asghar kafshchian moghadam

How to reflect the motifs of works left over from ancient Iran in the texture of contemporary Iranian painting according to Gérard Genettete's intertextuality approach is the main issue of this research. Gérard Genettete is one of the researchers who investigates any relationship between the text and other texts in a wider and more systematic way than Kristeva. Unlike Kristeva, he is also explicitly looking for relationships of influence and impressionability and puts any relationship that a text can have with other texts under the theory of transtextuality. Genette examines any relationship between texts, this examination includes all the details and dependents of the text. He studies the relationships of texts from the perspective of transtextuality in five subgroups, which include paratextuality, intertextuality, metatextuality, sertextuality, and hypertextuality. Gérard Genettete's theory of intertextuality as a subset of metatextuality; It is about the relationship of each text including artwork or other texts and its borrowing from previous texts and their reading. The influence of texts on each other has long been the concern of researchers in various fields, and sometimes the issue of plagiarism has also been raised, but in the present era, special attention is paid to the influence of texts on each other, and this acceptance of influence is not a reprehensible thing, but It is considered inevitable. In the current era, the text is neither a self-sufficient unit nor the result of the author's invention, but it has a plural nature that originates from other texts. So, with these words, in every text, traces of other texts can be observed and it can be accepted that every text is the passage of contemporary or previous texts, so paying attention to the intertextual nature of the texts and examining its predecessors can give us an accurate reading of the text. Genette used the term Kristeva to examine the impact relationships of texts. with the difference that Genette's intertextuality is more limited and practical than Kristeva's. He reduces intertextuality to the simultaneous presence of two or several texts and the actual presence of one text in another text. Genette's intertextuality is based on copresence; that is, if a part of a text appears in another text, either implicitly or in the form of a copy, it is considered intertextual. It has been said about several details that Genettete's typology of intertextuality is difficult because he never addressed it directly. In a work dedicated to intertextuality, Piquero has examined Genetteic intertextuality in four types, which include; Quoting, referring, stealing and hinting. Quotation is a perfect example of objective and obvious copresence of one text in another text. From Genette's point of view, the most explicit and literal form of intertextuality is quotation. That is, the text should appear in the second text exactly as it was in the first text. The second is referral. Citation often comes with documentation and means mentioning the sources that part of it is used in a work. In this type of intertextuality, a part of the pre-text is not present in the text, but sometimes this copresence is done by referring to the name of the work or its author. Plagiarism, which is the third type of intertextuality, is a less explicit and less formal form of intertextuality. In this type of intertextuality, a person tries to hide this copresence. Among the types of intertextualities that were expressed, hint has the least clarity in the copresence of texts. A hint is a relationship between two texts, one of which is obvious and the other is hidden. In most cases, an allusion is not a word but an image that refers one text to another. The purpose of this research is to pay attention to the capabilities of texture in the identity of contemporary Iranian painting. In this research, after introducing the concepts, the study of national and ancient textures and the presentation of statistical results have been done. The types of intertextuality are examined in them and the first text is also introduced. In this research, each and every painting has been carefully studied and their relationship with the previous paintings has been carefully examined. This research shows that artists are more inclined to prehistoric artworks in reflecting ancient motifs. The influence of Iranian painting from the contemporary art movements of the world has sometimes led to distance from Iranian culture. A part of identity building in contemporary Iranian painting is the responsibility of texture, which seems that artists have been oblivious to the capabilities of texture in reflecting national tradition and culture. The reflection of national and traditional culture in the texture of contemporary Iranian painting can play a significant role in enriching the works. The traces of the national and traditional art and culture of Iran in the texture of the paintings entered into the 8th painting biennial can be seen from three perspectives; Using the geometry of motifs and pillar design, using the texture of traditional arts in paintings and using ancient motifs in their texture production. Also, the multi-text analysis carried out in this article indicates that the texture in these works has been recreated by changing the pre-text. These changes and transformations, which indicate the metamorphosis of polytexts, are mostly based on their aesthetic and structural characteristics, which are related to all kinds of cultural, narrative, temporal, symbolic, environmental and Internal changes include deletion, addition and replacement and have led to maintaining the structure and creating changes in the texture of the polytext compared to the pre-text. In fact, the contemporary painters of Iran have achieved the creation of national and ancient textures by creating different types of distortions and changes, which, in addition to preserving the structure of the motifs, have changes in the style and type of execution compared to the original. This research inclines the view of artists to the national and ancient textures that have not been paid enough attention to, which determines the necessity of conducting the above research. The method of conducting this research is descriptive-analytical, the data collected through litreture review and the research analysis method is quantitative (with the help of Excel software) and qualitative. In the paintings of the 8th biennial of Iran, the pre-text of ancient motifs has been well used to create texture. The use of silk and Susa terracotta patterns, Parthian plasters, Sassanid period patterns and repetition of rhombic patterns, broken lines, circles, squares and triangles have created a powerful visual texture in the works. For example; In her work, Shahla Habibi used pre-texts from Susa pottery motifs in order to create texture, besides that, there is a great similarity between some of the overtext works and the pottery motifs of Persepolis. It should be noted that ancient motifs have special semantic characteristics. These features include different fields of vision and worldview. Considering that all the studied texts are related to a biennial and on the other hand, their pretexts are directly selected from Iranian culture, several points can be pointed out. First, due to the time gap of several centuries between pretext and hypertext texts, their influential relationship is longitudinal and temporal. Another point is that the cultural origin of multi-text and pre-text is the same. And another, based on the inherent nature of patterns, the rules of seeing the real world of patterns are different from physical quantities. Therefore, the multi-text works produced based on them will have an aesthetic system with the same principles and rules. Patterns do not have light by nature; therefore, their reflection through the repetition of motifs, as the visual texture of contemporary painting, has been successful. It shows the relationship of excitement and passion between them along with a little change and transformation. This means that the pre-text has undergone a transformation in the process of becoming a hyper-text, and therefore this relationship is of the type of tragonism. On the other hand, since multiple texts do not refer to only one pre-text, they do not have an exclusive pre-text; Except for a few works such as texture paintings by Shahla Habibi and Sima Shahmoradi, which are exclusive. In addition, the formal structure of polytexts is completely consistent with the pre-texts and has not had much effect on the process of becoming a polytext. By using national culture, textures have a good ability to create identity in contemporary Iranian painting. Due to being hidden in the visual memory, the national textures have caused the re-creation of the audience's collective memories, which leads to the painting effect becoming more tangible and creating a better interaction with the audience. One of the ways to create national textures is to use ancient motifs. This research dealt with the extent and manner of recreating ancient Iranian motifs in the texture of contemporary Iranian painting, relying on the theory of intertextuality and the hypertextual approach of Gérard Genettete.

In this study, the paintings of Hakop Honatanian, the unknown painter of Naser-e-Din Shah monarchy are investigated from the structural and thematic characteristics point of view. Contrary of the belief of the majority of art researchers, after the death of Sani-ol-Molk, the one who was appointed as the painter of Naseri monarchy was not Kamal-Al-Molk, but he was Hakop Honatanian, the Armanian painter, after his emigration to Iran. Following the political conflicts of the nineteenth century, Armenia, the Caucasus, and Georgia became parts of Russia. Because of the political evolutions, artists and prominent people especially Armenians concentrated in the city of Tbilisi, thus an improvement was made in the cultural, social and economic levels by the intellectuals at that era. Besides, by gathering of merchants and their trips to European countries, art of European painting entered this area, therefore artists acquainted with the European culture and started to use these new principles. In the sixth decade of the nineteenth century, the artists of the city established union and guild of the Tbilisi Painters which led to the creation of a new art school, so an appropriate space provided to teach and learn art. Concerning these conditions, the new Armenian art was flourished by the first modern artists. Most of these artists painted only face, and the most famous one was Hakop Hovnatanyian. Hakop Hovnatanyian received painting training from his father.  While he was preserving the painting method of his family, he tried to make innovation and creativity in his work, including his art monopoly of drawing a single face and creating a change in this style. Due to the recession and the arrival of the photography profession in the Caucasus, drawing portraits and other figures was no longer affordable and painting was stagnant. The recession and Hakop’s interest in eastern art and artists, especially Iranian art, led to his immigration to Iran in 1239 AD /1865BC and in the end of his life. Considering Nasser Al-Din Shah Qajar's interest in art, Hakop left for Tehran. Because of his genius and talent, he entered the Nasseri court. Hakop Hovnatanian painted a portrait of Nasser Al-Din Shah Qajar that coincided with the death of the painter of Nasseri court, Sani Al-Mulk Ghaffari Kashani. In this research, besides the introducing Hakop Honatanin and his paintings and also try to find the appropriate responses for the research hypothesis based on existence and nonexistence of the new elements in his paintings, it is attempted to evaluate the effects of these new elements on the painting of Nasseri era. Structurally, the new elements observed in the painting of the king in nature and using a weapon to show the power and thematically, after Hakop emigration, these elements expanded in the form of royal, courtly and religious subjects in his paintings. These evidences probably indicates that although Hakob Honatanian was a non-Iranian painter, he had created new visual elements in his works to present his creators by intellectual independence and pay attention to the culture of Nasseri era.

Saqakhaneh is one of the most significant artistic movements of the fortieth decade in Iran, which was formed with a traditionalist as well as modernist approach, proportionate to the time. The artists attributed to this movement, while respecting the ancient visual elements, created artworks that are dependent on the past, but at the same time different from it. What brings this group’s viewpoint somewhat closer to Shklovsky’s view of defamiliarization is the preference for the past. Shklovsky believes that everyday life is based upon the habit, and these habits make us be disrespectful of our surroundings. The need to change attitudes is also felt from this point, one of the approaches of which is defamiliarization. According to the mentioned points, the question is to what extent is Shklovsky’s theory of familiarization capable of being illustrated and expressed in the works of Saqakhaneh painters, and how did the influence of the artists of this movement on Iranian painting continue?

The present study aims to examine the thinking and ideas of Shklovsky and its adaptation to the approach of Saqakhaneh artists.

The historical-correlation method has been employed to achieve the desired results. The present data collection has been conducted by reading the image and viewing the works existing in the libraries and databases.

In this research, it was found that the artworks associated with the Saqakhaneh artistic movement can be considered within the framework of Shklovsky’s theory of defamiliarization. Although the Saqakhaneh school ceased with the end of this group’s working, then artist’s experiences had a lasting effect on the contemporary Iranian painting, and this thinking was pursued in various ways in the following decades.

Iranian painting totally represents the world of exemplification. This is mainly due to the desire of past painters to discover and display this heavenly world through imagination and themes such as stories and narratives. The display of the world of exemplification has not been limited to the past, and contemporary artists has also sought to exhibit this world in their works, and this has been an appropriate context for their creativity. The present study addresses the way to create the world of exemplification in the past and contemporary artworks and also the difference between its representations in the works of contemporary artists such as Farshchian, Darroudi and Hosseini in comparison with the past of Iranian painting.

The purpose of the current study is to examine and analyze how to display the world of exemplification in the past painting and to know how it emerges in the artworks of some contemporary Iranian painters.

The present findings are qualitative and are presented in a descriptive-analytical manner. The required information has been also collected through library resources.

The results of this study indicated that in the past, artists paid attention to the imagination to draw the world of exemplification and the contemporary artists have also benefited from this ability. The difference is that today every artist uses his own way of expression to demonstrate the power of imagination, while in the past, artists usually followed a certain style. For example, Farshchian by eliminating the reality and paying attention to the stories and narratives, Darroudi by disrupting the reality and imagination and creating unknown spaces, and finally Hosseini by displaying the reality but in the way that the artist imagines, have illustrated their powers of imagination.

Unique character dissimilarities are the invisible curtains behind the creation of works of art, which, of course, trace the origin of the creation of each work of art in this hidden dimension of the process of artistic emergence. Therefore, the inner self of each person, both positively and negatively, influences the creation of artists' works. The question that can be raised here is how the psychological components are reflected in the works of painters. In the meantime, an investigation on the art of artists such as Nikzad Nojoomi and Ali Akbar Sadeghi, who in the current period of popular artistic currents, try to express their psychological inner selves through visual language is necessary. In this research, accomplished descriptively and analytically using the library method, five samples of the paintings of each artist have been explored by selective sampling method and qualitatively analyzed information. The findings of the research indicate that the works of Nikzad Nojomi and Ali Akbar Sadeghi, which in a way strengthen the audience's mental abilities to understand the concepts and inner beliefs of the artist, are an interpretation of the psychological components in the works of these two artists. The results explain the importance of discussing the psychological components of artists and their artistic concepts, especially the works of visual artists, which is a tangible reflection of the hidden layers of their personality.

1. A study of the psychological components of the audience's mental ability in interpreting the paintings of Ali Akbar Sadeghi and Nikzad Nojomi. 2. An analysis on the paintings of Ali Akbar Sadeghi and Nikzad Nojomi according to a psychological point of view. 

Research questions:

 1. Considering the application of psychological components in art, how can the paintings of Ali Akbar Sadeghi and Nikzad Nojomi be interpreted and analyzed? 2. Which of the psychological components has more colorful effects in the paintings of Ali Akbar Sadeghi and Nikzad Nojomi?

Civilization of Iran has affection in other nations and influenced by them in during the history, however it has kept its traditions. Nowadays that affection of art of west is more than past, artists must be commitment to the past their culture and art. Inspiring from traditional arts in contemporary Iranian painting is one of the ways to identity creation to the contemporary Iranian painting. Tendency to the handicraft in contemporary Iranian painting is the main purpose in this study. The aim of this research is attention to abilities of the handicraft in creation of identity to the contemporary Iranian painting, also it can help to durability of handicraft art and its relation with contemporary Iranian painting. Statistical community in this research is paints of eighth painting biennial. In this study hand craft has been introduced at first, and then presentation of every major of handicraft has been investigated in table. In this research recreation of handicraft in calligraphy, traditional designing, qalamkAr, , geometry of motifs, pottery, tiling, metal mesh, emboss, carpet, hand woven, carve, is seen in paints of eighth painting biennial. This study show that 12.16% of paints which has been choose to the contemporary Iranian painting, has used from handicraft. Also this research result that artists have the least attention to the، hand wove، carve and emboss (2.2% in every major) in inspiring of handicraft and most tendency of artist in this identity creation is related to the traditional designing (33.33 %). This research can focus the attention of artists to the handicraft which have more ability to affection on contemporary Iranian paintings and help to creation identity of paints. The method of this study is descriptive- analytical and method of collection of information is using the library information.

The aim of this study is to express the semiotics of the element of water in the works of Andrei Tarkovsky and to create a new concept in the mind of the audience. In general, Tarkovsky's views on cinema and filmmaking have symbolic and poetic features. Also, by examining his works, it can be seen that the four elements have a special place in his films. The question that arises in this study is what does the semiotics of water as one of the elements of nature create in Tarkovsky's works? In this study, Tarkovsky's intellectual and theoretical foundations will be examined first, and then, according to the discussion of the system of signs from people like Fardinan.Christine Metz will be featured in two exclusive and cinematic debates. Semiotics, such as the valve between Tarkovsky's thinking and the image of his mind from that lens on the cinema screen, is one of the important points of this research. The water element is clearly selected from the four elements in Tarkovsky's films to be scrutinized in the scenes of Tarkovsky's work. As a result, what are the meanings of the use of the element of water in Tarkovsky's works and how he was able to use the elements of nature in his works in general?

Murals are the most important arts among all sorts of urban arts. We often concentrate on wall paintings and their color qualifications, but the turning point, which is the artist’s main job, is the relationship between the painting and the building. Although each artwork in a city has its own unique effect on urban surface, but because our city is full of architectural facades, obviously the most important urban arts which affect the city are the murals formed by architectural facades. The present article which is library based, analyzing and field verified, deals with the study of architectural facades with an artistic point of view, presents a solution to repose the architectural facades of the last decade of Tehran(case study: Enghelab St, From Enghelab Sq. to Felestin Crossroad), regarding the principles of murals. Hypothesizing this, it seems that architecture can be changed from its sheer functional role to a wall painting, preserving its functional role. In this way, by explaining a criteria and establishing a superior expert organization in the field of urban arts, besides reposing architectural facades, understandings of fine arts can be promoted.

It seems that providing a comprehensive definition of contemporaneity, despite the multiplicity of meaning in a multi-dimensional world, is a vague subject. In defining this word, some researchers contemplate only being present, (belonging to or occurring in the present or a person or thing living or existing at the same time as another) and the other group transcends of this definition with a different definition of contemporary, and defines contemporaneity in the concept of extra time. Addition of contemporaneity to artwork requires, above all, the answer to the fundamental question whether the contemporary period is essentially a certain time period of the art of a land, with all the works related to that period, or the contemporary word, only on works which are consistent with its examples. Sometimes the implications of the new aspect are transcended and the circle of belongings transforms the word. In the use of the word of contemporary with means of (at a time) all the works created at the present time are considered contemporary. But when we use contemporary with means of (with time), everything that is capable of recording and expressing the components of the present is contemporary. In this case, the mere existence of the form loses its fundamental importance, and the content of the work, insight and manner of presentation by the artist can make the work in any contemporary period of time with the current time. Here, time is important in one aspect, in the audience, and in other aspects, the artist and the work of art, are capable of returning to different periods And this is the concept of contemporary, which is considered as the most practical meaning in this research. Another look at the contemporary notion is an attentive look that at the time no longer matters, and the goals and missions of the artist and his co-operation with these goals, connects him with his contemporary word. If we consider art as contemporary to be capable of expressing the components of the present in today''s language, then perhaps a component of the time is no longer the only pillar and other components are replaced. The study of the theme of various ideas about contemporary and the presentation of a more precise understanding of this unconventional concept, in three semantic interpretations of time (at the time, with time, extra time) in this study are discussed. The research method in this study is descriptive-analytic and the method of data collection is library. According to the results of the research, which, more than other perspectives can be regarded as a rather precise definition of contemporaneity, is the reciprocal view. Based on this view, art works are not limited to being inhabited within a given time frame and may be adapted to the future with their artistic backgrounds. As a result, contemporaneity at the second pole of the work of art, that is, the audience, accepts time, but on its first pole, which relates to the production of the work of art, it does not embrace the time and space.

The current research, explains the relation between the concepts of illuminated arrays with the text of Quran and the mysticism texts of Iran. In other words, the main concern of this research is the discovery of the possible origin of arrays such as, ornamental loop (shamseh), oval medallion (Toranj), frontispiece (sarloh), frieze (katibeh), margin, cornice (shorafeh or sharafeh), as well as their relationship with Islamic and Iranian mysticism and its relevance to the content of the Quran. Approach/ Research

This is an applied research that based on inductive method and a descriptive and analytical approach that evaluates the Quran's Illumination arrays.

The abundance of related words in the Qur'anic text is very interesting. Words are associated with the lighting, include 8 items: 1- Noor (light) with 43 items; 2- Shams (Sun) with 32 cases; 3- Ghamar (moon) with 27 items; 4- Najm (star) with 13 cases; 5- Kowkab (star) with 3 items; 6- Ziya (brilliancy or light) with 3 items; 7- Mesbah (Lamp) with 3 cases; 8- Meshkat (kind of lantern or light) with 1 item. Also the words are associated with the nature, include 2 items: 1- Bahr (sea) with 41 items and 2- Shajare (Tree) with 27 items. On the other hand, some words have both this world meaning and other world meaning such as Ghalam (pen) with 2 items; and some words are not tangible to humans and related to the hereafter, such as Tuba (name of tree in Paradise) with 1 item. Not only the count of Qur’anic words related to Illumination arrays, but also the deep mystical concepts of these words in mystical texts of Iranshows a close connection between the arrays of illumination and the Qur'anic content. But this connection was indirect and presented in the context of abstract motifs. In the meantime, mystical texts are the best decoder of this hidden connection.

Regarding the frequency of Qur’anic words related to Illumination arrays as well as matching the mystical meanings of these words with Iranian mysticism, it can be said that the illuminator is inspired by the Qur'anic text to the depiction of illuminated arrays and by adapting these patterns to Iranian-Islamic mysticism, and they are chosen abstract shapes and arrays so that way for realization and expression of the mysterious manifestation of Holy Quran.

In the last few centuries man has been witnessing rapid technological development. So far advances in technology lead to better livelihoods in many aspects of life, including art. Technology has been sobering effect on the traditional art concepts to new meaning. The era of technology proceed the creation and reproduction of contents and functions of modern society which is rooted in everyday life.it coincides with the emergence of innovative and avant-garde art and commodity stereotypes in society which leads to a culture where art and life became intertwined together. So stereotypical values in art was common while as much fun without reflection was accessible to all.So by this way, it helps artwork to be reproduced and it has been available to the masses. This article is to explain the influence of technology in art and commodification of art through mass production. It uses descriptive terms and taking advantages of library sources such as technology, in order to review the impact of technology on art works and its aim is to explain the relationship of the technological community and art through the incorporation of art and everyday life. Reproduction of a work of art happens in a society that is inclusive of technology and capitalism. In a capitalist system, tangible and personal ties between producer and consumer is discrete. Artist for foreign (future consumer) that he will not see produce and this is the same market. Thus, the art, the material crystallized the value of the exchange, is approaching to the state of money, the abstract product.Therefore in such a society production was formed in the wake of the consumption. Following the production process, an exchange system is shaped. The mechanism affected by technology, is leading to changes in the nature and quality of artistic production. So Art inextricably linked with everyday life and becomes an integral part of it. so, in such circumstances, the artist is considered as a commodity producer of art. The artist makes unique works outside its monopoly with mass production. So an object disruption are influenced on the functions of human relations in society and therefore artwork as a concrete object in commodities will be seemingly normal. He used the media, materials and various tools regardless of the traditional concerns with the help of various technologies try to create art, or reproduce his artwork in order to be balm to the innate needs. As a result of the proliferation and Mass production, art is transformed into something accessible, and the artist with mass production and economic approach to art removed it from the framework of art. In this case the artist becomes the manufacturer and tries to look at the perfect effect of demand and supply and to convert their products to money. And finally out of the aesthetic approach, work of art becomes an object, so that there is no attention to aesthetic values and is provided as a product.

In recent years contemporary Iranian art has caught the attention of the people across the world more than before. Undoubtedly, successful presence of Iranian artists in recent auctions and their numerous exhibitions throughout the Europe and USA have been influential in the process of globalization of contemporary Iranian art. Meanwhile since nationality and religion are two significant factors in creation of distinctive identity for an individual and build his identity versus the identity of the other Iranian artist insists on his national and religious identity in order to continue to be successful in global scene and recognized by western audience.
On the other hand, western audience does also consider these elements to be the source of the distinction of him and the oriental other and via these identity-related features he recognizes Iranian artist and accepts him in the global scene. Thus, Iranian artist represents these identity elements in his work in order to be seen in global market. In this way Iranian artists seek to keep their eyes on the form and content of successful works in auctions for their fast entering to sale and transaction cycle. In other words, these new artistic works struggle to reproduce the same familiar national and religious elements with which the previous successful works have earned their fame. Insofar as in many of these works the use of the aforementioned elements by artist is not based on the relationship of the formal and content structure rather for the sake of injection of the symbols which are reminding national or religious notions that catch the attention of the audience. The methodology of the current research is descriptive-analytic and the data have been gathered by means of library studies

The objective of the present research was to examine how urban visual arts impact on the viewers so that the effective factors involved could be identified and analyzed. In this respect, the works represented in the Anniversary of Baharestan Urban Arts, Tehran, 2016, as a case study, were examined. Accordingly, the main question was that how the works represented in this anniversary could impact on the viewers. In this connection, Salman Vahdat (2016) examined how urban visual arts could attract people to the public spaces mainly by focusing on urban graphics. In the research reported by Narsis Sohrabi (2017), entitled Public Art: Place Making or Focus on Values (Case Study: Vali-Asr Street, Tehran), the extent of the public participation has been examined. Notwithstanding, apparently concerning the impact of urban visual art on the viewers residing in Tehran no study has been conducted so far.

The principal aspect of the Iranian paintings which makes them different from their contemporaneous works and also distinctive from its posterior ones would be the Artist's intention in creating aesthetic interactions between text and form as well as developing comprehensive theme of the same works. In fact the artist has done a great deal to use imaginary, fictional, lyric and historical events in the arrangement of his artistic composition to qualify his work (textual forms) from aesthetic points of view. The present research tries to study the answer to the most important question which asks about the quality of aesthetic aspects of form & text , their arrangement and composition in a framework whilst insists on interactions between text form display and aesthetic aspect of the same work. As a matter of fact, if the mentioned topic is to be studied through another outlook, it could be also studied if the presence of text in these paintings have been intentionally manipulated to attract the spectator's attention and concentration simultaneously to the image (text and form) to develop aesthetic scope of the same work, or the artist's effort to construct an imaginary balance of the work and the spectator's imagination capabilities have been viewed in the same artistic work? But, it seems that the artist has utilized this interaction as a visual quality in his work. So, in the present article it is tried to verify visual and aesthetic elements of the works while studying the visual factors of text and form to find aesthetic layers if the same work. By taking the above mentioned assumption into considerations, the aesthetic, context and comprehensive effects of texts have been assessed and studied. These studies besides the other structural and interactive roles of text and form in the selected works were instructed to hypothetical results. Therefore, it was understood that the view of specialists and artists who observe the Iranian paintings as the only textural imaging related to the text is not true! Furthermore, the analytical study of text and form and their qualitative and quantitative relations in creating a work with national characteristics had been the other aims of this research. So, in line with the present study two types of paintings were verified and assessed from the aesthetic and qualitative points of view. it seems that those paintings in which their artists have selected and arranged the text as a special composition are of particular visual interaction and comprehensive relation and if they are compared with the other works which their artist have used the text as the only textural elements among the image, the said provision could be sensed better. Thus, if these interactions in the Iranian paintings are analyzed and assessed through some assumptions that the whole artistic work is composed of color, text and form with their interactive relations, then you can find out the significance of the present research about the quality of interactive relations between text and form factors in the Iranian paintings.

Expressing the nature of the function of beauty in traditional art and its comparison with the applications in the modern art enable today’s human and artists to effectively exploit aesthetics in the works of art with an expanded mentality. Undoubtedly, an important approach for explaining the function of traditional and modern art belongs to traditionalists, including the ideas of Ananda Coomaraswamy, the Ceylonese philosopher. The present study aimed to evaluate and explain the viewpoints of Ananda Coomaraswamy regarding the function of beauty in the traditional art and its comparison with the modern art. According to the results, in the position of a traditionalist philosopher, Coomaraswamy adopted a unique approach toward arts and aesthetics, the distinction of which lies in its transcendentalism and spiritualism. Furthermore, Coomaraswamy believed in a functional difference between the types of beauty in the traditional and modern art, as in the beauty that aimed to obtain the most desirable expression and the beauty that merely followed the others’ satisfaction and self-expression. Not only does Coomaraswamy argue with the functions of beauty in the modern art, he also severely criticizes this concept. Nevertheless, Coomaraswamy does not totally dismiss the pleasure of aesthetics in works of art, but rather disagrees with the misconception that the ultimate goal of arts is the centralization of pleasure and the artist’s individualism. The current study was conducted with a descriptive-analytical design.

The murals painting designs have always had a interwoven relationship with place and the citizen. In the current period, the murals paintings in public spaces of Isfahan in most cases triggers on the citizens’ sense of place as the main audience for this kind of work which is not in conflict with the principles governing the structure of their historical background. For the same reason, in this research with the objective of studying the painting form and content, in the mural painting art, the versatility offered by the identity component of the public spaces of Isfahan in the current period is given to the citizens. Therefore, the main question is how to adopt the identity component place with mural painting designs using mural paintings; and the other question focuses on the respondent’s perception of values. For this purpose, by utilizing the intertextual approach, the relationship between the polygonal wall painting depicting the location and the citizen’s perception of the environment is addressed by analyzing the range of prior texts and intertextuality.
The findings indicates that a major part of the citizen’s perception is related to their surronding and constituent elements, like the mural painting designs which are taken from the ideas that directly linked with concrete and tangible realities in the physical environment, nature of activities, individual, and social relationship. For the same reason, lack of adaptability of most mural painting works in designing and implementation of designs suiting to a location in the current public spaces of Isfahan is rooted in conflicts causing form and content disruptions in the place identity component, like prior texts and intertextuality in time synchronization.

Among the visual elements, color has a special place in contemporary ur-ban life. Its interactive potentials, nevertheless, have not been realized as it should have been. The key elements of urban views, including frontages of buildings, green spaces, shop windows and shop signs, urban furniture, graffiti and the likes have always been represented with a layer of colour nowadays, with advancement of technology and a wide variety of newly-developed construction materials, taking advantage of color potentials, consistent with the cultural identity of cities, is felt more than any other time. Meanwhile, applying various visual effects of colors in urban views, reasonably, may help prevent many visual anomalies in cities and towns. The impact of color on the quality of urban spaces can be examined both visually and expressively. The present research aimed to study the effective interactive power of color in quality enhancement of urban spaces from functional, sociological, psycho-logical, aesthetic, symbolic and identity aspects. Data were collected based on library source and urban filed studies and were then described analytically.

One of the prosperous periods of Persian commercial carpet industry is the Safavid era especially the 10th and 11th centuries (A. H.). Governments’ attention to arts and artists and expanding the facilities on the one hand، and willingness of other artists such as illumination artists and Persian painters’ to beautiful designs for carpets، along with the progress of the dyeing industry، provided carpet weaving with a special place in the field of art and industry. The main question of the present study is: Who were the carpet designers at different geographical locations and in different times for various woven products? The main hypothesis in this paper is that in Safavid era، some of carpets were designed by famous Persian paintings artists. For this purpose، a comparative method has been used for comparing two survived carpet samples with the paintings of that era. It can be seen that the most of the arts، including traditional arts and architecture، were closely related at that era which indicate the existence of a unified artistic management in the cultural system of that period، and such responsibility was undertaken by the prominent painters and architects. The comparison of motifs of paintings and carpet may indicate that some of the carpets have been designed by some great painters such as Kamal al-Din Behzad and Aghamirak Isfahani and Soltan Mohammad Iraqi، etc and there are some valuable carpets woven directly under the supervision of these masters. On the other hand، some carpet designers were trained who followed their masters and this indirectly influenced the development of carpet motifs، so that the carpet designers were mostly inspired by these masters in manufacturing workshops.

Centuries ago،human being،having limited facilities،started to create art works on cave walls in order to achieve some of his everyday life goals. These art works enjoyed different liturgical and magical accepts. The passage of time،the progress in science and technology،change of the materials،diversity of the tastes and ideas،etc. caused art to be used in different other aspects of life. One of the branches of art which has a wide range of multifaceted definition and performance and run the executable, is graffiti. In today’s world،graffiti is considered as one of the symbols of urban،pop art. Although, Painting،colors and other decorative elements for beautifying the architecture have been commonly used since the ancient era،yet،by the change in the cities, structure and the appearance of new urban terms in modern world،graffiti has also changed. Todays،graffiti is not only found on walls and by common tools like brush and paint but we now witness a variety of artworks which can compete with other branches of art such as minimal art and has borrowed many of their characteristics in creation of new stylish works. This study tries to represent some of the delicacies and capabilities of the modern graffiti and environmental graphic in Iran which can be used as a mean to beautify the urban environment -as the main role of this art- decoration and as the structural principals of minimal. This study aims to represent a comparative- analytical study of graffiti with a look at modern arts such as minimal art and to help to identify graffiti and how to enjoy the capabilities of this art for making the environmental art and wall artworks dynamic throughout the city. This study is a practical one،based on descriptive،analytical- comparative principles. The collection of data in this study has been library- based and field- based. at first،the minimal art and graffiti have been introduced and then the similarities and differences between those  have been elaborated on and that minimal art can represent possibilities for graffiti artists by which they can create unique artworks in Iranian graffiti. at the end،the use of minimal art in modern graffiti and environmental graphic in Iran has been discussed on and suggestions for effective use of this art in urban environment of Iran have been represented.

Developments in the Persian painting enjoy a relative continuity and progression despite historic interruptions and the influence of foreign cultures, and many visual and thematic commonalities are observed in the works of different ages of the Persian painting. Symbolism as one of the tools of visual expression and a representation of concepts has brought many works of the Persian panting together both in terms of form and concept. Therefore, a survey on the symbolic elements and semiotics in the Persian painting is considerable with regards to the status of the symbols and the method of their application in various eras. Evaluation of the various symbolic elements through their categorization into geometrical, composed and natural symbols has prepared the ground for a better and more accurate process of studying the function of the elements, the symbolic setting and symbolism in general in the Persian paintings. The symbolic elements as representations of exalted and remote concepts and have evident and remarkable manifestations which have often maintained their connections with tangible reality. The Persian artist has exposed symbolic paintings with different functions, sometimes through a completely immaterial and abstract method, sometimes inspired by the reality, sometimes by exaggerating the actual characteristics and sometimes by composing different characteristics, which have facilitated the bounds and relations with intangible concepts and meanings in the picture setting by means of symbolic composition. In fact, the Persian painter in various eras uses the valuable background of Persian poem and literature as well as deep concepts of Iranian Wisdom and Islamic Mysticism, not to represent the tangible nature but to express the symbolic significance. Therefore, innovation and application of the symbolic elements in the visual language of the Persian painting in various eras have gone through a complementary process in terms of form and content.

It is obvious, that human react toward its surrounding and environment, and the dominant part of people's behavior is a reaction manner. Human receives the visual element of his environment by the optic sense, and then the mind react to these visual information, so it may have good or bad respond to them, depending on the quality of the visual information received. It is the basis of all environmental arts (urban design). In a big and important city like Tehran, urban arts should come to consideration seriously to be appropriate for an over populated city. Wall paintings play a big part in Tehran's contemporary environmental graphics, and so influence the visual face of city. After the Islamic Revolution or Iran (1357) painting murals in the public view of the city became so popular, and this process lasted for about 3 decades (from 1357 up to now). This considerable popularity of making murals in Tehran attracts the vision of every citizen, so it is important to know the Tehran's citizens idea about the visual face of their city, and especially mural paintings. In order to find out the citizens point of view about Tehran's cotemporary murals a questioner has been arranged and people were asked to answer it. This questioner is so ordered that goes from a total evaluation to more detailed questions. These questions classify the qualitative basics of urban murals, such as; aesthetic, structure, material, meaning, usefulness and the relation of these basics whit environmental aspects, like; architectural structure, visual environment, society, usage of the place, and etc. The more a mural is in harmony whit its environment the more successful it is. On of the most important factors in succession of every social creature is its popularity and usefulness of that creature. In this survey people were asked to evaluate the aspects of wall paintings by selecting one of the weak, middle, good, excellent, choices. This people were selected randomly from every social class as a sample of average society. We also try this questioner by another group of people, this group was academic artists which have specialized knowledge in according fields. The conclusions achieved from the first group show the ideas of average citizens, and the second group analyzed answers present a professional point of view about Tehran's contemporary murals. In this article a total review of achieved results are shown in tow charts, and the tables below each question show the exact percentage of people who agree or disagree that point. In this article the results derived from questioners are analyzed in three categories: the need of mural painting, aesthetic and structure of murals, and concept and meaning of murals. The studies of the answers result from the questioner outline the weak and power points of contemporary Tehran's wall paintings. This survey is mainly based on environmental study and it can help improving the quality of wall painting in order to have a more beautiful city which is the right of every citizen.