuscripts in the court.- The influence of the Shiite religion that led to Shah Tahmasb's attention to religious affairs has shown a pervasive spirit in the culture and society of that time. Producing and illustrating religious issues in works such as Shahnameh and Khamseh Nezami, in continuation of books of divination, have all been performed with religious themes.- Independence of artists from the court led to a change in the choice of painting subjects.- Changes in the economic pace of society and the emergence of the low-income wealthy as the new social stratum led to the production of works that were weaker in terms of pride and less colorful in terms of color.- Changing the themes of the paintings drew the painting towards more social and popular themes.

Tourism is an inclusive, public industry that needs to consider all the sectors of the society regardless of age, race, or gender. Tourism and travel must be accessible to all people, including those with disabilities, the elderly, and children. Therefore, it must be an intrinsic part of any responsible, sustainable tourism policy or strategy. Children are the present and future tourists, who play an important role in destination management. Since they are an important part of the society, it is a requirement to pay attention to the promotion of their creativity, where art can play an important role. Art is a means for creative self-expression. For children, art can be a wonderful emotional outlet that promotes personal reflection, communication skills, and self-esteem. Promotion of creativity and engagement in artistic activities has been shown to stimulate growth in important cognitive areas. On the other hand, tourism has been redirected from cultural tourism, as the second generation, towards creative tourism, as the third generation. Creative tourism has turned away from tangible heritage and sightseeing towards more intangible cultural and authentic experiences. Therefore, it has attracted more attention, as tourists are looking for more authentic, meaningful experiences. Tourist destinations compete to introduce themselves as creative ones in order to meet the needs of travelers, accelerate their economy, and restructure themselves through cultural regeneration. The present paper sought to identify children as emerging markets for creative tourism and specify its key components and to examine the factors effective on child-based creative tourism. Creative tourists are the creators of their own experiences; therefore, they must act as a homogeneous group of producers with creative ideas about their creative experiences. A creative city in the field of crafts, the city of Isfahan, Iran has the potential to become a creative tourism destination based on handicrafts and folk arts, which also seeks to join child-friendly cities. Local authorities believe that tailoring the notion of child-friendly cities with arts and crafts will help Isfahan improve its image, turning the city into an attractive creative destination for children. As playing games and learning are children’s basic expectations from a child-friendly city, they prefer places that afford them opportunities to play and learn actively. Therefore, crafts and folk arts could play an important role in meeting children’s expectations from Isfahan as a creative destination, because the city is a point of reference in Iran and around the world, also nominated the “World City of Handicraft” by the World Crafts Council. As interaction with crafts is acknowledged as an appropriate tool for playing, it can boost children’s creativity, and provide an opportunity for active learning. The main purpose of this study was to obtain a single definition of child-centered creative tourism. The data were collected using snowball sampling and in-depth interviews with 31 tourism, art and handicraft, and children experts. The research used a qualitative method and the thematic theory approach for the identification of the components. The data were categorized based on open, axial, and selective coding. As a result, five distinct components were identified: travel content, children’s needs, creativity, environment, and stakeholders. Each component included several factors that could provide new information on creative tourism for children. This notion and the findings can help destinations to attract children as creative tourists, and their product update will lead to experience and creativity.

Interpretation is one of the cognitive modalities including visual text. This method has long been used in Islamic wisdom and art. Interpretation is the language of ges tures and worship and revealing the principle and how it is unders tood. Exploring the nature of unders tanding and explaining the conditions for its attainment and enumerating the factors influencing the research. Meaning reading has different perspectives and approaches, periphras tic is the knowledge to open the horizons of meaning and to obtain the rules of interpretation, and is a way to avoid misunders tanding, but it differs from concepts such as interpretation, interpretation, explanation, and so on Since ancient times, this method has been used unconsciously in various communities. The fundamental ques tion in this research is whether such a method can be applied phenomenologically to the cognitive image of prayer. To answer this ques tion, among the pictorial books of Shahnameh Baysneghari, Kalilah Vednah, Khamseh Nezami, Khavarannameh, Haft Aurang Jami, Al-Bian Hafez, Saadi Bus tan, Logik al-Tayr Attar and Goles tan Saadi, Mir Heydar’s Book of Miracles Has been chosen and selected because it uses all the elements of interpretation from color to text in this book. The book, which is preserved in the National Library of Paris by poet and letter writer Mir Haidar, has been translated into Turkish by Shahrokh Timur, in Arabic, in the year AH, and has been translated by the Heratian owner into the Uyghur script. The “Prayer” iconography, which is the firs t image-book of Mir Haider’s As trology, is a narrative of a s tory out of objective reality that can be evaluated as an interpretation by the author.The prayer image depicted by Prophet Mohammad (PBUH) along with six other prophets in the Ascension Night is based on a particular process based on the data theory of its interpretation. The purpose of this research is to find meanings behind the elements and images in this image and to read through the phenomenological approach and to read the meaning beyond the quantitative variables such as the seven prophets, the seven lamps, the color of their gems tones, and the way the prophets went forward. The citation of the documentary s tatements and the visual text reveal its concepts and meanings on the basis of the philosophy that governs its origin. The results of this s tudy, taken from a doctoral dissertation, show that The meaningful tools in the paintings include the five components of picture s tructure, color, numbers, eternal image, and written text. Each of them in the painting requires aris tocratic knowledge of religious culture. Miratheir’s painting is one of the hierarchical s tructures that not only illuminates the primacy and time when it also reveals the synoptic conceptualization of meaning as well as the unity in the purpose of the prophets.

context: Tourism is a general and inclusive industry which all sectors of society, regardless of age, race and gender must be paid attention. In this regard, children as an important part of society, due to the growing needs of the community and considering the promotion of their creativity and arts can play an important role in this issue. However, Isfahan as a creative city has lots of potentials for creative tourism based on handicrafts. The current study attempts to characterize the role of creative art-based tourism emphasizing on the training of handicrafts for children. This is a practical research and content analysis method is used. Data was collected using in-depth interviews with 28 experts in the field of tourism, arts and handicrafts, and children, which were found by snowball sampling, and data were analyzed through open coding and axial.
The existing literature point out to the economical roles and improving the creativity of children. So raising children and promoting their creativity should be one of the basic priorities of Tourism and Handicrafts and the children become custodians. The results indicated that the art-based creative tourism is important for children; because it plays multiple roles, including the promotion of individual skills, the social, economic, cultural impacts, and contributes to sustainable development

A statement of the Problem: One of the richest sources of Iranian art is the miniature painting in which the use of beautiful and well-designed motifs are abundantly visible in the forms of geometric, abstract or naturalistic motifs. Such motifs can also be seen in different branches of this art, including illumination and Shepherd. The illustrated version of Jami’s Haft Awrang, illustrated in the 16th century A. D. and in Mashhad School, is one of the most famous and valuable manuscripts of the Safavid period. The harmonization of the traditions in Herat and Tabriz Schools during the Safavid period and combining it with native and regional features of Mashhad miniature painting has led to the creation of 28 beautiful paintings. This illustrated version has a number of illuminated decorations representing a rich collection of decorative motifs of the Safavid period.
Research The present study aimed at analyzing the illumination designs used in the images of the Haft Awrang and also examining their features such as form, color, place of application and the way these designs have been used. Data collection has been conducted with reference to written sources and the obtained data has been examined using a descriptive-analytical method.
Research questions:- What are the qualities of design and motifs in the images of Haft Awrang?
- How is the use and method of illumination in the illustrated version of the Haft Awrang? The results obtained from the investigation of the images in Ibrahim Mirza’s Haft Awrang indicate that the illumination motifs used in Haft Awrang images, mostly include multi-petal flowers and Palmette flowers, and Khatayi designs as well as combined Khatayi and Arabesque designs have been most frequently used in the illumination patterns of this illustrated manuscript. Illumination designs have been depicted on the surfaces of buildings, tile works, minarets and domes, carpets and rugs, tents, and occasionally in humans’ clothing and animal coverlets. Also, these designs have played a significant role in promoting the decorative glory of the images and adjusting the composition of the paintings. The plurality of the designs and decorative motifs in this illustrated manuscript represents the decorative arts of the Safavid period and provides the virtuosos with a comprehensive collection of Iranian decorative motifs in one of the most flourishing periods in Iranian history of art.

Murals are one of the works that are included a range of patterns from past to present, including themes derived from Iranian painting, calligraphy or pictures of architectural works. These paintings in comparison with original context have gradually changed in functions and materials according to the needs of the community and the new context.Also, given that metro stations are considered as public spaces; Their role is important for communication and interaction among people. Therefore, it is necessary to pay attention to the features of public art and to understand how they are perceived and efforts to bring their experiences closer to different citizens. Therefore, the factors influencing the perception and visual preferences of public art audiences can improve the perception process of these works. Such an understanding of the quality of space that hosts a public art work will also be affected. Visual quality is measurable from three dimensions: functional dimension: (readability), identity dimension: (beauty), semantic dimension: (meaning and message) that this article focuses on two dimensions of identity and meaning. Despite the expansion of cities and the increase in their populations, the need for high-speed public transport and the establishment of subsurface metro lines and related stations, the use of public art to attract audiences in this area has been less considered.One of the most popular public spaces in the city of Tehran is the metro station of the city's theater, which houses various wall paintings. Some of these wall paintings borrowed from their traditional arts, and they see a lot of memories for the viewer's mind. Therefore, the greater the degree of this adaptation, the effect will be to make the sense of satisfaction more successful.The good of this paper is to investigate the intuitive features of patterns and traditional calligraphy as decontextualization and detextualization in mural of City theater Metro Station. It seems the changing nature of the media type, materials and also how to express has turned the fine and court art into human and public art. The current study aimed at answering the question of what characteristics of City theater Metro Station's murals can be verified as decontextualization and detextualization? This research has been done through descriptive-analytic method and by using case study. In order to collect information in the theoretical part of the literature, library documents and in the field of observation, questionnaires and interviews were used. Due to the large volume of murals at various metro stations that were randomly selected and visited, The city's theater station, due to the large number of murals in the path of switching lines, which allows more people to visit them, The variety and content of works of public art, proximity to the city's theater and student park and the existence of high levels of walls were selected. Then, from 9 murals at the station, One of the pictures of 9 murals in 388 questionnaires filled by citizens and 13 questionnaires of visual arts specialists Selected as one of three preferred preferences, analyzed. The design of the questionnaire was based on the visual preferences technique (VPS) and the analysis method using the spss software.This art work that has been selected as a case study has the motifs, partly inspired by calligraphy and the other part, inspired by the art of book writing. And these motives, borrowed from two images; one of the book Khamseh military titled "Killing Bahram Gore Dragon" by Mohammad Zaman, painter late Safavid period, and the other "The sequel of the old man of shitty" by a certain image, painter of the time of the Shah Abbas, from the book of the Jamie. Applying the Iranian motives, in addition to preserving cultural identity, if there is a logical connection between the visual elements of an effect, improves the understanding of the message of the effect by the viewer and, by promoting the quality of the environment, results in meaning and satisfaction in the audience. Observation technique and library studies are used in order to collect information. The result indicate that artist has used intelligent device for preservation of iranian identity by using the existing motifs and measures such as decontextualization and detextualization that creates changes in structures, elements, and materials. The above changes in structures and elements have been achieved the relationships of visual elements in murals of City theater Metro Station. The above changes indicate the change in function and differences that distinguish today's world from the past.

Khialinegari is an expression for describing a kind of narrative painting which has religious, heroic, epic, lyrical and popular content. It spread in Qajar era according to folk art and religious art while was impressed by the tradition of conventional painting of that period. Some of the researchers believe that this kind of painting has created According to necessity and the willing of the people, whilst conserving all the religious and traditional values of the art of Iran. These paintings are full of presentive, thematic bases and visual structures. Although many valuable studies have been done during the years about it, there are lots of undetected aspects of Khialinegari. This article is looking for the answer of this question that "have contents, subjects and visual structures suddenly formed in Qajar`s Khabouialinegari or have they history in Iranian painting?" To answer this question and achieve the background of Khialinegari we try to study the features of a period of visual art of Iran, from the Ancient to Qajar era, for finding the common aspects of it in contents, subjects and visual structures with Khialinegari. It is a fundamental and theoretical research. This study has been executed using descriptive and comparative analysis methods. The results of this research has shown that Qahvekhane`e`s painting or Khialinegari is a particular style of painting art. It is one of the pop arts with a history in the Iranian society which has emerged from the Iranian traditions. What is known these days as a Qahvekhane`e painting is Qajar`s version of it that is different in terms of figurative features, contents, material and the slangy subjects belonging to Qajars era, but this kind of painting is very older than Qajar period.

Find the answer of this question that "have contents, subjects and visual structures suddenly formed in Qajar`s Khabouialinegari or have they history in Iranian painting?" Try to study the features of a period of visual art of Iran, from the Ancient to Qajar era, for finding the common aspects of it in contents, subjects and visual structures with Khialinegari.

Questions:

Have contents, subjects and visual structures suddenly formed in Qajar`s Khabouialinegari or have they history in Iranian painting? What are the common aspects of visual art of Iran, from the Ancient to Qajar era in contents, subjects and visual structures with Khialinegari?

The wooden rehal is one of the objects that has been used to study the Koran by Muslims. This object, which
can be seen in mosques and houses, is in the form of an English letter x. This rehal, which is kept at the Metropolitan Museum is one of the most unique in the Mughal period. This is undoubtedly the unique example that its decorative motifs and unique combinations were created along with traditional symbols and colors, making it an exceptional composition. By examining the motifs and arrays on the surfaces of this rehal, we can understand the designer and constructor’s ability to regulate the form and space of the plot and its shape, and in this way, evaluate the breadth of insight and constructive thinking of the designer. It was based on the question of what kind of motifs were used in the decoration of the rehal of Koran of the Metropolitan Museum and how is the relationship between these motifs? The purpose of this research was to recognize and analyze patterns, and geometric relationships between these components. This research is descriptive-analytic, and the information obtained is collected by the library method. The study of motifs and scrolls of the shrub expresses the doctrine of Muslim artists, which are the principles and aesthetic rules based on golden proportions and the influence of the principle of unity in the same plurality and following the principle of the symmetry in Islamic art

Chaharbagh Mosque-school of Isfahan, being one of the most important monuments of Shah Soltan Hossein in the Safavid era, is of chief importance regarding its structure and decorations. The inscriptions are the most prominent features of the art treasure of the Safavid era, that are the best in terms of quality and variety compared to other monuments of the same period. The present study attempts to classify and typology the external structure and themes of the inscriptions of the mentioned building with a multidimensional point of view, and also recognizing the Chaharbagh Mosque-school briefly. The mentioned procedures lead to two questions: 1- According to the considered criterions, what are the different types of inscriptions of the monument? 2- What are their prominent features? The method of this study that is carried out by a typology approach is analytical-descriptive. Data is collected through field and library methods. The data is analyzed qualitatively. The results of the examinations indicate that the most distinctive and important features of the inscriptions of Chaharbagh Mosque-school are the type of materials, the executing techniques, type of lines, the combination of the letters, and also the famous calligraphic artists, which are the base of classifying and typology of the current paper. Accordingly, the inscriptions which are made by using different techniques of tile work, etching, gold work, inlaid, wood work, engraving on stones and even Zilu weaving, and include Suls, Kufi (Bana'i and Muaiqly) and Nastaliq calligraphy, is a collection of the artworks of famous calligraphic artists such as Mohammad Saleh Esfahani, Ali Naghi Emami and Rahim Jazayeri that their works are not seen in many monuments. The most important themes used in these inscriptions are Quranic themes, hadiths and narratives, eulogy of the Prophet, Hazrat Ali, and other Imams, and also some information about the supporter, executors, and the benefactor of the building which are expressed in the form of Arabic texts and Persian poetic and prose.

Illumination is one of the most important Islamic arts and Qur'an decoration, which displays a wide range of talents of Muslim artists. From the early days of Islam, Muslim illuminators have always used talent, creativity, and innovation to form various styles of illumination. Among the important book designing centers in the Islamic lands, Shiraz is always known as one of the most important schools of book designing in which various styles of Illumination, Ta'shir and Calligraphy have been created over the course of the years. Among the important styles of book designing of Shiraz school, there are decorated Qur'ans of eight to thirteen centuries (AH) which have formed three important styles of Qur'an decoration of Shiraz School. Recognition and study of stylistics based on form components and achievement of the main features of the important Qur'an decoration of Shiraz School are the main aims of this study. Therefore, in order to achieve this aim, among the Qur'ans of these three eras, a Qur'an of from the Ilkhanate era, a Qur'an from the Teimuri era and two Qur'ans from the Qajar era have been selected purposively. The present study is descriptive-analytical with formalistic stylistics approach. One of the most important results of this study is the introduction of the form structure and stylistic features of these three eras. The eras can be named as Yeganeh, Pardis and Farshineh on the basis of the form structures. The reason for naming these three eras is characteristics of the significant forms used in these three eras or styles.

Khialinegari is an expression for describing a kind of narrative painting which has religious, heroic, epic, lyrical and popular content. It spread in Qajar era according to folk art and religious art while was impressed by the tradition of conventional painting of that period. Some of the researchers believe that this kind of painting has created According to necessity and the willing of the people, whilst conserving all the religious and traditional values of the art of Iran. These paintings are full of presentive, thematic bases and visual structures. Although many valuable studies have been done during the years about it, there are lots of undetected aspects of Khialinegari. This article is looking for the answer of this question that "have contents, subjects and visual structures suddenly formed in Qajar`s Khabouialinegari or have they history in Iranian painting?" To answer this question and achieve the background of Khialinegari we try to study the features of a period of visual art of Iran, from the Ancient to Qajar era, for finding the common aspects of it in contents, subjects and visual structures with Khialinegari. It is a fundamental and theoretical research. This study has been executed using descriptive and comparative analysis methods. The results of this research has shown that Qahvekhane`e`s painting or Khialinegari is a particular style of painting art. It is one of the pop arts with a history in the Iranian society which has emerged from the Iranian traditions. What is known these days as a Qahvekhane`e painting is Qajar`s version of it that is different in terms of figurative features, contents, material and the slangy subjects belonging to Qajars era, but this kind of painting is very older than Qajar period.

This paper focuses on Chaharbagh and ʻAliqoli Āqa, two mosque-schools of Isfahan. These monuments were built in the era of Shah Soltan Hossein, and situated within two outstanding urban complexes in Isfahan. The paper proposes two hypotheses. First, the mentioned mosque-schools – as the most significant scientific-religious monuments of the Shah Soltan Hossein era – have regular stylistic components, specifically regarding architectural ornaments. Second, one of the critical factors in the formation of the distinctions and similarities of the two monuments is the support of the shah. The findings of this research indicate that the essential stylistic attributes of the ornaments are the use of textured geometric patterns such as shah-gereh on the mosaic tiles in specific colors, the placement of the quadruplicate and archetypal cross forms called chalipa, as well as various symmetric patterns, and the like. The content of the architectural ornaments reflects the Shiʻa beliefs, and praises the supporter of the two monuments (shah). Despite these similarities and the inscription of the shah’s name in the golden point of the two façades, there are many differences in the architectural and ornamental structures, including the quantitative and qualitative differences in the dimensions of the building, and some elements in Chaharbagh monument, which has no equivalent in ʻAliqoli Āqa.

Despite the differences in structural forms and architectural ornaments between Imam (Jaame Abbasi) mosque in Isfahan and Sultan Ahmed Mosque in Istanbul, we can see a type of similarity in expressing an eternal truth that liberate them from the conditions and circumstances of the time and results in the persistence and survival of these two monuments. This indicates a symbolism which dominates the motifs that beyond their appearance, imply eternal and immortality truths intuitively. The aim of this study is to investigate the ornamental elements used in these two mosques, which unify their structure of space and make them immortal. The research method is descriptive- analytical, and desk study as well as field study have been used for analyzing the content. The results of research indicate that the some factors such as monotheism, abstractionism, purposefulness, mysteriousness and beauty have been considered by the Muslim artists; and despite the differences between these two monuments that are mainly due to differences of cultures, the spirits of them have been derived from the transcendental message of Islam.

The Quran’s illumination forms are important parts of the Iranian illumination art. This research considers the recognition of the visual features of Quranic illumination in Qajar period. The motif, color and combination of the important factors of Quranic illumination are used to classify the illumination. These factors have been selected of the Qajar period in three versions of the illumination in the Qur’an of the Qajar School is being studied and matched. These Quranic manuscripts are kept and encoded with (4), (41), (47) in the Malek National Library and Museum. The Calligrapher and the illuminator of (47) are Ashraf-al-Kottabe Isfahani and Fatah-Allahe Naghash, respectively. On the other hand, Calligraphers of (41) and (4) are Hussein Arsanjani and Alireza Partvoo Isfahani. The main aim of this research is to achieve the visual elements that are seen in the perfectionist style of Qajar Quranic illuminating art. The main question of this research is "what are the visual features of the Quran Qajar period, and how are these characteristics analyzed and explained?" The research method is descriptive-analytic. And the method of collecting information is field research and library one. The findings of this research indicate the difference in the type and reduction of the diversity in Eslimi and Khataei motifs; the luxury and expansiveness of the illumination in the primary and sometimes end pages of the Quranic verses of this period. The addition of elaborate and elegant crown-like symbols, and the plurality of narrow margins in the composition and application of brilliant, pure colors, especially the golden color, in the extensive range, is one of the important features of the Quranic illuminations.

Among the traditional designs used in various arts, sometimes there are motifs that have not been seen, but they have their own particular value. One of these motifs is the Abry-mary (Cloud-snake) arabesque that is of great visual values. Studies show that these motifs came to be used in abundance on the Safavid era book covers, so that they became one of the commonest motifs of this period. However, few studies have been dedicated to introduction of its types, variety of forms and its compositions with other motifs. The authors have attempted to pursue composition and geometrical structure of the motifs in the context of decorations of the Safavid period book covers. Accordingly, the research questions have been as follows: 1- Where did the Abry-Mary arabesque motifs stand with regard to the composition in decoration of the Safavid period book covers? 2- How was the structural diversity of these motifs? The research method has been descriptive-analytical based on library sources and qualitative analysis.
The results show that these motifs followed two symmetrical and asymmetrical systems in form, and were used to decorate the covers depending on pattern’s location, and to fill the space in the composition. At the same time due to their free and wavelike movements rendered the monotonous and closed compositions of the traditional motifs, more active and dynamic. Abry-Mary motifs were most commonly used as symmetrical structures in repetitive designs on the margins or in the form of or on the center of the book cover. Motifs with asymmetrical structure were used more freely among other elements of design and in composition. They were also used for filling the empty spaces which attests to the more complexity in the relationships of motifs in the Safavid period.