نجیبه رحمانی

Society is an extensive field formed by social structures. The social structures utilize well-ordered and purposeful instruments in order to incorporate and develop the principles ruling the social interactions. The Institute for Intellectual Development of Children and Adolescents is a trend making organization in the field of art and culture. This organization has contributed significantly to development of visual and performing arts for children and adolescents, besides its main objective, which is promoting the children’s intellectual development by reading books. By establishing a sublime circle, the institute contributed to productivity of the graphic arts, and provided a dynamic environment to increase the Iranian graphic designer’s assets. Paying attention to the field of children and adolescents was one of the important challenges of the forties and fifties, and many firsts in the field of science related to children were made in this period. The important parts of the center were as follows: Libraries, Publishing Unit, Cinema Unit, Animation Unit, Music Unit, Theater Center, Visual Arts Center, and Public Relations.The field of graphics was used in two ways in different departments of the center:1) in cultural and artistic productions and 2) in advertisements of the products of different departments of the center. The present study investigates the role of this institute in the development of graphic arts in Pahlavi Era. The main objective of this study is to show the significance of a powerful organization, with realistic and accurate productivity measures, in development of culture and arts (here graphic arts), besides highlighting achievements of the institute in the field of graphic arts in 1960s and 1970s. The main research question is about performance of the institute in development of graphic arts in Iran. The question is answered by the study of the increased social, cultural, and economic assets. This is a descriptive-analytic study based on the information collected using documentary research methods. The results show that in spite of not having a direct plan for development of graphic arts, the strategic management of this institute provided the graphic arts practitioners the chance of increasing their assets in this institute and make a chapter of Iran’s graphic arts history.

Visual communication (graphics) is a knowledge arising from visual literacy, knowledge because it depends on visual literacy more than any discipline in visual arts, and topics such as standardization, creating visual unity for a collection, optimal use of positive and negative spaces, etc. It has great efficiency in clearly and quickly presenting a message, which has a short life in Iran. Video communication in a professional and focused manner with a personality like Morteza Momayez, was identified and recognized. Therefore, the ideal role given to him as "Iran's Graphic Father" is fully deserved, as a decade after his death, his position in the field of visual communication production has been preserved. The field of visual communication production started its early life as an independent and serios field in the art and commercial market, from the early activity period of Momayez.
 As a powerful activists of Iran visual communication champ, Momayez was very influential.  It should be mentioned that visual communication is always interconnected with two structures: activists and social space, and the effectiveness of these two has challenged many professional and research discourses of this area. The most important research in the champ of graphics have been done with topics of semiotics, structuralism, and social semiotics. So many issues such as the distinction between market and artistic visual communication remained without rooting. Sociological topics of the champ of visual communication can develop an etymological and at the same time a pathological context. In the meantime, what Pierre Bourdieu has done to connect objective and mental structures creates a useful context to challenge professional champs of the societies. By defining the terms champ and habitus, he tries to connect the two- dimensional space of theoretical foundations of sociology (topics such as mental structure, micro and macro mental structure, etc. The champ is a network of relationships that exist between objective positions within the champ. Different areas of life, art, science, religion, economy, policy and so on forms small distinctive models of rules, regulations, and forms of power which Bourdieu calls them the champ. In the first-place champ is a structural space of positions and has a close relationship with habitus. Habitus refers “the mental or cognitive structure “through which human interact with the social world. Habitus is formed because of the long-term occupation of a position Reading the social world and changes according to the nature of individual’s position. Champ and habitus define each other.
 Having their own habits, social activists compete in the champ. This competition is very essential to create position of activists, so the activists begin different activities in the professional champs and shape their vital power depending on the position they hold in the champ. Some activists make constructive and vital impact during his lifetime Momayez as the main activist in the champ of visual communication in Iran gave this champ a fame and a worthy place among other artistic champs. The hypothesis of the present article is that as an independent and powerful activist Morteza Momayez could affect the champ of visual communication production and direct it. His power and influence was due to his habitus. This habitus was the creator of visual communication champ so that the course of visual communication owes most of its professional processes in the champ of Academia, market as well as its artistic aspects to his effects. According to theoretical foundation section an artist’s habitus is derived from one 's capitals (the extent and relative weight of capitals of different factors reading a champ determined their positions) Bourdieu uses military illustration (position and castle) to describe the champ and the conflicts that take place within it. Capital allows one person to control his own destiny as well as that of others. Bourdieu usually speaks of 4 types of capitals.  Of course, this idea is derived from economics and the meaning of economic capital is obvious. Cultural capital includes various types of legitimate knowledge and cognition. Social capital includes social relationships between people. Symbolic capital comes from the dignity of the individual. As the most famous Iranian graphist, Momayez has all these main capitals. These capitals enabled him as the father of Iranian graphics to create a special habitus which has had an important role in the champ of visual communication. In present article we study his four capitals and examine their roles in enhancing the champ of visual communication production of Iran, since despite much praise and appreciation given to Momayez no article has determined his importance scientifically. By using the theory of distinction of Bourdieu we are going to appreciate the effective character and habitus of Momayez decently and scientifically. The results show a champ raised from a powerful and incorporated network with centrality of Morteza Momayez.  Such a power comes only from a person who has an uplifting habitus originated from these capitals. Without his presence the champ of visual communication was not able to achieve independence and identity and if it was, it took too much time and needed more practice. All these three areas build the champ of Iran visual communication so that in this paper by investigating cultural, social, economic and symbolic capitals of Momayez and determining the effect of each of them in the champ of visual communication, we analyze his habitus. It was his constructive cultural capital and his visual knowledge and curious spirit that helped him to increase his proficiency in different areas, therefore he could enrich the art of visual communication. Momayez became a symbol due to a lifetime of activity in the champ of visual communication. He is considered a symbolic capital whose status and prestige have not diminished over time.  Momayez is so distinguished in this symbolism that he is called the father of Iranian graphics. In fact, he is not just a cultural and artistic character, but he has become a symbolic capital. He both as an illustrator and graphic designer has been effective in developing the graphic quality of Iran.
 From the perspective of research goal this article is considered fundamental and is conducted by descriptive analytical method. Data collection tool is taking notes, and the data is collected as documents. The main variables of this study are visual communication champ of Iran and time which include the lifetime of Momayez from forties to eighties. Analytical variables of this research is theory of distinction of Bourdieu. Data and information are provided in two parts: the1st parts deals with theoretical foundations that include contents of the theory of distinction and its subdivisions, 2nd part relates to Morteza Momayez, his biography, professional situation and so on. Finally, these two parts are used to analyze the champ of visual communication of Iran. To clarify the theory and achieve better results we use tables and results.

Pierre Bourdieu, the context in which actors and groups operate in a particular space and under the rules that govern that space; Refers to the field. The cinema field of the Pahlavi period is one of the main fields of art and culture of the contemporary period. This field became two distinct fields due to macro-social and cultural policies. Popular cinema field and New Wave cinema field. In each field, the actors adopted strategies because of their character and capital; The actors of the popular cinema field were mostly looking for economic capital and income generation, and this affected the quality and quantity of their productions. In response to the decline in the form and content of popular cinematic works, New Wave Cinema produced works with formal and content qualities. In the meantime, the distinctions and dichotomies that were the result of macro-policies and were formed from the developments of society such as urban growth, class transformation, consumerism, the growth of the entertainment industry, etc., and had an effect on the formation and differentiation of two cinema fields. Also appeared in the content of cinematic works. In this article, the descriptive-analytical and descriptive-comparative methods are studied to distinguish between two cinematic fields of the Pahlavi period. The way information is collected is documentary, and social and cultural assets are extracted from the biographies of the main actors in each field.

Cinema as a narrative medium has the human thoughts and concepts more than any media in the contemporary times; moreover, this medium has been influenced by other media such as literature, philosophy, politics, theater, visual arts, and so on due to its eclectic nature; in fact, the cinematic works are the texts that are affected by other text fields. Thus, an intertextuality approach can help identify the constructive pre-texts in the cinematic works well. An intertextuality theory states that any text has been created based on its previous texts. No text is produced or even received completely independently. The texts can appear through communications; as a result, each text has a sign of other texts in itself and a new text is created during these intertextual relationships. This theory was created by Julia Kristeva and was developed by the viewpoints of the thinkers such as Barthes, Genette, and Gifator. The Turin Horse focuses on a pair of impoverished potato farmers, father and daughter, and their horse (stated by the narrator, literally or metaphorically to be the same one seen by Nietzsche) living in a post-apocalyptic society in which a violent wind blows unremittingly. They live out an arduous and repetitive existence defined by nihilistic despair; they often take turns sitting by the window alone. The horse is increasingly uncooperative, refusing to leave the property or eat and drink. A neighbor visits to trade some goods; he claims the neighboring town has been destroyed and blames the apocalyptic scenario on both God and man. Later, a band of gypsies arrives and drains the farmers' well of water. The father decides they must abandon the farm; the two pack and depart with the horse behaving uncharacteristically well, but return home and unpack shortly after leaving for unspecified reasons. They remove the horse's reins and shut it in the barn. The world then plunges into absolute darkness; the two try lighting lamps but find they quickly extinguish, even the coals. The next day, the winds can no longer be heard inside the house. Now subsisting on raw potatoes, the daughter refuses to eat or talk, seemingly resigning to her fate. The father appears to follow, not finishing his potato and sitting with his daughter in silence. The movie "The Turin Horse", the latest work of Béla Tarr, Hungarian director, is an intertextual work that severely affects the viewers through its complex dimensions. This excellent and distinct movie in terms of the idea and form has been created under the influence of other texts. This paper tries to analyze the effective pre-texts in a cinematic outstanding work by the intertextuality approach. The present research, in which the data have been collected in terms of the analytical-descriptive research method based on an intertextuality approach and as a document, looks at one of the most distinctive contemporary cinematic works by the creator and reading viewpoints in the intertextuality field.

Jiroft civilization dating back five thousand years is one of the most magnificent civilization of Iran, which was discovered and recorded in 2001. After some time it was considered by archaeologists. Most of the remains of the Jiroft civilization relate to the sculptures of chlorite objects, which are represented by a variety of motifs, including the monument, plant, human, animal, fantastic and sometimes they are adorned in stone. Among these motifs, the role of the scorpion, after the role of the snake, was the most prevalent among the people of this civilization. This role is depicted in both a natural and an imaginary form, in which the imaginary type is seen in combination with human beings. Among the motifs of Jiroft's imaginary creatures, the role of scorpion-man has the highest value, signifying its special place both conceptually and mythically. In this article, according to the position of the scorpion, the works in Jiroft are analyzed. The purpose of this research is to study the role of scorpions in iconography. Iconography is a method of interpreting the history of culture and the art that reveals the cultural, social, and historical backgrounds of themes and patterns in the visual arts. For this purpose, a descriptive-analytical method was used to collect data in both field and documentary methods. The result of the research studied the iconic aspects of the scorpion role and finally analyzed the findings by bringing the designs in the table and drawing the designs.

The research has a descriptive-analytical nature and has been conducted by the library-based methods. Among the works discovered in Jiroft, the statistical population under study has been selected and analyzed from "Jiroft, the Most Ancient Civilization of the East" written by Dr. Yousef Majid Zadeh and "Work Treasure of Jiroft" by Sedigheh Piran.

The ancient man created the animals from mud, stone and metal based on his beliefs and religion respecting and worshiping them. They were sometimes worshiped and revered as totems or ancestors and sometimes because of their natural beauty and power. In Iran, the identity of the animal motifs has undoubtedly been influenced by the environmental conditions, culture and religion of each tribe. Animal motifs can be divided into the symbolic domestic animals, the animals that were the symbols of power, belief and religion and the sacred animals that were worshiped as gods. One of the emerging civilizations in the Iranian plateau is Jiroft civilization, which was discovered in 2001. Among the animals which are a symbol of power and are rooted in the beliefs of Jiroft’s people, we can mention the scorpion.Jean Perrot believes that the people did not use human faces in drawing motifs, but they used the creatures which were superior to the human in the third millennium BC, hybrid creatures are an example for it. In fact, these individuals displayed the divine superiority existed in their minds by some symbols. In the scorpion-man motif in the works of Jiroft, the upper parts of all men's bodies are naked and the skirts have been fastened to the waist by the large scarfs like the Sumerian figures. Without exception, they have long hair extending from the back to the waist. Archaeologists believe that some parts of Gilgamesh narrative had happened in Jiroft and it is likely that its origin also belongs to this area. The word scorpion has been mentioned as Kharfster in Avesta. Among the works obtained from the Jiroft civilization that are related to the role of the scorpion, we encounter three types of icon, symbolic and index signs. Hence, Pierce believes that: “There are three types of signs: first, similarities or icons; they give images of what they are doing simply by imitating them. Second, indicators or indexes; which they imply through physical contact with things. Third, general symbols or signs, which are linked to their meanings through use”(Sojudi, 2003, p. 33).The role of the scorpion in the artifacts discovered from Jiroft is in the form of a connection between the animal and its abdomen and it is designed as a part of the abdomen. It comes out of the head of both arms and at the end of each arm, there is a plier’s image. The abdomen of this animal is 7 rings and the tail is in 6 pieces and the last piece of tail has sting. In each part of the body, there exist 4 legs, which are also very delicate and thin. These legs are in the shape of a wing tip. The skeleton of this animal is depicted with straight grooves, or zigzag row. Moreover, the statistical population of this study is a selection of objects discovered with the role of scorpions and scorpion-man that have been analyzed and studied. For better readability of the motif on the dishes, they were first drawn linearly by the author and then analyzed.

Undoubtedly, we cannot still analyze the art of Jiroft completely. Among these are the examples of the scripts that are not readable at present and the objects whose usage have not yet been identified. However, the study of the motifs remained in Jiroft civilization reveals that they were substantive among the people of that era. Applying the artistic details and skills of the creators is the outcome of a careful observation and indicates the animals that existed around them. At the same time, the artists’ power of imagination in portraying the imaginary creatures is also notable. The imagination that created the images can be considered as the outcome of the people's beliefs in this land. The beliefs that have been drawn symbolically relying on the physical powers of these animals, present creative images of the conquest of the powers of these creatures. The existence of epic figures of both human and supernatural creature which control the threatening forces and were created in Halil Rud district in the mythology of the peoples in the Bronze Age. The conflicts that are not ordinary and have special meanings that we may never understand. According to the statistical population, usually the scorpion-man has been defeated in the conflicts between scorpion-man with the man or man-cow and man-lion. Therefore, the hypothesis of the myths and Avestan texts about the scorpion associated with the underworld which is one of the devilish symbols is more probable in these scenes. But on the dishes that are seen naturally or in combination alone, one can imagine the hypothesis of reverence and respect for this creature and or its relation to the concept of fertility and marital bond. In any case, the source of this motif is rooted in the people's beliefs and opinions in Jiroft and other neighboring civilizations. The statistics shows that the scorpion-human motif among the other hybrid and imaginary creatures is the only motif that can be seen alone, face to face and or with other creatures. This issue also increases the importance of the afore-mentioned motif.

Advertising in any field, especially business is considered as one of the elements of the communication in the contemporary world. Successful advertising is based on the principles such as the advertising psychology and the recognition of the target market; therefore, Facopa Company, which was founded in the thirties decade, is one of the most successful advertising agencies in Iran. Facopa that was considered an emerging phenomenon in Iran's newly established advertising by using the advertising campaigns was able to revolutionize advertising. Many advertising methods of this company were experienced for the first time in Iran. Rather than relying on the visual capabilities of advertising, Facopa had a tendency toward the advertising psychology that its wonderful effect can be seen in expected, inductive and persuasive advertisements, and so on. In this article, Facopa advertising campaigns are studied according to the topics such as advertising and communication patterns, advertising and psychological components. This research has been conducted by a descriptive and analytical method and a documentary method by flipping through Ettelaat Newspaper and collecting Facopa advertising campaigns. The aim is to recognize the field of advertising, the advertising psychology and its place in the history of advertising in Iran. Fakopa relied more on psychological knowledge and knowledge of the target market than on visual knowledge, and encouraged audiences to buy through indoctrination methods. Fakopa's success owes much to the controversial propaganda that both affected and affected his community; That is why Fakopa acts as a brand in the field of advertising psychology. Fakupa's study helps to understand the history of Iranian propaganda, which has been abandoned. Psychology conventionally has four functions: to describe, explain, predict, and change behavior, which encompasses all human psychological processes. All the various tasks, branches and trends of psychology fall under these four headings. By recognizing the existential nature of each person, psychologists find the power of their psychiatric treatment. Cognition, belief, indoctrination and prediction of human behavior is something that is influenced by advertising, so many consider advertising as a technique to use psychological methods to engage the audience.The psychology of advertising is to recognize the factors that cause people to be influenced by advertising and react accordingly. It should be known that not every message, with any quality, can be absorbed by the audience. Not all people receive the same message and do not receive it in the same way. Also, a message that is potentially receptive is not absorbed suddenly and suddenly in society; Therefore, paying attention to the principles and rules of social psychology along with understanding the culture and social traditions can make the work of propaganda much easier and more convenient than it is imagined.In designing advertising campaigns, it is very important to pay attention to the psychology of advertising; Because seeing an advertisement among a multitude of advertisements needs to attract the audience and convince them. Fakupa, as one of the first advertising companies with a style in Iranian advertising, was able to have a great impact on the recognition of domestic companies and their products with the help of psychological and marketing techniques, and on the other hand, with its innovations in the advertising industry, Be a constituency. A campaign that promotes an ad in several stages; The first step is Fakupa's clever approach. Staying in the mind of the audience with methods such as expected advertising and raising people's enthusiasm by holding a lottery is one of the most common techniques used by Fakupa. To achieve the target market, Fakopa has used a hierarchical model of persuasion that includes knowledge, interest, desire, and buying. In the linear continuum, the consumer moves through various mental states, from ignorance to consciousness, and then interest arises and a desire for the desired brand emerges. Eventually the consumer is motivated to take action, which is in the form of a purchase. It also uses three-step conceptualization of cognitive, emotional, and action by stimulating emotional actions. In many of his ads, he uses emotional and intellectual attractions in combination. Fakopa shines like a brand in the field of advertising of the Pahlavi period and created its own style and context by managing advertising campaigns. In this respect, Fakupa's innovations and achievements are unparalleled in their kind.In the present study, a descriptive-analytical method is used to analyze Fakopa campaigns. Content analysis helps to identify the components of advertising psychology and find these indicators in the advertising of the ten Fakopa campaigns. Data collection was done by flipping through the information newspaper of the decades 1336-1341 and pictorial samples of the book "230 years of commercial advertising in the Persian language press" (2013) written by Mohsen Mirzaei.Numerous books have been published in the field of advertising and marketing, and many academic researches have been done in the form of dissertations; But looking at the history of advertising in Iran is very neglected and this shortcoming can be seen in academic writings. The book "230 years of commercial advertising in the Persian language press" (2013) written by Mohsen Mirzaei in four volumes is a rare example in this field; A book in which Mohsen Mirzaei, in addition to an analytical review of the Iranian advertising space from the late Qajar period to the fifties, describes his personal experiences at the Fakopa Advertising Agency and has conducted several interviews with experts and colleagues at Fakupa. . The book "Psychology of Advertising" (2011) by Bob Phoenix and Wolf Gang Stroeb, translated by Mohammad Arabi in different chapters, deals with the importance of audience persuasion and the psychology of cognition. The book "Psychology of Business Advertising" (2013) by Max Sutherland and translated by Sina Ghorbanloo deals with the issues of advertising in the new era, modern media ads and the importance of psychology in marketing.

Graphic is an art related to society and the visual discourses of society such as advertising. In New Wave cinema advertisements in the 1340 and 1350, graphic designers worked with the New Wave (elite) cinema champ as clients. New Wave cinema is an art champ founded by a group of young filmmakers with the mental and social concerns of the time. This champ had a great ability to create different and artistic works that showed the pains of its contemporary society in an innovative structure. Therefore, a champ of principles that could provide a coherent and powerful form of expression was felt in the champ of advertising. According to the cultural and social capital of agents in both champs (New Wave Cinema champ and New Wave Cinema Advertising champ), this constructive connection emerged. New Wave movie commercials were formed in line with the concerns of this champ, and the agents of the Wave New Cinema advertising champ based their strategies on cultural and social capital. Pierre Bourdieu achieves a two-dimensional combination of objective and subjective structures by designing the Champ and Habitus in the champ of sociology, which allows researchers to study external factors as well as internal and individual factors that shape the strategy of agents. Achieve social. In this article, descriptive-analytical method is researched in the champ of advertising of new wave cinema films. The agents of this field are identified, their relationship with the agents of the New Wave cinema champ is studied, the effect of the power champ on the champ of visual communication is mentioned, and finally the analysis of the activities of the agents of this champ is based on their habitus and capital. The purpose of this analysis is to look at the art champ that has received less attention and also to pay less attention to the social analysis of this type of art champ.

Cultural signs are simple graphic forms. Signs compressed by the rich culture of nations. They are view form content facial and conceptual countries in small modle also they have reflection of reserves the archetype a nation. Archetypes are primary and stable pattern mentally. They are product collective experience over the thousands of years. Archetype represent itself in every human aspect, including visual signs.
In this article to help attitude mythical and the archetype been tried for explore culture signs relevant to field of knowledge such of universities, publishers, research institutes (least ten samples indictor national and international).
The purpose this article is understand insight archetype that different civilizations had the meaning of knowledge.

Iranian religious art has avoided any figurative representation following the expression of the exalted order. The religious topics and otherworldly affairs were restricted due to the necessity of the figurative representations and narrative atmosphere. Despite the frequent emphasis of Quran and Hadith in this field, the art of Iran is devoid of any visualization of otherworldly affairs - except rare cases relating to the prophet's visit to heaven and hell in the manuscripts of “Books of Ascension” (Mirajnama) - the culmination of this field is related to the folk art in the Qajar era. The studies show that the Islamic art has avoided the representation of otherworldly themes due to its viewpoint; yet, since the Qajar era, the large scale representation of these themes is observed independently and for the first time. This was made possible when the class of the artist and customer changed; in reality, the folk artist drew the figurative representation of otherworldly affairs according to the worldview of his class. The aim of this research is the figurative representations of otherworldly themes in the art of Iran to study one of the most crucial absent religious themes in the art of Iran. Two questions have been addressed in this article: 1. How did the works in regard to the otherworldly themes advanced in the Islamic art of Iran? 2. What characteristics does the representation of the otherworldly themes have in the Qajar era and what are its differences with the previous period? The research method is descriptive-analytical, based on library sources. In the Qajar folk art three categories of the Coffee House painting, holy shrines painting and Under Glass Painting have been studied, in which we encounter a new world in regard to the representation of otherworldly themes in various scales and extent; this art reflected the ideology exclusive to the common class in Iran for the first time, which is ardent religious beliefs and pious faiths.

The compound creatures have a close relationship with mythological thoughts; in fact, they are born by the mythicizing soul of the human who was against a boundless and unknown nature. Primitive humans who hadnt any weapons except thought and imagination against the greatness of the avenger nature, were under their protection; the compound creatures are the product of the imagination which protected the human from the fear arising from inability against the nature and gave him the powers so that he wasnt subdued by the nature spiritually. This motif as the compound creature of the human-bird has been connected to the ancient myths and is continued with a specific form and different concepts over time; Harpy was drawn as the carrier of the dead to the other world in pre-historic ages. The motif and the concept of Urartian art which came into Iranian art, chose another path in the historical ages and due to the influence of Assyrian culture, the motif of a winged man and the gods with two wings and four wings was grafted on to the mythical and divine concepts. However, the form of a winged human was changed into Harpy shape (a human's head and a bird's body) and was distinct with spiritual and divine concepts. In the contemporary periods, it was combined with some mental concepts of the artists except its traditional concepts. In all these centuries, it remained in the form of a powerful motif with a rich concept and was often used in metal working decorations, enamel potteries, Lustrewares (a type of pottery with a metallic glaze), Kubachi wares and crockery. Harpy motif in relation to the horrible and unknown world of the death entered Iranian art in the pre-historic ages; but in the following, it was changed due to Iranian culture based on its conditions in each period. Of course, the changes of the concepts are seen more than the forms of the motifs; the details such as the body type and related decorations such as hats have been changed more in the scope of the form and structure and the general form of human - bird has been maintained. This paper tries to investigate the origin and evolution of Harpy role in Iranian art. Since one of the components of the Iranian contemporary art is the reference to the traditional motifs and the mentioned motif is known as one of the introducers of the Iranian traditional art in today's art, it is necessary to find its roots and to learn more its implications. This paper aims at studying the form and the concept of this motif in the different ages and arts in Iran. The results of the study show that the role of Harpy gives the variable concepts by maintaining its original form in the various ages but it has always been associated with the spiritual and divine concepts due to the nature of its existence (human-bird).

Coffee house painting that is among few remained folk arts in Iran was originated from the public national and religious attitudes in Qajar era. These paintings are supported by the imagination and the myth, which are rooted in the intellectual talent and the collective spirit. The imagination constitutes the formal motif of the paintings as well as national and religious myths constitute the content motifs of the works, which are rooted in the Iranian rich culture and collective spirit. Coffee house painting that was founded by the artists who didn’t go to the school was according to the imagination and myth-oriented bases somehow the painters called this style as imagination-drawing and stated that its relationship with the imagination was the source of creating their works. Myth-oriented (drawing the national and religious myths) is also considered as one of the important elements of this art and the confrontation between the good and evil forces forms its main concept; these contrasting manifestations are hidden in the unconscious ego of the artist who didn’t go to the school and can be decoded by Gillbert Durand’s nocturnal regime and diurnal regime theory. Gillbert Durand knows that these conflicting manifestations are related to the unconscious ego of the human and his fear of the unknown death universe that is imposed by the time on the human; this case can be examined about the artists who were drawing the pictures in terms of their imagination and were painting their imagination without education spontaneously. This is a research based on the descriptive and analytical studies of the imagination and myth manifestations in the coffee shop painting; this was started by introducing the scope of the imagination, myth and Gilbert Durand’s theory and this important research has been conducted by the library studies, collecting the books and the articles and translating the essays. This paper tries to investigate the place of the imagination and the myth as well as the effective roles of the imagination and myth-making elements in the coffee house painting according to Gillbert Durand’s nocturnal regime and diurnal regime theory and by a documentary and library method. The results of this research indicate that the artists with the coffee house style drew the personal fear (fear of death) and the collective unconscious egos of their compatriots with the help of the imagination and its creativity power as well as with the assistance of myth-making and drew the contrasting elements against the fear simultaneously.

Despite the Islamic texts, which are rich in material on the resurrection and mention it specific in a few Sura of the Qur’an, but there is no trace of illustrating this, event in the Islamic art of the Qajar period, in fact, representations of resurrection was inspired from Christian art that has been rich in Representation of this subject. The origin of this inspiration are traced back to the Safavid period, that is The impact of the international relations and presence of merchants, and Christian tourists and specially the immigration of Armenian to Iran. But the climax of this impact on religious art and figurative and Iconic representations in large scale and diversity was in the Qajar period, So that the embodiment of Doomsday Scene was Belonging to this period But in this course there was only two paintings that depicting the Resurrection and their belonging to an artist by the name of Mohammad Moddaber. While Christian art that has been rich in Representation of this subject,The works of Mohammad Modaber were inspired from Byzantine art specially Russia that has been in more contact with Iran than other foreign countries. In this article we study the Source of influence and compare the artworks of Doomsday from a Byzantine art of Russia with the Doomsday (judgement day) painting from Mohammad Modabber.

Invironmental graphics includes the visual attractions of a city; the city achieves the visual and beauty balance by the environmental graphics. The tasks of the environmental graphics are in the field of advertising and beautification of the city; the important topics of environmental graphics include the coordination with the urban environment, aesthetics and identification. The coordination, the first principle in this field will save the city from the visual disorder; the key task of the environmental graphics is formed according to the rules of the art and in relation to the architecture of the city; but the aesthetics and identification affect significantly the tourism attraction.
in this paper, relying on the aesthetics and identification of the environmental graphics and introducing the successful global examples in this field, the effective role of the environmental graphics for increasing the urban tourism is studied. In this regard, relying on the library resources and authentic sites, the successful examples of the environmental graphics in the world and their constructive role in attracting the tourists have been investigated by a descriptive and analytical method. Among the different kinds of the environmental graphics, the cases that are more indicative of the aesthetics and identification aspects, such as the urban sculptures and wall paintings that are attractive from the tourism viewpoint are studied instead of the cases which show the propagandistic aspect in this field. The result of this study shows that the innovative approach with considering the national identity not only increase the urban attractions but also cause to remain in the minds of domestic and foreign tourists permanently and develop the urban tourism.