فاطمه شاهرودی

This research aims to show a special dramaturgical method in Aql-i-Sorkh as one of Suhrewardi`s Recitals and finally introduce this text and other recitals written by Suhrawardi as a performing text. Henry Corbin repeatedly pointed out the dramaturgical aspect in Suhrawardi's recitals, and the present study will try to explain Ta`wil as the main element of this dramaturgical mechanism. Ta`wil allows Suhrawardi to combine his literary, philosophical and religious heritage, lexical or oral, and contemporize them in a mystical Drama. This research shows how we can re-identify these recitals as a performance text by re-narrating them in Ta`wil as a special method. The present research by establishing a relationship between a type of performance which is the lineal descendant of the sacred or esoteric theater, such as what can be seen in the works of Artaud and Grotowski and the dramaturgical method of Suhrawardi reveals that Aql-i-Sorkh and other plays of Sheikh Eshraq can be considered as reports of a ritual/Gnostic performance and new performances can be achieved by reinterpreting and contemporizing them. This concept of contemporization, while maintaining Gnostic links, will communicate with the simultaneous concepts of each author and, accordingly, the audience of the performance, and in this way, interpretation as the main element of Suhrawardi's dramaturgical mechanism provides the ability to produce an endless chain of text/performance, which will be applicable at any time with the contemporary form and structure of that time.

The culture of a nation or country can express customs, traditions, and values that are formed on the basis of behavioral interactions of the same nation or country and have undergone an evolution, confrontation, or exchange. Auditory culture is considered as one of the sub-branches of culture, of which the musical auditory culture is one of its branches. The reasons for the divergence of musical auditory culture from the Naseri Period began with the entry of military music into the body of Iranian music, and factors such a modernism, religious ceremonies, the omission of Iranian instrument instruction, and the spread of note-based instruction are considered to be the main reasons for this occurrence. This article investigated the reasons for the divergence of Iranian musical auditory culture from its cultural and artistic originality from the Second Pahlavi Period to the 1979 Revolution. The method of analysis of this article is qualitative and, in nature, it is historical and descriptive-analytical. The necessary data has been collected through library research. The results showed that since the Second Pahlavi Period until the Revolution of 1979, radio and television, performance halls and cafes, recording and broadcasting of musical works, and cultural centers were also added to the previous four factors.  Although efforts were made to revive Iranian music, such endeavors could not offer the necessary resistance against the wave that carried non-Iranian music. Therefore, Iranian music continued in parallel with the contexts upon which western music was presented.

Abstract
Problem statement: In addition to providing a new definition free from traditional constraints, critical theory scholar Jean-François Lyotard specifies new components for postmodern works of art by characterizing modernism and postmodernism as two oppositions to realism. Furthermore, thanks to Kant’s reflective judgment, Lyotard views event in a way that challenges the genres of the dominant discourse and results in the creation of a new discourse in a postmodern work of art; a discourse that requires a different way of perception than what was previously the case. In his writings on acinema, he views motion as the basic building block of cinema and believes that acinema eliminates all motions that are necessary for the creation of a filmic work. This study attempts to elucidate the new connections between event, acinema, and postmodern art in Lyotard’s notions, and answer “How can the event, in Lyotard’s opinion, be effective in the birth of postmodernism as two conceptions of ahistorical and acinema that contradict cinema?”
Research This research, while formulating the relationship between the two concepts of event and acinema as two important components of artistic and cinematic critique according to Lyotard, aims to demonstrate how postmodernism manifests as a stylistic and broadly non-historical matter in cinema, and how Lyotard’s acinema is realized.
Research This descriptive-analytical research conducted a desk study to collect data.
With the occurrence of the event paradigm in films, the genre inherent in each work becomes blurred, and new and unexpected genres emerge. As a result, the display of the impossible becomes possible, and acinema emerges in contrast to cinema. In this way, postmodernism is revealed not as a historical period, but rather in a stylistic form.

According to historical sources, (Khātam) inlay is one of the wooden arts of Iran, beginning of which may be considered in the Al-Muzaffar period based on the inlay that remains preserved in the Metropolitan Museum. Remaining pieces from the Safavid era, namely entrance doors, particularly in palaces, as well as chairs, suggest that this period has been notably one the glorious eras of this art in Iran. The centre of producing these works in the Safavid era was Isfahan city, though later it was replaced by Shiraz which became the only remaining centre of this craft. This art has achieved valuable achievements in each period, some of which have continued to this day. Among the works of inlay left from the past, there are unique masterpieces, an important part of which is related to the Qajar period. The aim of this study was to explain the marquetry inlay method and to analyze its continuity in order to answer the following questions: 1. What are the technical characteristics of the marquetry inlay method? 2- What factors are effective in the continuation of the marquetry inlay from the Qajar period to the recent decade? One of the technical features of the marquetry inlay method is the creation of color diversity in inlaying, which has been achieved with the help of inlay blades. In this research, the descriptive-analytical research method and its methodological approach are based on a constructivist approach. One of the most important factors in the continuation of this method is the parehiy inlay, the use of which has also been under the influence of factors such as the variety of raw materials, as well as ease and speed in construction. For this purpose, the effects of the marquetry inlay index from the Qajar period to the recent decade have been studied despite the limited number of works of statistical samples which include 3 works preserved in the World Heritage Collection of Golestan Palace, Ostad Saba Museum and Reza Abbasi Museum, 2 works preserved in the Research Institute of Traditional Arts and 1 work preserved in the private collection of Victoria and Albert, which has been purposefully selected. In this research, the research method is descriptive-analytical. The collection of materials was based on library studies and field observations. The results of the analysis show that the marquetry inlay method, which is one of the important achievements of Qajar inlay, has been influenced by the emergence of parehiy inlay. Also, the variety of colors resulting from the variety of raw materials in the inlay and the emergence of a barrier as a protector and maintainer of the inlay have provided the continuation of this method until the last decade. One of the most important findings of this study, in addition to defining the characteristics of the last achievements of the Qajar period, has been the analysis of how marquetry inlay has continued so far. The results of studies showed that not only the Qajar period was one of the most important and influential historical periods in inlay, but also the achievements that were added to inlay in this period have continued until now and this point has caused the dynamism of this art. The data of this research have been collected by library and field methods (observation and interview). Due to the limitations of writing, instead of scientific citation, the method of producing science has been used in many cases. In this regard, while collecting library information, more field methods are used and by referring to the works and directly observing their analyses, analysis and exact characteristics are extracted without any prejudice. Thematic features in this research require the use of historical methods for analysis. The studied samples are 6 inlaid works, which are also decorated in the style of mosaic inlays and are preserved in domestic and foreign museums. The sampling method is selective and purposeful. The analysis of information and data, used in this research, has been done qualitatively. The most important achievements of Qajar period inlaying are Parhati inlay, Toglo Morvarid inlay and marquetry inlay method. One of the most important factors in the continuation of these achievements, which has caused the dynamism of this art, can be the variety of raw materials, while other significant factors include variety and the emergence of innovations in the use of containers that have appeared in the mosaic inlay. In addition, the inlay, which is one of the most important achievements of the Qajar period, has led to the continuation of the mosaic inlay method until now.

Culture encompasses various dimensions, including behavioral, visual, oral, and auditory aspects. The auditory culture focuses on the sounds that individuals intentionally or unintentionally encounter in their lives. Within this context, musical auditory culture pertains to the music that people hear within a society. However, the auditory culture of Iranian music experienced a significant departure from its original standards since the Qajar period and the advent of modernity in Iran. The original standards of Iranian music encompass elements such as poetry, composition, musical structure, and song arrangement, rooted in Iranian culture and arts. Iranian music represents a distinct musical identity and serves as a criterion for identifying the country's music, whether classical, traditional, or original. This article aims to explore the factors that led to the divergence of Iranian music's auditory culture from its original and authentic standards from the Naseri Era to the First Pahlavi Period. The research methodology employed is qualitative, involving analysis and historical and descriptive-analytical approaches. The necessary information was gathered through library research. The findings indicate that social developments, cultural-artistic policies and laws, and the educational system have contributed to the distancing of Iranian music's auditory culture from its authentic roots. These factors have been categorized and analyzed under four general factors: Modernism, religious ceremonies, omission of Iranian musical instrument education, and the prevalence of note-oriented education.

In analysis and critique of “art”, Lyotard employs the "event" as a concept that attributes singularity, uniqueness, liberation from conventions and customs, indefiniteness, and instantaneity. In his opinion, events manifest themselves in ways that defy genre conventions and thus attest to the unpresentable, as the main duty of a postmodern work of art. This qualitative and archival study, based on Abbas Kiarostami's meta-cinema works Close-Up (1990) and Through the Olive Trees (1994), seeks how events may represent the unpresentable. It revealed that the reviewed films had employed a variety of techniques, including technical interruptions in audio and video, as well as innovative narrative techniques that challenge the conventional and classic narrative form time and again, thereby integrating meta-cinema and the concept of Lyotard's event. As a result, the method of attesting to the unpresentable was studied as an intermediary of the event by creating a cinematic form that defies conventional filmmaking traditions and principles. It thus confirms the unpresentable as the main idea of ​​Lyotard's views on art.

In today's world, with the fast development of technology, ease of access to works of art, cultural pluralism, and the emergence of new styles and schools, it seems that the previous standards and definitions of art have lost their effectiveness. Moreover, the field of art is changing every moment while its scope is expanding. On the other hand, the distinction between works of art and everyday objects, due to the use of non-artistic objects by artists in creating their works, requires a review of the standards and definitions of art. Therefore, it seems necessary to find a way to reject or accept these works as a work of art. George Dickie (1926-2020), a philosopher and art theorist, defined the work of art by presenting and compiling the institutional theory in order to be able to keep up with the aforementioned changes in contemporary art. On the other hand, in the field of contemporary art, works created by imitating precedents may classify as adapted or illegal reproduced copies. The works have been the subject of many critical and analytical debates regarding their authenticity and have raised many disagreements among theorists, historians, and art critics. Regarding the authenticity of adapted works with concepts and ideas behind them, less might be doubted. Still, the dispute on authentication of reproductions such as kitsch, pastiche, high copy and restored works of art can hardly be settled. Evaluating art reproduction and determining its authenticity then requires a model based on which the meaning of art and its representations can be determined, especially in the contemporary period. "Institutional Theory" as one of the most prominent and recent theories for valuing art can be among the best options for appointing the mentioned model. Although it has been criticized by a number of philosophers and some theorists labeled it elitism in art; Dickie, over the years, has always tried to fix these flaws by developing "Institutional Theory". Dickie calls the three initial formulations of "Institutional Theory", "the first narrative of institutional theory" which was introduced between 1969 and 1974. He calls the fourth formulation, "the next narrative of institutional theory." The followings, which are the main and final components of the "Institutional Theory" of art, were presented by Dickie:1- An artist means a person who participates with understanding in the making of a work of art. 2- A work of art is an artifact of a kind created to be presented to an art world public. 3- A public is a set of persons the members of which are prepared in some degree to understand an object which is presented to them. 4- The art world is the totality of all art world systems. 5- An art world system is a framework for the presenting of a work of art by an artist to an art world public. This article aims to categorize the types of art reproductions and verify the authenticity of each based on the five main components of the institutional theory. In this process, the extensive literature is reviewed with a descriptive-analytical research method. This study thus seeks to answer the question that which of the types of art reproductions might be original in a sense to be considered works of art in accordance with the main components of the institutional theory. In order to achieve the results of this qualitative study, first the reproduction works were classified into different types such as forgeries, high copies, kitsch, as well as replicas for the purposes of education, restoration and reproduction. After examining each type, the following results were obtained based on the components of "Institutional Theory". The most important reason that may reject art reproductions with the purpose of "re-producing" from the institutional theory standpoint is that the artist's "understanding" of their production was not to create a work of art, and the artist knows that he deals to reproduce someone else's work. However, today, by over aging or for the fame of their creators, some of the old art replicas are labeled and stored at museums or art institutions, therefore, have gained material and spiritual values. According to the conditions mentioned in the institutional theory, such works are exceptions and can be considered works of art. In the "replica works for the purpose of education", because the "artist's understanding" of what he does is just learning, they cannot be considered works of art. In addition, these works do not have an audience from the "art world". However, amongst there are few works that, like the previous case, have made their way to galleries and museums with aging, and perhaps not considering such exceptions in "institutional theory" can be considered a weakness for this view. In the case of the "replica with the purpose of restoration", because the "understanding" of the restorer is only to preserve and maintain the original work, it is not considered art from the "institutional theory" point of view. In the "replica for the purpose of glorification", the condition of "being an artifact of a kind" is met, but the "artist's understanding" of what he does is outside the scope of creating an original work of art; although the purpose of this work is to present that work to the "art world." In market art replicas, despite being an artifact of a kind, the artist does not intend to produce a work of art, and the public is not from the art world and has no understanding of the art world. If they have a possible understanding of art, they know that the works are just copies. Therefore, such works are not considered authentic in the framework of institutional theory. "Kitsch" works, except for the condition of being an artifact of a kind, do not per se include any of the theoretical and institutional conditions and are not considered original works of art; but a type of "kitsch", called "sweet kitsch" and also the works created in the field of "pop art" due to the existence of conditions such as being an artifact, "artist's understanding" of what he does (such as creating an arrangement, framing or presentation) is to present original works to the "art world public” In "high copy" works, we are faced with the coercion of artists in performance, and as mentioned earlier, performance techniques in arts cannot be faked. Also, the result of this work is an artifact. Therefore, if the artist's understanding is to create a work of art to present to the art world, it can be accepted as an authentic work of art. "Pasteish"s belong to this type that, despite being similar to the original work, is considered a new work of art with an excellent performance technique. Fake works are not considered works of art due to not having all the conditions of "institutional theory" except being an artifact of a kind. Finally, the findings of this article, in order to answer the main research question, reveal that among reproductions, only the works that are placed in the kitsch, Artist’s Self Copies, pop art and pastiche groups might be considered works of art. The rest, according to institutional theory is rejected except for some exceptions mentioned.

The present article aims to analyze the reasons for the tendency of art graduates to postgraduate studies from 2011 to 2021 using a mixed research method. Iran is one of the countries that has witnessed significant growth in the development of postgraduate courses in recent decades. In the field of art, this includes increasing the number of universities, disciplines, admitting more students and increasing faculty enrollment in the two decades of the eighties and nineties, but this slight growth does not seem very desirable because there is a necessary balance between quantitative and qualitative growth. This imbalance has made it necessary to conduct studies and research on postgraduate studies with the aim of better understanding and planning. Among these, recognizing the reasons and motivation of applicants is one of the aspects that can be considered in order to improve the quality of development of graduate courses. Because of the difference and function of the fields, the motivations of the applicants of the mentioned courses will not be the same. Due to its nature and essence, the field of art is different from other specialized fields in terms of aspects such as courses, scientific production and employment, scientific and social status. The theoretical framework of the research is based on the causal layered analysis method, founded in the nineties by Soheil Enayatullah, a Pakistani-born Australian academic, futures studies researcher and a professor at the Graduate Institute of Futures Studies at Tamkang University in Taipei. As such, an attempt has been made to answer the following question from the perspective of causal layered analysis: Considering the unique nature of the field of art, why art graduates are attracted to continue their education in this field. In this process, the effective factors were first extracted with the help of library studies and content analysis method and then they were analyzed based on the "causal layered analysis" method in four layers of "litany", "social causes", "worldview/ discourse" and "myth/ metaphor". In the quantitative part, the obtained layers were measured with the aim of ranking the effective factors by means of a questionnaire and selecting a group of experts. Experts were selected from among people related to postgraduate studies in the field of art in Tehran colleges, which included 30 department managers, professors, professor-student (doctoral degree) and Master's students. The results of the T-test and Friedman test show that the three primary factors affecting the tendency of art graduates to postgraduate studies include discourse (including the two discourses of modernity and credentialism), economic and cultural factors, respectively. Higher education policies and planning, archetypes, metaphors, artistic factors, individual and family factors, interest in acquiring knowledge and expertise, and finally the worldview factor ranked fourth to tenth. As a result, it can be said that obtaining a higher academic degree, which due to the nature of the field of art has affected the economic status and social status of artists, are stronger motivations than seeking science and research in the tendency of this group to graduate education.

The period of Mughal Emperor Akbar (16th century) is considered one of the most flourishing historical periods of India, which witnessed the creation of numerous literary-historical manuscripts. Court artists created many paintings by adapting Iranian works of art. Among these art works, we can mention two different illustrated versions of Jāmiʿ al-Tawārīkh (Compendium of chronicles), which are the result of this period. One of the illustrated images of these two manuscripts is on the subject of "Birth of Ghazan Khan" and has a pretext from the Timurid period.The purpose of present research is to study the relationship between above art works and the “Ghazan Khan's birth scene” painting (Hypertext) in Paris Jame al-Tawarikh (Timurid period) and tries to find answer to these questions: How is the form of adapting relationships explained in the examined paintings? What changes have been made in the process of adapting these art works from the Paris image?This study is done in descriptive-analytical method and hyper-textual approach. Information has been achieved from textual library sources, specialist articles in credible scientific and information databases, as well as some field resources. The conclusion of this study shows that the relationship between the hypotext and the hypertext is diachronic and cross-cultural, and the later texts, both the Rampur painting and the Worcester Museum version, were created with changes and trans-textuality in the pretext.Gérard Genet's theories have been used to compare the two mentioned images. Both of images were depicted in emperor Akbar’s royal atelier (1004 and 1005AH/ 1596 and 1597 CE). The images are depicted by inspiration and adaptation of the "Birth of Ghazan Khan” painting in the Paris Jami-al-Tawarikh.The common feature of mentioned paintings is the written-verbal pretext of the Jami-al-Tawarikh context as well as the pictorial pretext of the Paris version. In this process, the differences and similarities, the way of interactions and the level of derivation of these two works from the painting "Birth of Ghazan Khan" in the Paris version, have been discussed and the innovations of Mughal artists have been examined and analyzed separately.The current research includes the texts that were created based on the relationship of derivation from other texts. This means that the influence of the type of derivation of one text from another text and not necessarily its presence is investigated. In the topic of Palimpsests, Genette has expressed his opinion that any relationship that connects the second text to the pretext forms a polytextual relationship.In this case, the second text is completely derived from the first text. If the first text does not exist, the existence of the second text becomes impossible. This article studies the intertextual relationships between two "Birth of Ghazan Khan" paintings belonging to the illustrated version of Rampur and "Birth of Ghazan Khan" preserved in the Worcester Museum, which were depicted in the period of emperor Akbar Shah. Also, their creation being inspired by and adapted from a painting with the same theme (depicted in the Ilkhani period) will be analyzed.All three images (hypertexts and pretexts) are depicted based on a historical written text. The Rampur painting was illustrated by an unknown artist, and the Worcester museum painting was illustrated in a group by artists such as Basavan, Bhim Gujarati and Dharmdas.This study's findings reveal that Emperor Akbar’s royal painting workshop artists have created the subjects of this study, according to the written and visual pretext of the painting of the Paris Jami-al-Tawarikh of the Timurid period.This pretext has the aesthetic system and structural features of painting of the Timurid period, which is rooted in Iranian-Islamic culture. Despite the fact that Mughal period was considered an Islamic territory, but due to its different cultural background, it had many cultural differences with Iran in that era. Therefore, Emperor Akbar and his royal atelier painters were interested in Persian painting and literature.Hence, the artist of the Rampur painting (the first hypertext) created his work based on the Paris painting and adapted from it. The importance of this is due to the fact that in the hyper-textual relations and derivation, a kind of cultural and artistic transfer has also taken place, which is from Iran to Mughal territory. Due to the subject of this painting and its narration which is about birth events and the life of Ghazan Khan, aggrandize the importance of its illustration and addressing the scene of his birth has also increased its importance. So it can be considered a reason for derivation from pretext painting.The analysis of hyper-textual relationships presented in this article shows that despite the relationship between diachronic and intercultural perspective, the influence of para-textual factors (differences in the background and cultural context), in the first hyper-textual (Rampur version painting) compared to the second hyper-textual (Worcester Museum painting) has been encountered, with small differences by the way of adaptation and borrowing from the original text (painting of the Paris edition).The reason for this can be found in several factors. It seems that since the Rampur version was taken from Iran to India, the Mughal painters somehow wanted to create harmony with the other images of the Rampur version in the illustration of "Birth of Ghazan Khan". Therefore, they have applied less transformations and changes. But in the second hypertext (Worcester painting) which is illustrated after the Rampur version, Basavan and his fellow artists have preferred to create a completely independent art work of the Rampur painting in a new style and fully compatible with the Mughal culture. Therefore, these changes and transformations, which show the metamorphosis of pretexts, are mostly based on structural features (cultural, narrative, temporal, environmental changes). Also, internal changes include removal, increase and transposition.This has caused both a change in the structure and a stylistic evolution compared to the pretext (Paris painting). In fact, Mughal artists have created art works that transformed the formal structure and written content of the pretexts to a certain extent by creating various variations and changes by changing the style and visual elements. They have been able to create a new art work which represents and reflects the cultural conditions and the art of that era.

This article aims to investigate the role of futurology in the formation of art policy in the Islamic Republic of Iran, which is based on the text of the policy. The present study examines these political changes and developments in recent decades with the aim of what is the role of futurology in the formation of cultural and artistic policy discourse in Iran. In particular, it will focus on the art of Horizon 1417, as the impact of technology on the arts of later decades has been emphasized by the country's art policy makers. Therefore, the main question of the present study is what was the background, causes, consequences and context of the formation of futurology in this decade? The concept of futures studies and policy-making has been defined using a qualitative method based on a grounded approach (grounded theory) and documentary library studies. In this regard, scientific documents and the compilation of opinions of experts using the Delphi method deal with the role of future research in the field of art and provide theoretical and practical solutions. The results show how futurism sustains values and cultural cohesion by curbing change. Contemporary art futures studies offers a good way to promote the status of art, identify future opportunities and threats by relying on scientific developments and emerging and creative technologies.

The present article is an attempt to comparatively study two different versions of Jāmiʿ al-tawārīkh (Compendium of chronicles). The Rampour Library version has been illustrated over three centuries. The illustrations of this version were embellished in the Timurid, Safavid royal courts. After that, they were transferred to India, and were merged and re-illustrated in the royal court of Mughal Emperor Akbar. The work was finally left unaccomplished in 1003 AH (1604 AD). Therefore, this version of the book contains illustrations from the school of Herat, the school of Tabriz and the Indo-Iranian school. Jāmiʿ al-tawārīkh (the Golestan Palace version) was written and illustrated during the Emperor Akbar period in 1004 AH (1605 AD). The author of the present article believes that the painters of the Mongol royal court were influenced by the interactive discourse dominant over the elements of power and consequently over the royal library and painting galleries, as well as the influence of religion on Akbar Shah's "Din-e Elahi" ) Divine Religion( as a greater cultural framework. This project led to invitation of artists with different perspectives from different parts of India and other countries such as Iran, whose contribution to the project is truly represented by the artwork under study. In other words, artists freely created artworks using the interactive discourse created within the context of "Din-e Elahi" propounded by Akbar Shah.According to Norman Fairclough, the fate of art texts is decided by discourses. In other words, discourse determines the type of text to be produced, the manner in which it is distributed, the manner in which it is consumed, and the extent to which it is consumed. Finally, a series of statements and ideas interact. Discourse can be personal or institutional, but when carried out within the society it falls within the category of institutional discourse. The interaction of various institutional discourses in society leads to the emergence of a discourse that is dominant over other discourses and is referred to as dominant discourse. The first step in the process of critical discourse analysis proposed by Fairclough deals with text description which is associated with the first act of the artwork. According to Fairclough, every work of art or literature covers three kinds of value: experiential values, relational values, recitative values. In more specific words, in an attempt to trace these three values ​​in an artwork, one can correspond them with styles, schools and theories, which refer to individuals, an institution of related individuals, and the society as a whole, respectively.The second stage of Fairclough's critical discourse analysis is referred to as discourse interpretation that is related to the second act of the artwork. According to Fairclough, discourse should, under ideal conditions, be distributed based on common sense or common-sense principles, but ideologies often break this rule. Fairclough believes that discourses can move either horizontally (diachronically), or vertically, (synchronically). Finally, the third stage of Fairclough's critical discourse analysis deals with the social explanation that is related to the third act of the artwork. In this study, Fairclough discourse analysis is used to figure out why a manuscript was reproduced (Jāmiʿ al-tawārīkh the KAkh-e Golestan version), while another version of the manuscript (Rampour version) had already been completed one year before. the results showed that Emperor Akbar could only show his connection with history by merging new illustrations into the primary illustrations of the historical narrative as part of an attempt to reproduce a new version of the artwork. By moving to the heart of history and by illustrating the course of history, he probably sought to create a kind of important genealogy for himself and consequently show his conscientiousness towards his Mongol ancestors. Moreover, taking into account the "Din-e Elahi " and Akbar Shah's unrestrained attitude, religions and ideas, and his unbiased attitude towards monarchy, it can be argued that painters were able to work with free will and create works as they wished. On the other hand, since illustrative sources, including Indian, Iranian, Turkmen, European sources were abundant, the creation of artworks with complete freedom in using personal styles was deemed to be much more appealing.After analyzing the visual and written texts, this article, succeeded in deciphering the hidden layers of the texts, and finally, using the relations within the text, situational, social and political context, he found that the interactive discourse of the royal painting institute derived from religion was made by Akbarshah. "It led to the invitation of artists with different perspectives, and this was reflected in their works.Thus, it seems that both reviewed versions gave Mughal artists a unique opportunity to artistically revive their patron role as the revivalist of interactive Islam and the herald of the millennium. Discussed, using old patches and adding roles in their contemporary style, Not through imitation but by emphasizing the characteristics from which they separate their work, they enter a historical lineage. In this version, the historical nature of the text and its drawings are particularly striking. A series of historical periods from a not so distant past, as the lineage and ancestors of the Mughals. It can be an explanation for using the old part in the drawings of Rampour version. In doing so, they emphasized the historical uniqueness of the appendages of the image, and in a way served to emphasize the contemporary or newness; of Mughal artistic term. This time writing and illustrating a complete version in a new representational way, that is, based on the new discourse that was created in the institution of the monarchy and in the nature of the institution of the painting. These stylistic elements and features have freed themselves from the distinctive features of Iranian painting to such an extent that it has become an independent style that affects various European, Indian, and Iranian-born schools. That is, it is the combination of different styles, including being influenced by European paintings, and achieving a style that, while almost freeing itself from the Iranian style and trying to be independent in style. Create a work of art together. In the Rampour version, of course, due to the single style of different periods, it cannot create the purity of the new style in all images. This, it seems, could be a reason to abandon the Rampur version and create another version of Jamiut- Tawarikh in the new "contemporary" style of Mughal. The product of this new creation, of course, was the version of Golestan Palace, which is completely pure in Mughal style, and opens with the desired arrangement and intended by the patron (Akbarshah) of the images. We find out how the artist can determine the fate of a work of art according to his position and the position of the supporting power. Thus, in the end, Akbar Shah succeeded in showing his selfishness towards his ancestors in showing power-oriented in illustrating historical narrations.

Inlay is one of the methods of decorating the surface of wooden objects, notable examples of which have remained in artistic treasuries and collections from the Al-Muzaffar period to the present. A collection of inlaid works can be found in art galleries inside and outside of Iran as well as in architectural decorations. According to what is justified based on the technical analysis of the endings of the Qajar period, the technical, artistic, and original values of the works are of great importance in this period. Endings like many other artifacts are part of a cultural heritage which identification and artistic characterization are of importance and necessity, while preserving data acts as a guide to identifying prominent features, including innovations in style of inlaid works at the end of the Qajar period. This art has its ups and downs during its historical passage and it is possible to say that it has not gone through an absolute depression artistically. Studies have shown that the Qajar period is one of the most important periods during which prominent inlaid works inside and outside of Iran are created by Iranian artists. Today's information about inlay, particularly inlay during the Qajar period, is little and written essays have more focused on non-specialized description, not paying attention to the technical characteristics of the course of the history of this art. In this research, Inlaid pulpit preserved in the Historical Cultural Complex of the Golestan Palace is presented as a case study that has important trait of the inlay in the Qajar period. The sampling method was selective. Initially explained by the information collected during the Qajar period and finally by analyzing the information, the authors came up with the characteristics of innovation in the way termination of this period ended. The qualitative method was also used to analyze the data used in this study. The purpose of selecting the pulpit is to provide technical analysis as well as to obtain more accurate and up-to-date information on innovation in the Qajar period. The question of this study was what are the features and innovations of the Qajar period and how did it appear in the pulpit under study? The paper uses descriptive-analytical method in gathering materials while using library resources, field research including surveying and viewing the pulpit, as well as interviews. The results of the present study show that, in addition to the innovations in construction, the Qajar period has had some innovations in inlay which are ignored by scholars and aim to analyze the characteristics of authenticity in inlay. The hypothesis used in this study is that inlay in the Qajar Style that was a continuation of the path of the ancestors; in many cases has manifested innovations. Considering the description of this period as a period of decline, in this article after explaining inlay and analyzing the inlaid pulpit, which is kept in the Historical Cultural Complex of the Golestan Palace, the innovative features in the Qajar inlay style have been listed. During the Qajar era, inlay patterns have been designed based on the intended geometrical forms, drawing on various shapes of triangle. In this method, which has been unprecedented prior to the Qajar period, pre-made patterns and cuts were put together side by side to fill any given background; a technique which has continued to the present time and manifested in rare cases. Using local materials rather than imported ones, such as bone instead of ivory, is anther innovation which occurred in this period. In this technique, colorful raw materials, namely a variety of woods, were used to make the inlaid works. Prior to this, in the Safavid-era inlay, merely the died bone (which was green) was used, but in the Qajar period to achieve colors such as red, woods would be died. It is noteworthy to mention that this technique was first applied during the Zand period, but the extent of the innovations and use of colors reached their peak in the Qajar era. These changes and transitions are reflected in many remaining works from the Qajar period and as discussed in this paper, the above-mentioned features may well be observed in the studied inlaid pulpit as well. To better portray these innovations, the features of the Qajar-era inlay have been compared with the Safavid and the contemporary examples.

In order to study the impacts of the Coronavirus pandemic on the Iranian contemporary arts, particularly in painting, sculpture, theatre, and cinema, this article is deeply conducted in the field of sociology of art with both shaping and reflection approaches. In the present study, a descriptive-analytical research method has been used, and information has analytical research method has been collected through library and field methods. In this regard, Iran has considered a spatial territory and the focus of the study is on artistic activities in Tehran in the period from March to September 1999. Also, research tools such as observation, interviews, and reports of experts, artists, and active experts, major and influential art centers have been used. The findings of this descriptive-analytical study reveal that the pros of Coronavirus challenges may actually lie on the Internet capacities and capabilities as well as virtual networks which facilitate showcasing or selling the artifacts, e-learning or online education, and performing competitions, meetings, seminars, and the other areas of the arts which have been less experienced previously. Before, it was widely accepted that the arts inherently correlated to physical environment and activities. But in the lock-down or quarantine periods, to protect artists and art activities virtual environments have played an important role to keep on exhibitions, visual crafts trading, online movies, and performances, drive-in cinemas, live Instagram actions and blended learning options that reflect the critical situation within the art society. Even though the mentioned facilities can't compete for the conventional methods, in the post-Corona era it keeps attracting the audience and supports economic efficiency in the arts. Furthermore, art productions, meetings, seminars, and competitions with the theme of Coronavirus itself will enhance people's participation, sympathy, and solidarity to suggest a national and global challenge that re-admits art shaping approaches.

This research referred to showing the way in knowledge of God depending on Ibn Arabi's ideas in subject of art. Descriptive – analytic method has used in this research. The research states the place of knowledge, its kinds and levels, ways of knowledge of God in Ibn Arabi's ideas. The aim of research is explaining the way of art as the clearest way in knowledge of God and approach to God. The research after explaining art in Ibn Arabi's idea, expresses main subject of knowledge of God through self- knowledge and world as art of God. For gaining this aim the affected principles at art and being artist in Islamic civilization and mysticism is considered. Then the relationship between art and approach to God being studied and proved in Ibn Arabi's mysticism. Finally with considering the direct relationship between the degree of the approach to God and knowledge of God and also the idea of Ibn Arabi in subject of God's emergence in the world by art, it seems that the way of art is the clearest way to approach to God and knowledge of God.

This article was conducted with the purpose of the archetype analysis of the "Red Ribbon" film directed by Ebrahim Hatami Kia, focusing on the female character of the film. The story is about a woman named Mahboobeh, who returns to her father's home in the south after the war. She encounters two men, Davoud and Jomeh, the first of whom is in charge of destroying landmine and the second one of them lives in a land full of tanks left by the war, and there are incidents and clashes between them. The theoretical framework of the article is based on the viewpoint of Jean Shinoda Bolen, who achieved new ideas by combining Jung's psychological and mythological achievements. She analyzes the personality of individuals based on ancient features inspired by Greek myths such as Zeus, Demeter, Hephaestus and Athena. Bolen believes that each of these archetypes possesses characteristics such as seeking power, seclusion, eloquence and order that overlap with their performance in Greek mythology. These characteristics also exist in humans in different proportions and make the individuals have their own personality, character and choices in life. The results of this research which was conducted in descriptive-analytical as well as the library and field methods show that Aphrodite, Hephaestus and Hermes archetypes are dominant in Mahboobeh, Davoud and Jomeh, respectively. Both men were trapped in the past, ignoring the present and the future. In fact, the one-dimensional and extreme life of Davoud and Jomeh attracts them to Mahboobeh. Eventually, however, a new development takes place following his interest in Mahboobeh and his aphroditic energy.

The present article aims at criticizing and analyzing the "Subdued" (Rag-E Khab) film from psychology point of view. The film is Hamid Nematollah's fourth movie that deals with the story of a woman namely, Mina, who has recently divorced from her husband and is looking for a job and shelter for life that become friend with Kamran, the manager of a restaurant. It’s the beginning of a tumultuous journey for Mina. Finally, Mina achieves a great evolution in her life after overcoming many difficulties and leaving Kamran. The emphasis of the filmmaker on expressing the mental world and the psychic layers of the main female character of the movie made it possible to analyze the film from the opinion of Jeffre E. Young's schema theory. Based on the division of the film into two halves; first and second, one can analyze the changes of the main female character of the film and her relationship with the main male character from the perspective of Young's schema. The main question of the present research is which schemas can be identified in the main female character of the film. The information used in this paper has been gathered through library and research by descriptive-analytic methodology. The results of this study show that the film can be analyzed on the basis of two schemas of "abandonment" and "dependence" in the main female character that can be considered as one of the factors influencing the bitter problems and experiences of her life in the film. The first half of the film is devoted to the formation and intensification of these two schemas, and finally in the second half of the film, we are moving towards a change of schemas.

In creating artistic work, artist's inner is revealed and work of art like a mirror displays its creator, therefore, manifestation of inner beauties resulted of assuming the traits of God's names causes to create a beautiful artistic work. This research states the ontological relation between human art & beauty with divine attributes in order to offer a new policy to contemporary artist for creating beautiful & immortal work and revealing her/his existential beauties that are self disclosure of divine names and attributes. Descriptive – analytic method has been used in this research. The achievements of this research depending on Ibn Arabi's mystical ontology are that: Allah demonstrates Himself in the universe by art, universe is Allah's artistic work & it is the emanation of divine attributes or the realities of His existence. The realities of existence are very beauty. Thus Allah's art & beauty have been revealed and expanded in the universe by emanating reality. Allah's outstanding art is beautiful human. Beautiful human art is revealing divine attributes. Artist in the level of beautiful human reveals divine attributes by creating good deeds or virtues & creates esoteric artistic works. Also artist on the basis of knowledge, will and existential level, embodies his/her inner that is created in Allah's form in the artistic works, under domination of beautiful names of God. As a result it should be said that human art in meaning of creation and manifestation of human beauty has been related to God’s names and divine attributes ontologically.

The present study was conducted with the aim of analyzing the female characters of the film of "Invitation" (2008) directed by Ibrahim Hatami Kia from the point of view of Jean Shinoda Bolen theory. The film is the first non-war cinematic film of Hatami Kia, composed of five episodes, each with an independent storyline, but the commonality of them is the main character of the woman of every story that faces unwanted pregnancy and for reasons one of the couples in each episode intends to abortion. In fact, the audience of the film of invitation is watching the different reactions of five women in different social and cultural situations in relation to unwanted pregnancy and their decision to abort their children. The research method is descriptive-analytical and its information is based on library method, as well as field study, relying on watching the film and reviewing the speech and acting of its main characters. In her approach, Bolen inspired by Greek mythology, points to the seven archetypes or energy called Hera, Demeter, Persephone, Athena, Artemis, Hestia and Aphrodite, which emphasize a number of personality characteristics of women such as the desire to marry, motherly feelings, the desire for innocence and the girl's obedience, or desire for effort and progress. According to Bolen, in today's women there is energy and archetypes of the discussed patterns and their actions and reactions are affected. The results of this study show that in five episodes of the film, respectively, the archetypes of Athena, Persephone, Dimitri, Hera and Athena are recognizable and interpretable on the basis of the acts and speeches of the film's characters. But at the end of all episodes, with the overriding domination of Dimitri's archetype, all women have abandoned their abortion, which is more evident in the last episode.

Directing the actor means to create a character via interaction between actor and director and to present it as believable to the audience and it's done by two common methods. First from inside to outside and second from outside to inside. The focus of most directors and acting teachers are the inside and outside life of the character with his/her whole paradoxes and inherent contrasts and the means to show these characteristics that actors are trained for it. All the actor training theories of the past hundred years are inspired by Stanislavsky's theories which are known as system. When system entered America it became an inspiration for Lee Strasberg, Stella Adler and Sanford Meisener, which consequently led to Method acting and made it the bible for teaching actors. In 50's and 70's these theoreticians claimed that they took their idea from Constantin Stanislavsky's system and that each has used different aspects of Constantin Stanislavsky's theory to show their own approach. This study shows similarities, differences and emphasizing points of these three theoreticians in the exercise of directing the actor from inside to outside and from outside to inside by contrastive analysis. The results show similarities in elements such as acceptable action, assumed conditions of the play, emphasis on actor's believable behavior and improvising on stimulus-response and the most important difference are the arguments about actor's originality and character's originality.

Communication and integration as increasing among various societies urges the need for more interaction in the world which, finally, results in ''globalization''. Scholars in the field believe that the process of globalization includes cultural convergence and assimilation from one hand, and a sort of divergence and variety on the other hand. Therefore, the challenge existing among the local culture, national identity and the global culture is a subject to further thought which, as a result of reflection approach, manifests itself in the art work. Due to its applied nature and due to its relation to the daily life, graphic designing is a major part of the visual culture. Cultural change, emerging from a long term shift in the visual change, reflects the need for the analysis in the challenge between the national identity and the global culture. This study is an attempt to reveal the place of the Iranian Graphic in the challenge between the national identity and the global culture focusing on the most influencing event, namely, Iran's biennial graphic. The statistical society is the biennial posters of the past ten years (2000-2010) studied through content qualitative analysis method using the reflection approach and the layered semiology technique. The result shows that Iranian Graphic design reflects the national identity more than the global culture.

This article tries to have a look at 40 images which shows ood player in Sasani to Safavi periods. These images can be considered as documents for more information about ood instrument. Permanent elements in these images are the base of the analysis in this research. Two types of figures were being considered as permanent elements: basic figure and non basic figure. In this research basic figure means an element or a person in an image which is superior to the other figures and can be recognized by visual signs and symbols such as composition, size, position, the direction of the other figure’s looks toward it. Sometimes a text or poem which the image is about can help us to find out basic figures. Basic figure can be a human, mythological creature, tree, bird, throne or building. Non basic figure is in a lower status than basic figure. In this article, more often ood player is as a non basic figure. This research shows four kinds of patterns representing of ood player in the images. Most of the images belong to the first pattern in which king is basic figure and superior to ood player as a non basic figure. Most of the time ood player is represented in the left corner of the scene but in a few images it is shown in the right corner. In second pattern a non human element replaced to king as basic figure. As the third pattern, ood player is represented as the basic figure showing his individuality. In a better word there is an overlapping between basic and non basic figures. In the last kind of patterns ood player is shown beside to the other figure in equal status. In fact there is no superiority between them. This study introduces sasani’s patterns as a group having the most variety in. we have all four types of patterns in this periods. But reviewing the images from safavi to sasani we see that gradually first pattern is being dominant. It means ood player is shown as non basic figure. There are tree images belonged to the third category. The first one is related to sasani period. The second one is related to Islamic period but obviously under the influence of Sasani’s artistic traditions and the last one is belonged to Safavi’s art. Although we know that ood players were respected in Sasani period but this research cannot able to interpret the third pattern as the superiority of ood player in Sasanian social classes because of the lack of enough images from this period. But in the images of Islamic period we see the individuality of ood player is not emphasized. There had been some discussion about music in Islam so the first and the second patterns can be an indication of lower status of ood player in the society.

The Qur’an is a guide book for mankind in all ages. The style of writing the Qur’an differs from that of writing other books and sometimes explains its teachings are demonstrated in a skillful and literary language in the form of parable، story and so on، so that all people can understand them. Some scholars believe that one forth or one sixth of the Qur’an is in the form of stories or narratives and that it contains nearly sixty parables. The main aim of this paper is recognizing the kinds of allegories in the stories and parables of the Qur’an in terms of their structure (method of equation، story about man and story about animals) and in terms of content (simple moral allegory، allegory of thought allegory of dream، and symbolic، political-historical allegory). The results of this paper which uses a analytical-descriptive method show that the structure of the parables in the Qur’an has different human narration groups and concerning their content parables are divided into two groups: «simple moral allegory» and «allegory of thought». Furthermore، Qur’anic stories fall into two groups: human and animal narrations in terms of their structure. As far as their content is concerned، they not only include moral allegory and allegory of thought but they are part of in other kinds of allegories: dream، symbolic، political-historical allegories.