asghar javani

Geometry plays a crucial role in the design of structures in Iranian painting. such as painting, where a distinct visual language has emerged through the interaction between form and content, organized by geometric relationships and proportions. Therefore, the aim of this research is to study the calculated and purposeful geometric structure that aligns with the narrative theme depicted in the mentioned painting .For this purpose, the main research question is: how geometry has been integrated into the visual and content structure of the painting's hidden layers? Has the painter purposefully used geometry as a theme in the painting? In this article, the author employs the descriptive-analytical case method and library information collection techniques to comprehensively analyze the painting of The Prophet Muhammad’s Ascent to Heaven." The comparison and test results indicate that:1. In the Painting of The Prophet Muhammad’s Ascent to Heaven, the artist skillfully incorporates a meticulously planned arrangement of geometric and military elements. This creates a harmonious composition that effectively conveys the painting's theme.2.Moreover, the geometric symbols used in the painting express cognitive themes, irrespective of the total temporal, spatial, and technical conditions 3. The painter has employed the conventional technique of line drawing and integrated mathematical proportions and numerical relationships to organize the elements that make up the artwork.

Coronation of Toghrul Bek in Neyshabur in 429 AH and consolidation of the Seljuks in Iran, led to transformations and developments in arts which are well known as one of the highlights of the art of Iran. Among the pottery works of the Seljuk era, we can mention human figures with different functions and states. In addition to pottery, many gypsum sculptures in various and sometimes large dimensions have been obtained as high-reliefs from various regions, including Ray, which can be called sculptures that are attached to the wall on one side. These figures, only some of which have been mentioned in books and most of which have been placed in museums around the world, have been less studied and unfortunately non-Iranians have written more about these works of Iranian art than Iranian scholars. The present article, with the aim of typology of these human sculptures, intends to introduce these sculptures and to provide a specific classification for their recognition. The research question is that the human sculptures of the Seljuk era can be divided into several groups in terms of use, subject and materials, and what are the characteristics of each group? This article is among the qualitative researches which is done by descriptive-analytical method and gathering information in a field method and using the resources of valid libraries and websites. The statistical population of the present study consists of human sculptures of the Seljuk era, the exact number of which is unfortunately not known, and the samples studied in this article include 25 numbers that have been selected by available means .In the sampling process, only works have been selected that have a specific identity information and have been introduced by museums or scientific books, and their attribution to the Seljuk, Khwarezmian and early Ilkhanate dynasty is evident. It is noteworthy that the initial collected samples were 44, which due to the limitation and impossibility of providing all the samples, it is sufficient to mention the details of 25 samples in the text of the article .As result of the research, it should be said that the first point that appears from the human figures of the Seljuk era was the desire to build the statue in the period known as the revival of the Sunnis; a desire that is not limited to human figures and also shows itself in other examples of the Seljuk era. This tendency towards sculpture, which occurred in the handicrafts and architecture, was not confined to the above-mentioned areas, and eventually led to independent sculpture .As stated in the question and purpose of the research, the present article sought to provide a clear classification of human sculptures of the Seljuk era based on general characteristics (gender and general position) and specific characteristics including usage, subject and materials. In this regard, seven groups of general classification were proposed, including men on horseback, men sitting, men standing, mothers and babies, musicians, court women, and women and men. Standing men, which are in the form of statues, include hunting and military subjects made of glazed pottery. Sitting men are also independent figures, sculpted with the themes of attending "Mazalem" or "Sama", attending a ceremony of rejoicing, a servant, and unspecified subjects with glazed pottery and painted stucco .Among the standing men, there are sculptures of all three uses, painted stucco, stone and glazed pottery with the theme of the guard, the sultan and the warrior man .Mother and babies are merely sculptural vessels representing a mother breastfeeding, made of glazed pottery for use. The musicians (most likely women) are architectural sculptures and sculptural vessels as representations of women playing the harpsichord or "Dayereh" made of glazed pottery and painted stucco .Court women, like musicians, are architectural figures and sculptural vessels that depict a woman sitting or standing in a luxurious gown made of stucco or glazed pottery. The busts can be called the only group that are completely independent and embody the faces of court men and women through glazed pottery and painted stucco. The Eastern (Eastern Turkestan) and Iranian (Parthian and Sasanian) roots are evident in the type of making plaster figures and the painting of ceramic vessels.

Geometry has been one of the most important factors in the design of works in Iranian painting. As an identifying element, it has become the foundation for a distinctive characteristic in Iranian painting. In Iranian painting, a unique visual language is observed, which emerges from the interplay between form and content. This visual language is organized based on geometric relationships and proportions. In this article, the author employs the descriptive-analytical case method and library information collection techniques to comprehensively analyze the painting "The Killing of Arjasab by the Hand of Esfandiar in Ruyin Dej." The aim is to uncover the geometric structure underlying this painting. Therefore, the aim of this research is to study the calculated and purposeful geometric structure that aligns with the narrative theme depicted in the mentioned painting. For this purpose, the main research question is: What is the geometric structure present in the painting under investigation? Has the painter purposefully used geometry as a theme in the painting? The comparison and test results indicate that:1. In the painting depicting the killing of Arjasab by Esfandiar in front of the fortress, the artist skillfully incorporates a meticulously planned arrangement of geometric and military elements. This creates a harmonious composition that effectively conveys the painting's theme.2. The artist has reconstructed the geometric structure of the space by reducing the visual elements to basic shapes such as circles, triangles, squares, and pentagons. This is achieved through emphasizing geometric purity and utilizing a limited color palette.3. The painter has employed the conventional technique of line drawing and integrated mathematical proportions and numerical relationships to organize the elements that make up the artwork.

Geometry has always been one of the crucial elements of designing the structure of works in Iranian art and architecture. Due to its semi-abstract nature, geometry and mathematics are consistent with the origin of Islamic art (the world of forms). The abstract structure of geometric motifs presents a complete and pure effect of abstraction in comparison with plant motifs and slimes. These abstract motifs evoke inner and mental concepts. Due to its sacred approach, this feature has created an abstract nature of form and space that manifests the inner truth of objects. It seems that geometry in the traditional arts of Iran has become a unique quality framework for traditional Iranian arts due to its shape structure and special content as an element of identity making. This paper answers the question, how is the relationship between geometry and visual structure created in the covert layers of “the battle of Kay Khosro and Afrasiab” painting ? The research method used is descriptive-analytical with library and documentation data collection. Investigations on this painting shows that geometric relationships and rules based on order, balance and harmony have been applied in the arrangement of the composition of this work. By using the golden division in setting the picture frame, the painter has succeeded in placing the elements of the picture, like the group of warriors, soldiers, trumpets and horses.The painter recreates the architecture of the space by reducing the visual elements to the most basic shapes (circle, triangle, pentagon) and bringing these shapes closer to geometric purity, and a few main colors on the surface of the image and pure structural elements and it has been used in finding the key points needed for the placement of image elements. Furthermore, the painter offers an effective tool for creating dynamic spatial experience by using a covert grid infrastructure of diagonal carrier lines instead of the generally accepted horizontal-vertical spatial order. The result of the comparisons and investigations show that 1- In the studied paintings , the artist has discovered an exactly calculated organization of geometric and systematic elements of linear and formal relationships and presents it on the basis of pictorial and visual basics. 2- Through reducing the visual elements to the most basic shapes (circle, triangle, square, pentagon) and bringing these shapes closer to geometric purity, and a few main colors on the surface of the image, the artist recreates the pure structural elements of the space architecture. 3-The painter has adopted the traditional drawing techniques, mathematical proportions and numerical relationships in placing the elements of the painting.

Glory of interior architecture and variety of decorations is one of the architectural features of Qajar era to the extent that architecture of this era can be considered as the best sample of the connection between architecture and decoration. This feature is further manifested by the formation of a merchant class distinct from the market, at the top of its pyramid of power, prestige and wealth that were considered among the nobles of a city as a privileged class alongside clergy scientists and administrative agents. Presence of various decorations of mirror work, painting, tiling and plaster molding can be seen in the aristocratic buildings of this era such as the buildings of Yazd city. Yazd is a desert city where has a hot, dry and desert climate, due to its location on the edge of the desert. The special geographical location and the distance from the important administrative centers and consequently distance from the great crises and conflicts has led to some of the ancient monuments of past religions such as Mehr worship and Anahita worship that the people of the region adhered to it and continue it centuries before the Sassanid Zoroastrian religion . Today, Zoroastrians still perform their religious rites in the Zoroastrian districts and villages around Yazd, which are closely linked to elements from nature, such as soil, wind, fire and water. Cedar has a strong base than other species of this tree in Iranian literary and visual culture. The motif is especially in the method of common plastering in the Qajar era of this city, called Shir-o-Shekar, which has a thin plaster surface and creates tangible light shade.This motif can be seen in the architectural decorations of Yazd, with the least changes due to the time changes, in the form of brickwork, tiling, plaster molding, etc. Therefore, in this article, purpose was to enumerate the ritual and literary features of cypress in Iranian culture, to answer questions about how the revolution procedure of motif, the origin of concepts, variety and method of performing patterns, as well as how to form a role-centered set of roles same as Sarve Azad (free cypress), by a descriptive-analytical method and relying on available field and library resources. The result of this article revealed that the free cypress appears in three forms of cypress and mountain image, cypress grown in a vase and cypress with cow horn base in the plaster molding of Qajar buildings in Yazd, which one can see their connection with seals and pottery from the millennia BC to handicrafts and architectural decorations from recent eras. In these samples, decorative patterns, while adapting to carpet and tile patterns, are divided into two parts of calligraphy and Islamic. The foundation of Arabesque motifs in these specimens is plant motifs which have been combined with animal motifs in some samples. This study also showed that set of symbols that appear in a set of roles with a symbolic axis such as free cypress, are semantically related to each other

Social history is a sub-discipline of the historical sciences that focuses on the lower classes and less important groups of society and their role in the evolution of society, and in many cases uses sociological theories to analyze historical examples. Women, as a low-power group whose role in the development of society and the reports of ordinary history have received less attention, occupy one of the sections of social history. The sources of social history are very diverse, and artistic documents are one of the most important documents in this field. The present study seeks to investigate Safavid Composite paintings by focusing on a sample of them called " woman riding a composite camel" (as one of the earliest examples of Safavid Composite paintings that depicts a woman riding a community of smaller figures) and Explain the reflection of women and their role in the evolution process of society by using the theory of reflection based on the reflection of society in works of art.
For this purpose, in the collection of historical data, the documentary method and in the analysis of visual data, the method of inductive content analysis will be used. Factors such as the reflection of the dominance of women such as "Sultan Beigom", "Pari khan Khanum" and "Mahd-i Ulya" on the turbulent society during the the fragile sovereignty of Mohammad Khodabandeh (Simultaneously with the time of illustration of the works) that leads to transformtions of the role of women from smaller and sub-character figures to the main and large figures of society is resulted in this research.

After many years of absence of Shiite topics in Iranian painting, Mahmoud Farshchian experienced them in his works. Farshchian, as one of the most famous painters of contemporary period, built a new experience in creating painting with Shiite topics which was welcomed by the public and affected some of the Iranian painters. As “topic” is one of the important aspects of Iranian painting (Negargari), we considered topic, themes and the visual techniques of the artist as the main issues of this article. The aim of this study is to understand and explain the innovations of the artist in representation of Shiite topics and to provide the contemporary painters and researchers with a self-awareness regarding this aspect of Farshchian’s painting. To address the problem, we need to pose such questions as: what are the topics and themes used by Farshchian? why has he used such themes and how has he represented them or through what techniques he created his works? To answer these questions using an explanatory-analytic method for analysis, many data was gathered through studying and interviewing some painters and professors. The written sources, books and articles include data on biography, education, aspects of his style and his innovations in contemporary Iranian painting. Farshchian who was born in a religious family and trained under a Shiite system of ceremonies such as pilgrimage, mourning and resorting, has deeply affected and founded a Shiite aesthetics of his own. Like his family, especially his mother, he has gained his most effective educational experience in Mirza Emami workshop. Trained by Mirza, Farshchian gradually achieved a vision toward art; a vision which identifies art in relation to theosophy.  These two factors have deeply led him to represent Shiite topics with especial characteristics of his own. Moreover, his other masters like Issa Bahadori, and his trips to European countries to study the masterpieces of art in museums have also been influential.     Our study and analysis based on data extracted from sources, clarified that the approach he chose and his inclination towards Shiite topics are related to theosophical understanding of art and social condition in which he created his works. Shiite paintings in past schools of Iranian painting like the Ilkhanid, the Timurid and the Safavid schools, were made to identify and defend the Shiite beliefs which were gradually being welcomed by rulers and the public. After many years of absence concluding the Qajar period and the first Pahlavid era in contemporary time, Farshchian has connected Shiite topics to painting. In this connection, the artist has created a new visual identity for Shiite beliefs and topics in harmony to people and the needs of contemporary world to meaning and spirituality. So he has represented Shiite topics with a cultural approach to manifest Shiite collective feelings and meanings concentrated on Imams, because Shiite art cannot be imagined without Imams. On the other hand, based on a theosophical approach, the painter has focused on an empathetic and conceptual representation of Shiite topics about Imams and their status rather than a physical and narrative one. In this approach, Farshchian has put his stress on meaning and feelings. According to this approach, the artist has formed his Shiite themes in two sorts: firstly, themes regarding meanings related to Imams such as birth, martyrdom, asylum, pleading, guardianship, helplessness, orphanage and final coming of Mahdi, and secondly, themes referring to placement of Imam in this world and the world after death, like mediation, substitution, holiness, etc. These topics and themes have been managed through special visual techniques. So, in the realm of form making and visual techniques, Farshchian has used three kinds of composition in harmony with the themes: concentrative, triangular and vertical. These compositions have enabled him to choose and combine visual elements in a significant form. In addition to composition, the artist has applied visual techniques to form the themes of his own. He has reduced decorative elements to let the viewers seek the meaning, he has also used curved and nonfigurative lines to protect the figures and things from materiality. He has handled the colors in a significant way and emptied the space to reduce the physicality of the space as well as emphasizing on meaning and emotions. The way artist has used colors such as white and green is highly in accordance with Shiite beliefs and ceremonies. Such process of creation, helps the Shiite community to unify around Imam which is the core concept of Shiite identity. This function of Shiite works of Farshchian is achieved through the way his works are used and displayed. The museum in which the works are kept is in holly shrine of Imam Reza. Some of his works are used widely in illustration for religious activities.

Sociological study in art, establishes new capabilities and advantages for social planners and art society members. Sociological study of Farshchian,s Shiite paintings, which usually were welcomed by the public, more than the meaning, will provide the contemporary Iranian painters with self-awareness. This research will also answer to questions such as “how does a piece of art bccome fameous and welcomed, how personal background causes a piece of art be welcomed publicly, what are the affects of cultural conditions on artist personality and his works and what is the relation between society and artist and his work?

To answer these questions via an explanatory - analytic method for analyzing, much data gathered through studying texts and interviewing some painters and professors. This method in relation to the theoretical model used, managed data collecting and then analyzing, finding and finally concluding the results.

Sociological study of “Panah”religious painting (meaning shelter) to uncover the mechanism of social creating based on a local theory, made by professor seyyed saeed zahed, showed that the painting has been the resultant of artist action in background of personality, culture and social condition together. This comment means that we can not put our stress on one social factor alone, but examine the portion of factors which should not be supposed fixed in their portion of influence. Our analysis on factors and their  portion of affection made it clear that personality of the artist and cultural background have directly affected the inspiration, imagination and innovation of farshcian in “Panah”, but the social structure indirectly and unconsciously.The artist birth in a religous family and the Shiite system of training by mother according ceremonies like pilgrimage, resorting and mourning has formed and deeply affected his aesthetics. In this way his action is in accordance to shiite public culture and the kind of its aesthetics as far as artistic creation has been done as a religious action. More over, farshchian is relataed to social structure and condition in fifties. In this decade, he has a critical position toward cultural and political situation. His criticizing of modern styles of painting and alienation of modern artist is so clear. On the other hand, suppression of people in that decade has affected his works unconsciously and conscously.”under dominatin of power” is an example of direct and conscous political criticizing, but “panah” is indirectly affected. The artist unintentionaly has criticized the suppression of people by Pahlavid regime in half of fifties(1350) and then has refered to “asylum” topic  with a special visual structure. Mahmood Farshchian has formed the visual structure of “panah” painting by using concentrated composition, empty space, nonfigurative and colorless anatomy of imam to reduce materiality and induce helplessness of the Shiite under suppression. This structure represents the collective sense of shiite people toward the dominated condition in which the artist lives.

Our consideration of “Panah creation”, shows that Farshchian himself is more affected by informal structure of society or traditional pattern of relations especially family relations and Shiite collective ceremonies than modern and formal social structure. On the other hand, the work has been formed under the social condition and collective shiite sense in which shiite people are suppressed. It means that his visual arrangements are unconsciously affected by social suppression which has formed the elements and their composition.

In the history of Iranian painting, there has always been a significant relationship between painting and literature. The lyrics written alongside the paintings represent part of this relationship. The narrative in painting was in most cases based on verbal narration. The visual version of Luqman-the Wise's letter of advice created by Mir Emad al-Hasani dating back to the 10th or 11th centuries is one of the different illustrated versions of Iranian manuscripts in the history of Iranian miniature that forms an inter-semiotic relation of the image and the writing. Although no definite date has been recorded on this version, experts date it around the years 961-1024 AH, i.e the estimated time of Mir Emad's perfection in art. The images of this version are not signed, but based on their characteristics; they might be considered works of artists such as Reza Abbasi or Shafi Abbasi. Like many other Iranian paintings, this manuscript enjoys a combination of verbal and visual systems. The verbal system includes the text of the Letter of Advice itself while its calligraphy and the visual system encompass images, illuminations (extensive intertext illuminations and illuminated frame), tables, book binding, as well as visual and aesthetic features of the text. The first question occurring here would be: What characteristics do the two main parts of this Letter have in relation with each other? It appears that these two syntagmas and also two syntagmatic dimensions (time and place syntagmatic) are in a bilateral relationship. The most important characteristic of compound texts like this Letter of Advice is the difference in the reading of the verbal and visual systems. Although due to the aesthetic characteristics of calligraphy, the verbal features of this manuscript are reaching the limits of local syntagma. Moreover, the type of binding as well as the location of the figures create timing syntagma (This version of the manuscript has been bound in the form of an accordion, and thus a continuous text has emerged in which one can see all eight pages simultaneously). However, the main characteristic of this version is the interference of the written text and illumination which leads to the omission of some figures. It somehow causes verbal/visual systems and syntagmatic /paradigmatic dimensions to cross and establish a creative system. The question which is raised here is that how does the paradigmatic dimension work in this transcript?  Since Roland Barthes, the 20th century French philosopher, used the linguistic topics creatively in reading nonverbal or compound texts, this research attempts to study the compound structure of the Letter of Advice by describing by analyzing some of his ideas. He employed linguistic rules of syntagmatic and paradigmatic systems in analyzing nonverbal texts in which these two axes function in separated ways. For instance Barthes has been using the two axes of the language described in the "Sign-function" analysis of a restaurant menu. He also mentions some other creative systems in which some degrees of overlap, such as arrangements that cause some differences in readings, arise. In the traditional paintings of Iran, there has been separation and discontinuity between language and image. Thus, whether the language prevails over the image or the image overcomes the language. But the Letter of Advice doesn't follow the same rule. Even though its components are diverse and could not be completely combined with each other, due to having calligraphy and drawings at the same time, this manuscripts shows signs of connection. Just like any other illustration, the elements comprising the figures in this version are organized based on the syntagmatic dimension but due to the elimination of some parts, they are in fact connected with the paradigmatic dimension. The parts omitted based on paradigmatic patterns connect to the visual parts and unconsciously fill the blank in the readers' mind. Thus, the elements that formulate this illustrated version alone or separately do not fit into one of the two aspects of language and both aspects exist at the same time. Deleted and invisible sections contribute to the formation of a more dynamic relationship between the text and the audience because the mind of the audience fills the blank parts virtually. The final and consistent gestalt of the image is what is illustrated through a combination of the individual's characteristics and mind.

In the era of Shah Abbas I of Persia, open door policy extended communication with neighboring and non-neighboring countries, then various figurines and personalitiesfrom most participators and communicatorssuch as slaves, crews, ambassadors, businessmen, travelers, doctors and artists were appeared in miniatures. Miniaturistwere obligated to record directly and indirectly thesecommunication in their miniaturesand present the class of society through their works. Especially, miniature by Isfahan school which received a great influence of political, military and commercial events in this period, introduced a number of non-Iranian figurines. Here, particular attention was paid to British who established extensive relationships with Iran from Shah Abbas I era. Painting as a visual media documents events and relationships, hence the review of miniatures emerge the spread of communication in cultural, social and economic directionswithin the Safavid period. There have been many discussions and studies on the miniatures of the Safavid era, and in some cases, the influence of non-Iranians’ painting, especially European style, have been investigated. However, non-Iranian figurines in miniature of Isfahan school have not been distinctly discussed. Although non-Iranians have been mentioned in historical books of Safavid period, identification and study of their figurines in miniatures are highly required. This study aims to identify examples of British figurines and portrays in the miniature of Isfahan school and unveils effective factors based on components of face and clothing; accordingly, the main questions of the research are as follows: 1. How were British costumes introduced into the miniature of Isfahan school? 2. What are the facial features of British here? In this study, the investigation strategy is descriptive-analytic and data analysis is qualitative (description and interpretation), the data base and information required are collected in the form of text readings, considering the written social history, the Safavid social and political period is discussed. Here, miniatures of Isfahan school are selected, and by collecting cardimages, icons and portrays are classified according to qualitative criteria such as style, species and morphology (face, gesture, attire). This paper examines first the political, military, and commercial relationships initiated at the time of Shah Abbas I till the end of Safavid era, then individually, samples of Iranian and British figurines are examined in terms of their faces and clothing in miniatures of different schools. Finally, six miniatures of Isfahan School which have been influenced by British characters and paintings, are analyzed. Shah Abbas I and his successors welcomed British entrants to Iran. Subsequently, the British style and characteristics were gradually emerged in the miniatures of Isfahan school and influenced clearly works of some artists, then a series of human figurines went beyond the principles of their schools and included non-Iranians features which led to the emergence of specific samples. In this period, British came to Iran more than any other European nations, and helped Safavid dynasty in military affairs, such as training the army by Robert and Anthony Shirley and expelling the Portuguese invaders from Qeshm Island. After Shah Abbas I and during his successors, relations with the Europeans were continuedand influenced greatly Iranian painting. The observations show that works (including European with dogs from Reza Abbasi, Khosrow and Shirin meeting from Mohammad Qasim and ...) which are examined in the use of attires such as: clothes, boots and hats, have been highly affected fromstylesoffirst Elizabeth to James II era. Same asattires, facial expressionsalsoexperienced changes. The face skinis depictedlighter than Iranian portrays, closer to palefacesin paintings of English artists. This white face was covered with short, reddened hair, which, according to the images and sources available to the Englishman, always shave their beard and mustache, adding the white face. The face of British in most of portrayshas narrower eyes stretched more than ofIraniandepicted in miniatures. However, in the miniatures of Isfahan School, Britishstyle influenced facial expressions less than clothing, where examples of Iranian portrayesare still dominated. Finally, the emerge of these figurines in the miniatures of Isfahan school, the interest of artists of this period in the clothing style and modesand theirtendency to European paintings which pushed around the characteristic of Isfahan school, made European styleto take the chair from Isfahan school.

The” Man on a composite horse and elephant” Paintings of Safavid belong to the world- composite paintings class that the scholars have acknowledged for emerging and abundance of them in the 16th / 10th century. Despite the attractiveness, those works faced stagnation and changing concepts over the next following years. This research on the context of the theory of reflection attempts to explain the influence of society and the dominant ideology in the art works and analysis of the content of images and its adaptation to the Safavid society, the nature and function of the identity and function of the figurative compartments in those works and their role in society and the reflection of society on them. The most important achievements of this research are determining the present and absent groups in the community which is depicted in those works, extracting the main concept from encoding images including "Integrated and centralized governance" and "king as herder of ra’āyā", adjusting those concepts with the capabilities and defects of the ruling class ideology, having a critical look at the concepts and finally presenting reasons for the stagnation of their illustrations, such as reduction of the capacity of the early dynamic ideology and the wane of metaphors such as ”king as herder of ra’āyā”.

The most important factor in creating motifs in Turkmen carpet is the surrounding environment and the mentality of the Turkmen woman, including ram that has been considered as an effective factor in their lives. Ghouchak motif that comes from the Turkmen weavers' mentality regarding an animal in their surroundings is one of the most widely used designs that is seen in their lives. Ghouchak (horn of a ram) is a practical, religious and ritual symbol that is used not only in Turkmen carpets but also in other arts of this tribe such as gravestones, Namazlighs, jewelry and needlework. Therefore, this study tries to categorize the content (beliefs, customs of Ghouchak form among Turkmen people) and the structure (analyzing the Ghouchak form in Turkmen carpet). The statistical population of the present article consists of five carpets in sizes of 6 and 12 meters, and the sample size includes 30 Ghouchak motifs which are currently used in other Turkmen arts. This article that uses descriptive-analytical method, seeks to answer this question: what are the content and structural principles of different types of Ghouchak motifs in Turkmen carpets? The results show that the content of Ghouchak motif emanates from Turkmen's mentality, with various interpretations such as courage, power, and fertility derived from it, which have been the interface of past generations and the present day.

Art has very changes during the Seljuqs period and features that are distinguished from before and after and can be described as the unique attribute. A large part of these developments can be attributed to the cultural and artistic background of the Turks and the other part as a result of the culture of the Muslim Turks. The scope of these changes is so high that the art of sculpture and especially the human faces statue that had previously been (if we have not been, interfered with it) were out of circle, were once again addressed by artists and their supporters, and significant figures on subjects such as men Horse riding, men sitting in different modes, musicians, mother and child who were mostly created in Kashan.
One of the pottery sculptures that is very likely to be built in Kashan, which is held in the Khalili collection in London, represents a man kneeling down on the ground and wearing a hat on the edge of that date of 538 A.H. And the name of Sultan Tugrul, which has led to the formation of this figure as the image of Sultan Tugrul Seljuk. Under the rule of the Seljuqs in Iran and ruled three sultan Tugrul that between the first and third rulers, were about 150 years old. The point is that the history mentioned on the edge of the hat is not the same as the rule of the government of any of the kings who called Tugrul, and on the other hand, the technique of making figurines from the perspective of some experts in the early seventeenth century, the time of the end of the Seljuqs rule, and the presence of Khwarizmshahians in Iran. On the other hand, the figure is discussed by the experts as a chess pieces to the audience, but with carefulness in the manner of sitting the figure and with a Comparison with historical figures that were used in other geographies than Iran as chess pieces, and Also with studying historical texts and adapting behavior and covering the royal with the present figure, seems this claim is doubtful and far from reality.
The purpose of this article is to explain the function and the reason for the formation of this sculpture and consequently revision the mistake about this Iranian sculpture that has been introduced to the other world. This paper, which is a qualitative research of a fundamental type, aims to use the historic approach, using the approach- method of iconography and the basis of the Erwin Panofsky's views as the theoretical framework, using the historical sources coinciding with the subject and the analytical texts after It will achieve the answer to the question. Essentially, the method of data collection in this research is library method and It has always been trying to use the first-hand texts. The result of the research shows that the signs in the sculpture have nothing to do with chess pieces and are likely to be reflective of the “Mazalem”.

Reflection of Safavid Qalandars in "The Composite Camel with Attendant"Abstract Abstract Abstract Composite camel with attendant which is maintained in Metropolitan museum is the composite painting work of Iran and is related to third quarter of 10th -16th centuries. Like other composite painting of Safavid period, this painting has big figure in the center of its composition that is filled with smaller figures. This study is focused on the presence of human figures with different apparent features _one of which has been introduced as Buddhist monk in Metropolitan museum _and related social interpretations. accordingly, the issue of essence of distinguished and smaller human figures and the reason of their presence in mentioned picture; that is, social events which are related to depicting this work are tried to be answered by social history approach and reflection theory, documents and sources and descriptive-analytic method. Meanwhile, the most important findings include determining the essence of smaller human figures as Safavid bohemians (Qalandars) and pointing to the effect of them, their rites (such as Flag- Taking and Water- Carrying) and riots on depicting these smaller figures in mentioned painting.Keywords: Safavid paintings, Composite painting, Figures into figure, Safavid social history, Qalandar, Reflection theory.

Iranian painters had a closed and uncertain market in the late 1370’s, and the social conditions were not satisfying for emergence of an active art –however, after a while these conditions changed and improved. As the result, from Ordibehest 1384 ,big institutions such as Christies and Sotheby's established branches in the Middle East (Dubai) which paved the way for the Iranian and Arab artists. Iranian artists did well in this local market and got their position in international markets as well. This was the first huge step for the modern art of Iran. Certainly, Iranian artists’ participation in international markets in the early 21 century was significant, mainly in terms of sales. This auction has had a brilliant effect on the fate of Iranian artists and has linked them to international markets. Following that the presence of Iranian artists in the Middle East auctions began. Artists cannot easily participate in auctions, unless they have achieved the minimum requirements and the conditions for participation in the auctions. Individuals and institutions such as gallery owners and collectors, consultants, auction specialists, as well as other factors are to allow the works of art to be auctioned and give credit and role to artists. Therefore, economy and trade of the works of Iranian artists became an issue for governors. It is very important to pay attention to the questions such as: what are the causes of the success of Iranian artists in auctions? Which organizations and individuals were responsible for this participation and how? The purpose of this paper is to study the process of participation of Iranian contemporary painters in auctions. In this study the reasons for the Iranian artists’ success in terms of sales as well as the influence of people on this achievement (individuals and organizations (were explored. The descriptive and analytical methods have been used and data are collected from discovering interviews. The results show that artists participating in auctions were affected by four factors: cultural capital, social capital, economic capital and symbolic capital. These four factors can play different roles together and could make wealth in different combinations, but the best combination that could save the artists at the auction, gives them credit. It is first to know the cultural capital of the artist (for example, artist's background, creativity, intelligence and artistry, quality and variety in the artist's works), and the artist's social capital is absorbed (for example, the permanent and continuous presence of the artist in the art world, the artist's communication networks, the artist's character, the press attention, the taste of the agents of the auction, ...), then turn into symbolic capital (reputation). Finally, the combination of these capitals created economic capital. This kind of combination is a natural and correct process for participation in auctions. Artists can earn other combinations to achieve easier economic capital, but these capitals make a disproportionate combination which leads to the artist's failure in the next auction. Of course it may be that in a short period of time, obtaining the unreasonable emotional record of an auction, but that will not be permanent. Eight important groups considerably affect the cycle of art marketing: artists, inland gallery, dealer, inland counselors, external specialist, auction, external gallery and buyers. The most popular kind of participation of artists and artworks in auctions is through six categories of: artists, inland gallery, inland counselors, external specialist, auction and buyers.
The Iranian artists take part in sales events in two ways:1-Direct participating which is too difficult and lacks the guarantees.
2-Indirect participating that provides the guarantees and almost permanent participation. In the indirect participation method, there are many ways to get the artist's work to an auction, so that the artist himself may be unaware of his exposure to the auction. In this article, 17 types of participation are discussed. One of them is direct participation and the other 16 are indirect participation types. Of course, there are other paths that remain outside the scope of this article. Among these 17 indirect contributors to the auction, one is more conventional and well-known than the rest. In this research, the aim is to study the status and trends of the artist's presence from the first stage of production to selling it at auctions and determine what the current trend is and what is really going on

The impact of European painting on Persian painting from mid Safavid era, is one of the early signs of the Iran’s cultural encountering Modern West. This impact causes a trend in Persian painting even lasting to contemporary era. Studying appearance of this trend can illustrate a mode of Iranian’s cultural encounter with “The Modernity”. It seems that the projection of “space” in this trend, is the focal point of this encountering. In first layer, this essay is to describe the form of impact of Persian painting from modern illustration of space. This description is limited to paintings from 1628 A.D (year of Shah Abbas death) to 1722 A.D (fall of the Capital of Isfahan). In next layer this essay interprets this form of encountering. In other word, this essay quests about “How” and “why” of this encountering respectively in the first and second layers.
In First layer formal analysis of rendering the linear perspective in Persian painting showed that this technique was incorrectly and regionally implemented here and main current of Persian painting in this time, has a “synthetic” or “dual” space. However, perspectival space is a unified and universal space, this space set beside the residue of traditional space of Persian miniature painting that is originally based on a fluid perspective and in which “the particular” is dominant. When this setting appeared in Persian painting, learning perspective techniques was possible in Iran; but there was a historical obstacle or more exact, an ontological obstacle for correct and complete learning and using of this technique.
In second layer, using hermeneutic phenomenology approach, it is shown that this space is a “conflicting synthesis” which illustrates non-compensable ontologies encountering. It seems that this technique (Linear perspective) was detached from its ontological context and interred into a different context in which wasn’t able to expand and apprehend. Perspectival space is corresponding to the concept of space that Modern physics already is based on. The Science that justly represents the mathematical character of Modern ontology. But this ontological context was not existed in Safavid era. Besides, the Modern conception of space wasn’t existed in philosophy and physics of that era. And generally, the historical ontology didn’t prepare the required context for changing the concept of place as a qualitative concept to the concept of space which is a quantitative one. It can be said that before establishment of mathematical and technical projection of “Being”, this technique was entered into space of Persian paining as a commodity or an instrument. This reception associates with mode of encountering with “the Modernity” in which technological instrument’s receptions is prior to its projection of Modern ontology. Thus “the Non-simultaneity” can be distinguished in rendering of linear perspective in space of Persian paining. This means that liner perspective appeared in the space of Persian painting in Safavid era, the “age” that it didn’t belong to. “The Non-simultaneity” can be seen as the dominant mode of encountering with the Modernityý in the history of Persian painting since mid-Safavid era.

The main objective of the present study was to explain proliferation features of Mo’aqali (masonry script) “rotating scripts" in accordance with examples of historical value. A type of Mo’aqali script made of repeated circular words (rotating scripts) was analyzed in this study. This is in fact a masonry script that was called Mo’aqali scripts by traditional architects. These scripts are found in many forms from triangular to polygonal shapes with a set of features such as: symmetry, interlocked letters, expansion and three-dimensional effects. This study was conducted using a descriptive-analytical and developmental method with a set of data collected through library methods and field observations. Visual analysis was performed using cognitive maps. The sample of rotating scripts was selected from two rotating scripts, one with four repetitions of the word Ali (AS) in Nim Avard School in Isfahan and the other with six repetitions of the word Ali (AS) in Yazd Congregational Mosque. The findings of the study suggest the design of these two scripts and other rotating scripts, including those found in Qavamoddin Shirazi buildings and constructions follow the same rules. Using these rules, it is possible to draw new scripts and images in different forms. If the number of sides of images and the number of words within them increase, the resulting letters and words become vague and illegible. To compensate for this shortcoming, the number of circles forming the image must be increased. In this process, the center of the image is extended and the letters placed in the central circle are drawn with a different shape and this is necessary for the formation of letters in central and peripheral circles. In addition, in four-sided images, by eliminating a quarter of the image, and connecting the second and third parts together, it is possible to form images with three-dimensional effects.

According to many researchers writting of the great shahnameh was supported by ilkhanids to legitimize their dynasy by making relations between Ilkhanid kings and mythical iranan kings.
Purpose The current study aims to shed light on the significan role of Shahnameh in legitimation and Persianism of Mongols.
Method This artice has been written by the use of discource and liberary method and analysis of important paintings and is based on Foucault’s geneology theory.
Statement of the Problem in this article , persianism means the procces that Mongols went through in order to replace their own culture with Iranian culture and legitimize themselves
Conclusion It can be inferred from the results that contrary to the initial discourse1 which was based on Ghenghis’s yasa2 that Ilkhanid dynasty is devided into 3 stages :1.the first one is known for Ghenghis’s invasion and victories in wars and represents terror and fear.
2.this stage is called power and domination discourse because of ilkhanid’s attacks that led to conquest of iran.
3.at the last stage ilkhanid rulers converted to islam and became adapted to iranian culture. this situation caused the establishment of basics of persianization.
Shahnameh was used by Mongols in order to replace themselves with mythical kings of iran. they selectively chose some illustrations of Shahnameh that could be helpful in emphasizing the similarities of the mythical kings and Mongol rulers so that they could be more acceptable for Iranian people. this shows the significant role of Shahnameh on their way to Persianism and legitimation.

Great Ilkhanid Shahnameh is the beginning of a great movement of Iranian painting. However, the Shahnameh has seen several changes over time and identify these changes will enable researchers to prevent incorrect interpretation on this work and the history of Iranian art . In this regard, this study aimed to identify damages on the body of the Shahnameh repair and sell it at different times, has reviewed the remaining pages and enter the explanation of damages and changes, by the descriptive - analytical methods and by visiting the library resources and the study of painting and determine the type and volume of these changes .The main question is about the presence of some unusual and unfamiliar elements in the images of the Shahnameh. According to research data and analysis of the above mentioned examples: results show, the damage inflicted, during the restoration and repair, includes changing the margins, add elements of inappropriate images, qajar painting style of restoration and damages of isolation and disrupt the structure of paintings and pages and the completion of improper painting belongs to George Demottes period.

Graphic design tries to convey the message to the viewers through an effective and innovative process. It includes a wide variety of branches such as book illustration, trademark design, motion pictures, packaging, web site design, etc, all of which try to meet three basic functions: giving information or instruction, making introduced and identity presentation and advertisement or promotion. Each distinct function communicates with the viewer through a different way. Like other forms of visual media, graphic design conveys the messages through three different ways: representational (or simulation of nature), abstract and symbolic (or encoding).Different messages are generally expressed by different modes of graphic design approaches. The present study focused on representation approach in graphic design and on its justification usage. To meet this end, this study first addressed the content of representational approach, its different kinds and the ways it worked in graphically designed works for graphic design students and all those interested in this field. Meanwhile, different ways of communication as well as how they can be realized graphically were addressed. Since creativity always plays a major role in graphic design and seemingly representational expression conflicts with creativity, the present study aimed to make clear the relationship between creativity and representational expression. The main questions posed here include 1- In what ways representation is realized in graphic design? 2- Basically what intention is met by graphic representation? 3- How is a creative graphic representation possible? The data were collected based on library sources and on certain graphic designs. The results of this applied research were analyzed descriptively. The results indicated that in all three functions of graphic design mentioned earlier, certain objectives are met including believability, introducing, straightforward communication, attracting attention, establishing credibility, guiding direction, being convinced

Phenomenology has been center of the tradition of continental European philosophy throughout the 20th century. Phenomenology, as we know it, was started by Edmund Husserl. Husserl proposed practice of phenomenology by “bracketing” the question of the existence of the natural world around us. Husserl's suggestion was followed by a flurry of phenomenological writing in the first half of the 20th century. Maurice Merleau-Ponty, one of the famous classical phenomenologists, expanded a rich variety of phenomenology emphasizing the role of the body in human experience. He concentrated on the “body image” and “Body Schema”, our experience of our own body and its importance in our activities. He refused Cartesian dualism between soul and body and believed to subject-body. Many artists deal with digital and electronic technologies as a medium that suggests creative ideas to them. One of the newest of these technologies is Augmented Reality. Augmented Reality is the art of super-imposing computer graphics over a direct or indirect view of the real and physical world. Augmented Reality Art is artwork exhibited in a real world using Augmented Reality technology as medium. Since Augmented Reality Art is, fundamentally, digital art embedded into a real-world environment, it can easily be made interactive and animated. As the viewer must become involved in physically with the site to experience the artwork, Augmented Reality Art provides the embodied experience of the human body. Recent advantages in Augmented Reality applications have led to an important shift in the understanding of the nature and type of Augmented Reality and its novel areas of applications, such as Art. Although, the current progress in the field of Augmented Reality and Augmented Reality Art requires continuous logical and methodological attention. This paper is just a step toward understanding the concept of Augmented Reality Art. The goal of this paper is surveying the role of body in experience of Augmented Reality Art and provides a phenomenological analysis of Augmented Reality as medium in Contemporary Art. First of all, we will define Augmented Reality as a technology in new media era. Then we will survey it’s applications in activism, medical, and it’s Experiences for Museum Visitors .After that, we will describe the characteristics and the main aspects of Augmented Reality Art with a comparison between this new media art and pre-Augmented Reality Art. By using of contemporary interpretive and qualitative approaches to video analysis, we will analyze the natural data such as pictures and videos that has been downloaded from Internet. This videos show augmented reality artworks that were presented in 2011Venice and Istanbul Biennials. In the experience of Augmented Reality Art, the spectator is technically enabled to utilize the body schema to increase his agency as an embodied being. To improve this embodied experience, we have to develop a technology that is transparent that provide the transparency of directionality and the noematic one. The subject of this experience should not be able to see device or medium. Additionally, the object presented to subject must have the usual typology of perceivable object.

Today, digital technology has affected many aspects of human life and art is one of them. In contemporary art, many artists deal with digital technology as a medium. Augmented Reality, a variation of virtual reality, is the art of super-imposing computer graphics over a direct or indirect view of the real world. Augmented Reality Art is artwork exhibited in a real world using Augmented Reality technology as medium.
The goal of this paper is to describe the characteristics and the main aspects of Augmented Reality Art and to analyze the reality that is made by Augmented Reality technology. For this purpose we use Pictorial Image Consciousness theory which is proposed by Edmund Husserl. By use of contemporary interpretive and qualitative approaches to video analysis, we will analyze such natural data as pictures and videos downloaded from internet. These videos show Augmented Reality artworks that were presented in an exhibition by new media artist Josue Abraham in Merida, Mexico on April,2014.
The subject percepts the augmented objects as natural objects because AR technology presents them to us as existing in the real world and as common perceptual objects. In addition, action of subject is not different from the ordinary one.

Today, the dominance of modern media is growing thanks to various soft wares, graphic patterns and fonts. Although it has created a visually universal language to ease communication, it has also marginalized certain visual cultures around the globe. Such threats in Iran have appeared in the form of damaged views of cities and monumental patterns replaced with unfamiliar elements. In order find solutions to such concerns, every now and then, issues like Iranian identity, applications of Iranian pictures, and Iranian domestic content have come to the fore. The present study aimed to reach a comprehensive approach to deal with the problems mentioned and with how to represent domestic visual culture effectively. In fact, it aimed to revitalize national archetypes and to represent them in a new way based on modern graphic principles. The questions of the research include: what is the Iranian visual culture? What is meant by representation of Iranian visual identity graphically? The result indicated that Iranian visual identity is the visual similarity of a work to other Iranian works so that it is distinguished from the works of other nations. Iranian visual identity is divided into general and corporate identities. Iranian visual identity is inspired by representation and recreation of Iranian pictures and motifs. Visual corporate identity include formally approved symbols, and flags which generally follow certain norms and principles. Graphic representation of Iranian visual culture implies a given degree of similarity to Iranian visual culture so that the quality of being Iranian can be readily recognized. The present study is an applied qualitative research. Data were gathered based on library sources and media databases.

The illustrated manuscript of The Thousand and One Nights kept at the Golestan Palace is the latest illustrated royal manuscript and one of the most exquisite of all Persian manuscripts, which was produced during the Qajar period. It was completed under the directorship of Abu al-Hasan Ghaffari, Sani’ al-Molk (d. 1867) in collaboration with thirty-four painters, illuminators, book-cover makers and binders within a span of seven years (1853-1860). Although the names of some of the artists active in the project are known to us, the painter’s name has always been heavily clouded by the overwhelming name of Sani’ al-Molk, the master painter at Naser al-Din Shah’s court.
The present descriptive-analytic study is based on this hypothesis that the unknown painters of the manuscript Thousand and One Nights were chosen from among the prominent artists belonging to other artistic fields, and that if there is no mention of their names in the manuscript under discussion, it is possible to identify them through the structural similarities between the lithographically printed pictures and the paintings in the aforementioned manuscript. This study seeks to find out if the painter of the Thousand and One Nights manuscript could be one of the painters of the lithographic print of the Romuz-e Hamzeh.The similarities between the paintings of the Romuz and those of the Thousand and One Nights seem to substantiate the hypothesis that Mirza Hasan Esfahani was one of the painters of the manuscript The Thousand and One Nights.

The aim of intercultural translation is to communicate. Communication is acted via verbal as well as visual means. The interaction of verbal and visual means of communication makes a set of complex situations which demand special attention in translation. One context in which the interaction of visual and verbal elements gets vital importance is children’s picture books. Color is an integral part of children's books and a visual mode of communication. For the translator, to interpret symbolic colors, cultural knowledge of the source and the target cultures is required. To see how the cultural meaning of colors can be transferred and how the interrelationship of words and colors can be achieved, Nida and De Waard’s (1986) Adaptation Theory was utilized in this study. The theory was applied to eight children’s colored picture books aimed for school-aged children. Six of the books were originally written in English and translated into Persian and two of them were the other way round. The analysis of the data showed that the required features of the above-stated theory was rarely followed by translators and illustrators, and, except in one case, color symbolism was not considered by them. Findings of the study indicate that since visuals are inseparable elements of translating children's picture books, translators/illustrators should be dressed with enough information of visual-cultural aspects of translation in general, and of color symbolism in particular.