afsaneh nazeri

Separation anxiety disorder is one of the most common psychological disorders in childhood. Parenting styles and parental anxiety are among the important risk factors that have been identified for the occurrence of separation anxiety disorder. A review of the research background shows that despite conducting various studies in Iran on the effectiveness of art therapy, especially painting, on reducing children's separation anxiety, There is a research gap regarding the effect of the combination of painting and parent-child interaction on children's separation anxiety.

The present study was conducted with the aim of investigating the efficacy of interactive painting methods based on parent-child relationship on the symptoms of separation anxiety disorder in 6-8 year old children.

The current research design was a semi-experimental pre-test-post-test type with a control group and a three-month follow-up. The statistical population of this research included all 6-8 year old children with separation anxiety disorder in Isfahan city in the academic year of 2021-2022, who were enrolled in pre-primary centers and elementary School in Isfahan city. In order to select a statistical sample, in the first step, the Separation Anxiety Assessment Scale (Parent Version) was administered on 100 parents of children aged 6 to 8 years, and children with separation anxiety disorder were identified, And then 16 parents of children with separation anxiety disorder and their children were identified and randomly assigned to two experimental (8 people) and control (8 people) groups, the educational-therapeutic protocol was held in 13 sessions of 45 minutes (one session each week) for the members of the experimental group. The data collection tool in this study was the parents' version of Separation Anxiety Assessment Scale (Hahn et al., 2003). Also, to analyze the data in the present study, the method of analysis of variance with repeated measurements and SPSS-23 software was used.

The findings of the present study showed that interactive painting methods based on parent-child relationship reduce the symptoms of separation anxiety disorder and its components (fear of being alone, fear of abandonment, fear of physical illness and worry about calamitous events) It has an effective and significant effect on children aged 6-8 years (P<0.05) and the effect of this training has continued in the follow-up phase.

Considering the confirmation of the efficacy of interactive drawing methods based on parent-child relationship on reducing separation anxiety disorder in 6-8 year old children in the present study, it is suggested, School counselors and specialized child counseling centers should use this educational-therapeutic method to reduce the symptoms of separation anxiety disorder in children. Also, in terms of the importance of parent-child interaction, the aforementioned educational-therapeutic program can be used to strengthen the parent-child relationship in the family.

Problem Definition: 

In his philosophical components, Mulla Sadra expressed elegance in such a way that the influence of these thoughts was reflected in the artworks of the Safavid era, especially in the "Isfahan Painting School". The most important artistic trend of this school was formed by Reza Abbasi and his students; in their works, motifs and topics related to the surrounding world and the cultural-artistic society of that time can be seen. In terms of the use of visual elements as well as the content, it corresponds to the philosophical-mystical components of Mulla Sadra, especially in the viewpoints related to beauty and love. The paintings and Muraqqa pieces attributed to Reza Abbasi and his followers form the statistical community of the present research, which are studied to evaluate how the "philosophical components of Mulla Sadra" appear in the paintings of the Isfahan school. The question of the research is: "What is the relationship between the philosophical components of Mulla Sadra and Isfahan school painting in terms of elegance by focusing on Isfahan school painting works"?

 The present study aims to discover the elegance hidden in the illustrated works of the Isfahan school of painting and to match them with Mulla Sadra's views on beauty.

 This study applies a descriptive-analytical method with a comparative approach, which was done by collecting library-documentary data. The statistical population includes a selection of the most distinguished paintings and Muraqqas of the Isfahan school, which were created by Reza Abbasi and his students.

The obtained data shows the elements used in the paintings and Muraqqas attributed to Reza Abbasi and his students are a reflection of elegance in both form and content, which can be traced to the mystical philosophical components of Mulla Sadra. In these works, the external and internal beauties, some of which are shown as codes and symbols, show the social-cultural situation of the Safavid period and the philosophical-mystical thoughts of that time. In other words, the works of Reza Abbasi and his students, as an outstanding example of the Isfahan school of painting, are related to the components of Mullah Sadra in terms of elegance.

The relationship between cinema and painting has long been considered a subject of interest. Pedro Almodóvar is a prominent and progressive filmmaker in new Spanish cinema. His movies are marked by a distinct style and an idiosyncratic aesthetic expression. Frequently, Almodóvar has acknowledged being influenced by various sources. Almodóvar should be counted among the filmmakers whose films have a strong connection to the art of painting. He is one of the directors whose works are fundamentally based on an aesthetic framework of painting. The use of paintings as part of the cinematic mise-en-scène and the recreation of famous paintings within the cinematographic frame are considered to be the primary relationships between Almodóvar's works and art. However, sometimes these connections transcend facile associations and require greater effort to sufficiently be comprehended.Almodóvar employs various techniques of reference for oeuvres from classical painters such as Diego Velázquez, and Titian; modern artists like Salvador Dalí, René Magritte, Edward Hopper, and Picasso in addition to even the abstract painters like Piet Mondrian and Mark Rothko. This feature places him among the directors exhibiting a unique knowledge of painting in their films. The present research conducts a qualitative analysis of paintings in Almodóvar's films. This study aims to examine painting in Almodóvar's cinema by posing the question of how Pedro Almodóvar's films have been influenced by painting. This developmental research utilizes a descriptive-analytical, comparative methodology and a theoretical framing approach to study the modes of cinematic allusion based on Gérard Genette's intertextuality theory and Linda Hutcheon's theory of parody. Case studies include the prominent works of this filmmaker from the 1980s.The findings indicate that the cinematographic frames in Almodóvar's films have been transcribed from painting in various ways. In the first case, the relationship between the cinematic frames and the paintings is a simple intertextual allusion, whereby the filmmaker, inspired by a painting, recreates it in the cinematic frame, known as tableaux vivant. At times, these allusions transcend a simple association and take on a metaphorical quality, forging a particular connection with the world of the film's characters. In some cases, the intertextual relationship leads to a multilayered connection that generates a new texture of allusion and trans-contextualizing occurs, a concept derived from the theoretical dimensions of Linda Hutcheon's parody, which is perceived as a significant feature of modern art. In some instances, the relationship between Almodóvar's cinematic frames and paintings follows an ironic inversion, whereby a form of allusion and imitation is observed but with a repetition that contains differences, possibly employed for purposes such as critique or recreation. In some cases, Almodóvar uses the frame as a painter's canvas, employing cinematic techniques to create scenes reminiscent of abstract paintings.

Claude Monet is known as the pioneer of the first completely modern movement in painting by presenting a different painting. In this work, instead of a completely naturalistic description of a sunrise scene, he records the immediate impact of the landscape on the eye by focusing on the transformations of light and color. In this way, nature in Claude Monet's works is more than the subject, it is an excuse for experiments that make him to leave the workshop and bring him a scientific and new vision to light and colour in contrast to the typical workshop painting style.In sunrise scene, Claude Monet shows a way of perception and vision that critics use the word "impression" to describe it. In his impressionist paintings, he is searching for a way to record the immediate visual perception of the subject, which in this regard changes the previous fixed principles in the field of painting and in general the thinking of the audience of the work. So that it provides a new description and interpretation of the usual and familiar category of nature.The nature in Monet's paintings shows that the painter is more concerned with describing nature than trying to find a way to record the immediate visual perception of the subject. Monet's special way of seeing nature makes it dependent on the individual experience of the artist from an independent and unchanging presence.His emphasis on visibility shows that the nature of the subject depends on the fleeting light conditions and that the subject of the painting is not visible to everyone in the same way. In this regard, by using the new theories of the emergence of colour and following the previous achievements of Barbizon painters, he turns nature from a completely naturalistic treatment into an excuse for another way of seeing and representing nature. By focusing on the change that governs nature and also human perception, Monet diminishes objective reality in contrast to sensory perception. Focusing on the transitory and fleeting states of nature, he reveals an invisible and absolutely necessary field to make nature visible.  The idea of series paintings by prioritizing the atmospheric conditions, for the first time diminishes the importance of the subject of the painting and encourages the painter's eye to push back the main subject and focus more on the invisible field, which makes the subject visible.At this time, the visible subject finds the rule of a reflecting mirror, which records the invisible conditions of every variable in a random state. With this preparation, Monet reveals the issue of how the subject of the painting has an existential cause related to an invisible realm. Based on this, Monet changes the framework of attention from the visible subject to the realm of invisibility, which, above all, requires the use of a method different from the common method.Unlike the previous painter, Monet is much less concerned with the description of the subject, beyond that, he is trying to achieve a pure visual-pictorial expression and to induce a sense of the subject to the audience. In This kind of painting, subject turns from a stable presence based on the pure principles of design into forms resulting from the capture of a moment, which their display requires concentration, speed and a special attitude of the painter. In this definition, the sense of the subject is more real than its solid shell, and in this way, the constructionist of nature is discarded and the solid structure of the form transformed in the rapid effects of light and colour.The difference that Monet creates in the history of painting is that this time he gives priority to the background environment. By changing the frame of attention from the main subject of the painting to the surrounding environment, Monet transforms the interaction between nature and the environment.Also, by using visual methods, he looks at a place in the image space that has been considered an unimportant background until now. In this regard, the paintings of Monet's collection realize the visualization of the invisible conditions of visible elements. This collection shows the constantly changing level of the interaction of elements and the surrounding environment, and more than the subject, it tries to capture an invisible position. Monet solves this issue in his painting by recording momentary perceptions, immediacy in execution, focusing on transitory and accidental states, and constructing the structure of objects and analyzing shapes in favour of representing the transformations of light. The broken colour technique, by ignoring the consistent linear format of the shapes, turns the canvas in to a field of continuous colour vibration and colour effects.Therefore, Monet's painting is the field of showing the simultaneous possibilities of visible and invisible, continuity and discontinuity. The elements of nature appear in Monet's painting through an invisible frame, and then, drowning in the distant dimension, they always stay back and remain invisible. Monet captures the visual effect of light without paying attention to the subject and presents relationships in the painting that until then had an unclear and dumb understanding.By introducing a new kind of perception and vision, Monet shows that; Rather than describing nature, the painter is trying to find a way to record the immediate visual perception of the subject. Monet's special way of seeing nature turns nature from an independent and static presence to the individual experience of the artist and his emphasis on his way of seeing and perceiving the moment and the transitory and dynamic conditions of light and atmosphere. This nature is the nature that the painter's eyes see. A method arising from the transformation of the painter's way of seeing, which leads to the transformation of the objective reality and negation of the validity of the subject. Therefore, Monet's paintings show the process of transformation of his look. So that the painting canvas is the field of emergence of the painter's perception in the face of the universe.  .

Pedro Almodóvar is a renowned and influential director in contemporary Spanish cinema whose works have a unique style and aesthetic presentation. Almodóvar has frequently stated that his films are inspired by various sources. This Spanish director drew inspiration for his works from various movies, TV programs, paintings, and literary works. Meanwhile, film references and scripts play an important role in his works, and he is one of the directors whose works incorporate a combination of such texts. Thus, “intertextuality” is one of the topics that can be properly examined in this Spanish filmmaker’s works. This research investigates intertextuality in Almodóvar’s works and answers the following question: “How are Pedro Almodóvar’s films created through their intertextual links with other films?” A descriptive-analytical method and comparative method were used to address this question. In addition, Gérard Genette’s theory of intertextuality has been used to analyze and categorize such intertextual relationships. The statistical population of this research consists of Almodóvar’s feature-length films produced during the 1980s, which are regarded as his most renowned works. The results demonstrate that the various cinematic texts mentioned by Almodóvar, such as cinematic excerpts, script titles, and cinematic allusions, within Genette’s theory take on the roles of para-texts, quotations, cinematic references, and inter- and intra-authorial allusions, which, in addition to their conventional functions, have a metaphorical function.

Jenny Saville, the Scottish contemporary artist found immediate success in the 1990s due to the depiction of corpulent women on a large scale; depictions that were considered to be a rebellion against the long-lasting historical practice of drawing women according to the ideal constructs of beauty and slim female body. Saville’s works were considered as bold measures in contemporary art, and the updated historical context which was brought by the oversized depiction of the figures linked Saville to keywords such as atypical, inconsistent, and exaggerated. Saville’s figures fall under the category of Grotesque art due to the depiction of suspended, amorphous, transplanted, and transgendered limbs. The human body and its vital and physical behaviors play a significant role in Saville’s imagination. The bodies created through Grotesque realism are positive entities that delineate a world’s population regardless of their class and have the potential to inject instability in the accepted societal, political, and aesthetic norms. The essence of Mikhail Bakhtin’s notable views on carnival-Grotesque disassociates itself from all the monotonous and invariable conventions, arrangements, stable truths, and cliches and provides an opportunity for revision and creation of novel worldviews. This theory provides a fresh outlook through which the works of Jenny Saville can be studied. The main objective of this study is to analyze the latent layers of meaning in Jenny Saville’s paintings which contain the implicit definitions and implications of criticizing the contemporary political, societal, cultural, and aesthetic landscape. Due to their authenticity, these features are studied according to Bakhtin’s views in order to provide an answer for the following question: “How can the elements of Grotesque art in Jenny Saville’s works be studied according to Bakhtin’s views?” In terms of type, methodology, and developmental features, the present study is of qualitative and descriptive-analytical type. The findings of the present study reveal Saville’s attempt to pull apart and decentralize all the sumptuous and elegant features of contemporary society through her art. Saville expresses her dissatisfaction with the injustice and inequality in the society through overwhelming hierarchical orders and all that is considered to be dignified. Saville is drawn to expressions such as “mutation”, “transformation”, and “ambiguity”, and seeks the extravagant and bulky depictions of human figures that are comparable to Bakhtin’s interpretation of Grotesque body with unique affinity and understanding of the material world. Saville’s recent works feature multilayered and overlapping masses of bodies and distorted limbs, that point to the notion of multiple truths and abundance of signifiers. The figures in her works – which often have elusive dimensions along with transplanted and transitional bodies – are arranged in a way to eliminate the line between creation and annihilation, and to demonstrate the cyclicity of time in Grotesque imagination.  For Bakhtin, the Grotesque is against the hierarchiacal order, destroying all forms of social and racial classifications, like large figures of Saville, which provokes the audience to question the "policies of beauty standardization" and the "disgust caused by bodies not complying with the standards."

Nicole Eisenman, a contemporary figurative painter belongs to a generation of masters of the art who have equally adapted their sources from Renaissance newspaper caricatures and paintings, seeking to efface the borders between fine art and popular culture. “Triumph of Poverty”, one of Nicole Eisenman's greatest nipping artworks, is a contemporary conception of a work of art of the same name by Hans Holbein with a multi-layered, dialogical, allegorical, satirical, and Grotesque feel to it. Mikhail Bakhtin is one of the most important theorists of the twentieth century who studied language as a system. He also studied how dialogue works concerning the effects it creates through communication and observed a connection between art and this establishment. He considered Carnival, a popular arena for indulging in physical excesses, to have a dialogue and a Grotesque and popular tradition whose images are an effective link between vivacity and violence or the low quality of materialism. He also considers the Grotesque common and distorted body in an ambitious and positive framework and acknowledged that such creates instability in accepted social, political, and aesthetic norms. In this regard, and by focusing on the specific features of Grotesque realism, this study reads and analyzes the visual aspects of the “Triumph of Poverty” painting by Nicole Eisenman based on the views of Mikhail Bakhtin. This study is qualitative in terms of developmental purpose and qualitative in terms of type and method, qualitative and descriptive-analytical. The findings showed the fact that the artist has used his art to show the ironic triumph of poverty after the poor decisions of the US government, which is the main cause of the economic crisis in 2008 in this country, and thus, the protest. In this way, it has protested against wrong policies, inefficient time management, injustice, and inequality in society.

Although the term and metaphor of narratives are widely used in museological literature, there are still very few studies about what and how narrative is and the existing approaches, especially in cultural studies, have dealt more with critical aspects. The methodology of this research follows a descriptive-analytical approach and is situated in the framework of "narrative theory" based on the views of Gerard Genet. It addresses the question of how and by what techniques a chain of narrative units or events are presented through the formation of narrative discourse in art museums. And in this regard, by analyzing one of the main categories of literary narratology, namely the time in narrative and especially with a comparative study of the category of "order" or "anchronies" for the museum exhibition, how to achieve a way to analyze the museum narrative and its installation based on the theory of narrative?
After reviewing the previous approaches experienced in the installation of the National Gallery of London and analyzing the "Sainsbury Wing" section as a case study, it was concluded that aesthetical and practical principles in architecture and implementation of composition and visual aspects in the installation create the same narrative anachronies that we know as one of the literary tools in the narrative.
In designing the architecture of this section of the National Gallery, Robert Venturi, with a functionalist approach to provide space for a real experience of seeing paintings that goes beyond just a museum visit, has been able to present the museum chronological narrative, and by creating several windows and suspensions, through spatial relationships and through what has been identified in this study from the perspective of narratology as types of external analepsis and prolepsis, has achieved narration in this museum. Therefore, although Gerard Genet considered narrative to be more specific to literature, this study shows that the main components of narrative discourse analysis, such as time and order in his views, can be applied to exhibition narrative.

The visual art of the Naseri era is a mixture of the painting tradition of the first Qajar school and the confrontation with modern Western achievements, including the new medium of photography. In fact, the conceptual basis of the visual arts of this period can be seen as the product of the interaction of different forces that affect the issue of representation as well as the representation of gender. Although the representation of the human body and its gendered meanings is still a major concern in the visual art of the Nasserite era, these representations are fundamentally different from those of earlier periods. The main question of this research is to investigate the quality of gender representation in painting and photography of the Naseri period and the differences in essence of these two representation systems in presenting the image of gender. To answer this question, descriptive-analytical method as well as historical comparison has been used and to formulate and analyze the special capabilities and possibilities of photographic image in order to represent gender differently than painting, Szarkowski's ontological theory has been adopted. The statistical population of study are court portraits of the era of Fath Ali Shah and the collection of paintings and photographs of the period of Nasser al-Din Shah that are exemplary and have a prominent representation of gender. Findings show photography introduced a new system of representation of gender in the period, which has no precedent in Iranian painting. The camera provided a picture of gender through coordinates such as engaging with the "the thing itself", "detail", "time", "frame" and "vantage point", as opposed to the stereotypes of gender representation in painting; Realism instead of idealism.

New temporal structures in Cinema are considered a special kind of storytelling and narration in cinema that can be contrasted with the simple narratives of classical cinema. In such works - also known as cinematic modular narratives - the filmmaker intends to challenge the viewer, arousing his/her imagination and curiosity. The multifaceted space, Split screen and the simultaneous presentation of diverse narratives and the infinity of qualitative and non-linear place and time can be considered to be the components of Iranian painting.. It is noteworthy that these features were represented properly in the paintings of Tahmasebi era (Shahnamah and Falnamah) and these components can be identified in new temporal structure films. This study aims to investigate the characteristics of new temporal structure films and compare them with Iranian painting with an emphasis on the paintings of the Safavid period. The main question of this paper was: "What are the common features of new temporal structure films and Iranian painting?" Night on Earth and Timecode Films, and Shahnamah and Falnamah Tahmasebi were used as the sample. A descriptive-analytical and comparative research method was employed in this study and data were collected through written documents and observation. Findings suggest that features such as creation of complex space, simultaneous presentation of events, multifaceted and multi-level space, lack of focus on a single character, and multiplicity of characters present in the new temporal structure films are similar to the paintings of Shahnamah and Falnamah Tahmasebi.

Rembrandt, in his early self-portraits, clearly forbids the audience from seeing with precautions. The distinguishing feature of these works can be observed not in the clearly displayed sections, but in the glorious representation of the lost information. In other words, Rembrandt uses visual principles and qualities in order not to represent his works accurately. In this regard, object as a key element in Lacan’s thought places reality as an escaping field from image and symbol in the intersection of three realms. From Lacan’s point of view, the object is an unrepresentable dimension that goes beyond the ability of the image to represent, and emerges in the gap between memory and perception through non-representation. Accordingly, Rembrandt, in his self-portraits of the first period, seems to be working on this unrepresentative dimension. This question raised that how can be readable the Rembrandt’s visual arrangements in presenting a self-portrait based on the Lacanian object concept?The theoretical framework and research approach is based on the concept of object in Jacques Lacan’s subject formation. The research method is descriptive-analytical and the researcher is trying to survey Rembrandt’s self-portraits based on the concept of the object, by applying the psychological principles of image reading. The results showed that Rembrandt uses special visual arrangements to shape himself through the natural structure of perception. In other words, he depicts the necessary invisibility that occurred in the field of perception in order to be seen, and more importantly, he places this invisibility in the foundation of his image. Therefore, from the Lacan’s point of view, Rembrandt’s self-portraits can be recognized as a form of crystallization, in terms of visualizing this necessarily unrepresented dimension, which is a prerequisite for any representation

Yukinori Yanagi, a Japanese artist, offers conceptual art with the application of the cultural identity of the various nations. He created a metaphor of the futility of nationalism by creating the work of the World Flag Ant Farm. The fear or the fact of changing cultural identities through the use of Yanagi in the context of everyday life illustrates the great simulation process Which is in the opinion of Jean Baudrillard was a founder of French postmodern theory, he believes that signs and meanings under the guidance of advanced media, since endlessly to multiply and increase the fixed meanings of signs, communicate word and object, and distinguish truth from error and reality from illusion, would not be possible. According to Baudrillard we have entered the era of simulation. Simulation are signs that constitutes the transcripts or the actual act of objects or events. Simulations on postmodern age is no longer a transcript or copy reality, not a replica of it. Therefore, this article aims to analyze and describe Baudrillard's simulation of the study examined the effect of Yukinori Yanagi and the question of how cultural simulate in the visual arts represented? And with the method descriptive - analytical and comparative study of the work of Yanagi.The results show that Yanagi commensurate with the dynamics society stated a different kind of communication between countries that led to assimilate to an allegorical method.Therefore, this article aims to analyze and describe Baudrillard's simulation of the study examined the effect of Yukinori Yanagi and the question of how cultural simulate in the visual arts represented? And with the method descriptive - analytical and comparative study of the work of Yanagi.The results show that Yanagi commensurate with the dynamics society stated a different kind of communication between countries that led to assimilate to an allegorical method.Therefore, this article aims to analyze and describe Baudrillard's simulation of the study examined the effect of Yukinori Yanagi and the question of how cultural simulate in the visual arts represented? And with the method descriptive - analytical and comparative study of the work of Yanagi.The results show that Yanagi commensurate with the dynamics society stated a different kind of communication between countries that led to assimilate to an allegorical method.Therefore, this article aims to analyze and describe Baudrillard's simulation of the study examined the effect of Yukinori Yanagi and the question of how cultural simulate in the visual arts represented? And with the method descriptive - analytical and comparative study of the work of Yanagi.The results show that Yanagi commensurate with the dynamics society stated a different kind of communication between countries that led to assimilate to an allegorical method.Therefore, this article aims to analyze and describe Baudrillard's simulation of the study examined the effect of Yukinori Yanagi and the question of how cultural simulate in the visual arts represented? And with the method descriptive - analytical and comparative study of the work of Yanagi.The results show that Yanagi commensurate with the dynamics society stated

Jean Baudrillard believes that culture is developing like a pseudo-event and with the guidance of the media, it is constantly changing. In his opinion, we have entered a similar age. Similarities are signs that act as a transcript or pattern of objects or real events. Since media play a significant role in cultural simulation, the purpose of this article is to study the representation of cultural simulation of the media in contemporary visual arts and considering Baudrillard's theory analyzed the works of Katrina Fritsch and this poses the question that how does cultural simulation be represented in visual art? This article is descriptive-analytical and comparative and studying the works of this contemporary artist, especially the effect of his banquet. The results of the research show that the representation of this cultural simulation is inevitable that both theoreticians and the artist have allegorically expressed their own terms. The contributions of Katrina Fritsch and Jean Baudrillard's votes are shown that representation of cultural simulation in visual arts can have features that there is a theory in society. They will enjoy the residents of a community in a lifestyle, interests and wishes of the same patterns that they provide to the communicative devices. Culture, which has always been one of the most important frontiers of socialism and socialism now, with electronic media, it can't be as frontier as the past. We can see the most intense cultural mode, simulation, in this work. The people present at the banquet have been simulated so much by the technology of media that they are not readily identifiable. However, such a culture would rarely arise with such extreme conditions. In this simulation work, a sign is a transcript or real pattern of a person who, according to Jean Baudrillard, in postmodern times, is no longer a transcript or a copy, and not a replica of it. People have sat down on a desk as consumer media technology and have been so obliterated that they have fallen into a trance. Characteristics of work's Katharina Fritsch, including repetition and reproduction, reproduction, simulation, consumerism, and the production of signs, metaphor and emergence of new identity signs that artist using these features, imparts cultural simulation allegorically. The banquet effect was allegorically shown that similarity and hyper-reality that Baudrillard speaks of how to happen in the next world. Creation of human beings with the same characteristics and simulated super-reality that involves the audience in thinking. The artist, with the use of black color, has expressed this fears about the future. Finally, it must be said, simulation of Baudrillard and work's Katharina Fritsch both are the futures, each of which expresses metaphysics in their own way. The contributions of work's Katrina Fritsch and Baudrillard's votes are showed that representation of cultural simulation in visual arts can have features that there is a theory in society. Given the importance of the subject, it is suggested that researchers investigate cultural simulations from different perspectives, such as the collapse of the social and actuality of reality.

The present article aims at investigating the following question: how much do the images in lessons related to books of Religious Teachings in grade four of primary school serve to state the concepts pertaining to theology expressed in the textbooks, and how much have they been changed in those two periods of time? The benefit of this research is identifying the weaknesses and deficiencies of the images as far as correspondence with the text is concerned, and preparing the background for modifying and improving those images. The main hypothesis is that illustrators have not paid deep and scrutinizing attention to the text, and they have done imaging mostly according to their personal taste. The research method is analytical-comparative. The sample studied consists of eight lessons related to the concept of theology from the two books of religious teachings in grade four of primary school in Iran in 1360 and 1394 SH. The statistical population was the experts in imaging available including 52 professors, graduates and MA students of visual arts in Tehran and Neyshabur. The process of research was as follows: a questionnaire was prepared according to the high-level documents of the Ministry of Education, containing a table of comparison for 11 indices common between the texts and the images, and the level of correspondence between the images and the related texts as well as the high-level documents were examined.
The findings showed that imaging of the lessons pertaining to theology in books of Religious Teachings in grade four of primary school, altogether, corresponded to the texts 46%. This was 49% for 1360 SH and 41% for 1394, showing that the illustrators’ attention to the text, especially its content themes, is not sufficient, and they have not well depicted the concept of theology hidden in the text as the main goal of the lesson.

Today designing is one of the most important reasons for success and differentiation of a gold and jewelry brand. With due regard to the significance of designing, and also utilizing the experiences of better brands in this specified zone, the designing created in 2017 by Tiffany & Co and Cartier and certain with their eye-catching characteristics, and at the same time different from one another, were chosen to be studied. This research aims at comparative examining of emotional influences of the designing of these two brands on Iranian female students, in such a way that in addition to studying the visual characteristics, the qualitative concepts of designs and the personality of designing the above brands, and the impression of these two collections on the feeling the addressee have been analyzed. The present research is seeking to answer the questions that the designing, of Tiffany & Co and Cartier in 2017 in which aspects have had significant differences and what concepts and sensation, have they provoked in Iranian female students and how have they transferred such sensational impressions via designing?In this regard, by utilizing Kansei engineering method and electing 24 measurement spouses who express different feelings and characteristics in connection with the designing of gold and jewelry, the structure and contents of the question are performed after the differentiation semantic, and was distributed among 100 female art students with an age average of 18 to 30. The findings showed that the personality of the designing of Tiffany & Co brand in 2017 has been popular to the youth, up to date, progressive, and at the same time, unreliable, in contrast; the designing of Cartier have a classic, past-oriented and somehow traditional but at the same time genteel and reliable.

Identification and understanding of meaningfulness of life events is one of the most fundamental issues in the quality of human life and its positive changes which also has always had an important role in his mental health and life satisfaction. This study by surveying meaningfulness of life events in Quran and unity-oriented psychology, aims to achieve a conceptual structure, so that effective artistic practices and programs could be designed on its basis to be used in the psychological interventions.
Some psychologists such as Alport, Frankl and Maslow consider meaningfulness of life as the most important factor affecting positive psychosocial actions. So it can be said that giving attention to the meaning of life has been very much considered in the field of psychology. The answer given to the question of “meaning of life” affects our life experiences and everyday practices. It is creation of meanings that makes sense of the world to us and specifies the path of our life in the world; thus true achieving of it decreases the level of negative emotions (such as depression and anxiety) and also reduces the risk of mental illnesses, so that the “Meaning Therapy” (MT) is considered as one of the main interventions in psychology. Although meaningfulness of life is a subjective perception and mental cognition; but it depends entirely on the attitude of man to life, and religion is the factor that gives direction to the attitude and worldview of an individual. As a result, the necessity of examining religious psychology is also felt.
In Islam, the Holy Quran has repeatedly expressed the divine goal in meaningfulness of life and giving meaning to the living of human beings. It has stated - in the verses of belief through the explanation of this principle and in the verses of the commandments and ethics by mentioning the way of meaningful life- that it is the wonder and psychological miracle of Quran. One of the psychological characteristics of Quran is its consideration of its goal-oriented and immortal human conduct which is reminiscent of human attachment to the One Being and his origin “God Almighty” which he ultimately will return to (Al-Baqarah, v. 46). The forgetfulness of this connection leads to separation from the true self, forgetting oneself and fear of loss and insecurity which are the main root of concerns and fundamental anxieties (al-Hashr: 19 and al-Yunus: 62).
Unity-oriented psychology as a new meaning-oriented approach in psychology based on religious knowledge with the centrality and theoretical framework of the concepts of the unity of being and the Quranic teachings, and relying on the unity-oriented transcendent wisdom and by its use, has tried to make a unitary connection between the self of person, his environment and the changes. So that; one can get a positive perception of his life events_ which are the natural causes of his developmental stages_ leading to the constructive change of himself/herself. This monotheistic and religious attitude to the nature of man and the universe describes all the changes and subtleties of individuals in how to respond to the need for one's own monotheistic connection in growth stages of life and considers the separation, lack of interconnectedness and weakening of its attachment in the stages of development as the main causes of anxiety and fundamental fear and the origin of many mental disorders.
Hence, by examining the issue of meaningfulness of life events based on Quran and unity-oriented psychology and the concept of monotheistic outlook toward life experiences and events, it was concluded that in order to objectify, materialize and better adapt to the life events, respectively, three indicators are derived from it: 1. “unity-oriented recognition and acceptance of life events”, referring to verse 23 of Surah al-Hadid, and related concepts in unity-oriented psychology to create a balanced and meaningful life with reminiscent of the lack of ecstasy in joys and lack of disappointment and frustration in plights; 2. “the conjunction of opposite pluralities” on the basis of the verses 5 of surah al-Yunus, verse 3 of surah al-Molk and other verses referring to the conjunction of divine guidance such as the chain loops, and interpretation of the same concept in unity-oriented psychology with an emphasis on the continuity of any incident with the past, future, nature and environment, and the adventures before and after it; 3. “giving meaning to multiplicities of life” referring to verse 216 of Surah al-Baqara, and the concept of the existence of the purpose and wisdom of good and the constructive cultivation of all that occurs, with the intention of opening up and guiding man to purity and consciousness and discovering himself towards progress, prosperity and enlightenment of the path in the unity-oriented attitude.
On the other hand, since the main attribute of religious and Islamic art in Iran has monotheistic foundation, and art is also considered in the unity-oriented approach as a facilitating tool for opening the way for the influence of positive imagination and receiving inspiration and intuition on the mind and makes the clients see their status in an integrated mode and get consistent with the events of life; as a result, artistic design, media and artistic techniques (design, painting, collage, photography, sandbox, etc.) could be used in this regard. Hence, each of the three indicators deduced from unity-oriented psychology and the teachings of Holy Quran in the context of the concept of a unitary attitude in experiences and events of life can be the basis for designing artistic exercises, so that by the use of unity-oriented art, one could give meaning to his/her life events and by removing negative effect of some events, their positive role in the growth and life balance could be found. In this approach; by unitary narrative of his/her life and doing artistic and unity-oriented practices in accordance with the extracted concepts and along with their interpretation by the viewpoint of Quran and unity-oriented psychology approach, one could be able to explain what she/he has perceived from life events and adapt them with examples of his/her own life.

According to studies about commercial billboards, some factors seem to be important to welcome by advertising companies: Type of business activity, The size of the company, Participants’ perceptions of the effectiveness of advertising, Competitors and Industry Activities, Power Financial Corporation, Billboard participants’ perceptions about the media and its benefits, Advertising and marketing activities of its risk-taking, Sensible response to the billboard, Medium price, Written and visual appeal, Local presence, Performance Media, Restrictive laws, Geographical distribution, Visibility, Cost and Billboard. This study seeks to answer these questions that which of these factors with the greatest impact on the selection and use of billboard advertising in the city? Because the measurement of these factors can be good ways to optimize and increase the use of billboard advertising provided. This research is a quantitative survey was conducted. Population for this study was a randomized, 76 specialists are employed in 35 companies of advertising. The main instrument of data collection survey questionnaire. The validity and reliability of the questionnaire survey involved a total of 60 questionnaires were returned and was advertising. Data obtained by using descriptive statistics were analyzed in spss software. The results show that the most important factors related to Billboard functionality and visual appeal of it. The graphic designer advertisers’ role in the effectiveness of the advertising media that rely on innovative designs visually appealing design and use of billboards can promote commercial advertising billboards.

Mosques are places for spiritual presence of different kind of people which is decorated with various motifs. Oshtorjan Jame mosque is one of the most beautiful mosques in Ilkhanid era which is important in its entrance, alter and motifs and might be a challenging and open research issue. This mosque has aesthetic characteristics and special visual values. This paper introduces the Oshtorjan’s Jame mosque’s entrance in terms of motifs. This research aims to answer what and how visual and aesthetic values of Oshtorjan’s Jame mosque’s entrance and the motifs used in this architecture. According to results, it is specified that north entrance motifs are applied with stucco, brick and tile such as plants, geometric and graphic line. There is a conflict in simple walls without motifs and the entrance full of motifs which is thought provoking. In this mosque all kinds of Girih tiles and Eslimis are used. There is a symmetry in the entrance in terms of form and divisions, but it is observed the using symmetrical motifs of asymmetry.

The mental visual association of a vague and shapeless form may happen for anybody but only an artist can make an objective form out of it through drawing. This article studies the relationship between the visual associations of a random cardboard piece as the pattern drawn by the artists and the type of their personality as well as the level of their creativity. The samples consist of 80 artists in different educational levels including BA, MA and PhD in the Art University of Isfahan and Isfahan Painters Association that were selected by convenience sampling. A white piece of cardboard with an identical random form was given to samples on which they were asked to draw their visual association. Then, they were asked to answer a questionnaire made by the researcher along with Eysenck personality test and Torrance creativity test. This research is a quantitative study using correlation method and its data was analyzed drawing on descriptive-statistical and deductive techniques as well as SPSS software. The results of this study show that there is a significant relation between the type of personality, creativity and visual association; that is, the samples with higher level of creativity had higher personal sensitivity and were more extrovert relative to lower-creativity samples. The results also show that among various themes acquired from visual association of the cardboard piece only the association of “the man in hat” has a significant relation with the form of the piece so that the samples with higher level of creativity drew different themes whereas samples with lower level of creativity tended more to draw “the man in hat” theme. Moreover, amongst the samples, extrovert persons outnumbered other groups. The most prominent difference between extroverts and introverts lies in the association and drawing of “the man in hat” theme in which extroverts outnumbered other groups. There is also a significant relationship between the feeling of motion and various visual associations which may be due to the state or form of the piece.Hence, it could be suggested that there is a significant relation between the type of personality (introversion or extroversion), creativity and visual association among visual artists.

The Creativity and innovation in the Iranian painting, especially in the continuance of implications and subjects are associated with the name of Kamal-al-Din Behzad, as a prominent painter of the Timurid period during the second half of the 9 th/15 th century. His art works were completely free of textual restrictions and were integrated with the implications of his time. Therefore, they were unprecedentedly novel and rich. He created unique and fresh masterpieces because he was sensitive and talented and he was using the dominant ideas and thoughts of histime. Sa,di and Javan-e-Kashghari is one of his masterworks. In this study, its commitment to the literary source and the influences of Behzad’s contemporary artists on the theme of his painting are discussed. The main aim of this research is to emphasize on the influences of his contemporaries’ ideas and thoughts, especially the poet Nur-al-Din Abd-al-Rahman Jami, on Behzad and the reflections of these influences in his painting. The survey will answer the following questions: -To what degree does the theme of Behzad’s painting conform to its literary source? -How Jami – as one of his contemporaries and the most in fluential cultural figure in the society of Herat – affected the theme of this painting? This research with its fundamental-developmental purpose has used a comparativedescriptive method for collecting historical information and the quantitative and qualitative methods for data analysis. To sum up, it can be said that Behzad was influenced by Jami’s thoughts and beliefs after associating and socializing with such a great person who had a prominent position in Herât at that time. He used Jami’s thoughts in creating the theme of his painting besides its literary source which is a story from Golestan of Sa,di.

Painting decorations and ornaments of many historic buildings and houses of Qajar era are amongst the remained valuable heritage to which proper attention has not been paid yet. These are the works which have been ignored by many art experts and those interested in art. Akhavan Haqiqi house is one of the buildings ascribed to early Qajar time and its architectural decorations belong to the same period considering stylistic features and historical documents such as the inscription of completing the decorations of the building at 1274 (A.H). Regarding literature review and little available information, this research aims to investigate types and visual features of motifs and themes used in the mural paintings of the mentioned room. Accordingly, while referring to the significance and extraordinary and unique values of the building’s architecture and all decorations used in it, this research focuses on the aesthetic values of motifs and themes of the mural paintings in the room located at the northeastern side. This research aims to investigate, identify, classify, describe and analyze the features of mural paintings via direct observation and descriptive-analytic method. The results show that the motifs of this room have been drawn with eclectic manner of Qajar painting and, like many other houses of that era, include various floral, animal, human and geometrical motifs as well as subject like landscape and still life. Also, each of these motifs has been selected and organized relative to and following architectural space and different geometric sections of the building, especially the particular function of the room as the drawing room.

For Muslim Gnostics, “Time” has special meanings, implications and features which indicate “passing-away of human nature and manifestation of the Divine”. It is the very “Time” or “Present Time” when spiritual experiences and intuition of interior Truths happens. The “Present Time” is between the past and future, but at the same time includes both. Accordingly, Sufi Time is going on in the present “Moment”, the moment having no temporal dimension; therefore, it goes on in a place which has no extensions. Hence, Sufi Time means to be “present” in a place and time free from the regulations of ordinary place and time. It has its own existential features and characteristics. The main objective of the present article is to explore what the sense, quality, quiddity, and ontological respects of Sufi Time are, and what spatial-temporal features it has; the features that, eventually, at the mind of a Sufi will develop the time and space (the Present Moment- world of Dominion) which “coincidence” of the past, the present and the future, a contradiction in terms, is one of its features that dominates all his existential aspects. Regarding the research question, its history, and lack of related literature, the research method of the first part is descriptive-explanatory, and of the second part is descriptive-analytic. In doing so, we have relied on the views and terminology of mysticism so that we would unveil the meanings hidden in Iranian-Islamic mysticism and its rich culture.