mansour hessami

Christopher Vogler’s hero’s journey, inspired by and adapted from Joseph Campbell’s renowned “Monomyth” is a well-known template and reference for Hollywood screenwriters and filmmakers. Considering the coincidence of Vogler's collaboration in Disney projects with the formation of what is called the Disney Renaissance and the prominence of this template in recent Disney animations, this article examines the structure of the heroine's journey in two of the most popular Disney Renaissance animations Little Mermaid (1989), Beauty and the Beast (1991) as well as the heroine’s journey in Hayao Miyazaki's two popular animations My Neighbor Totoro (1988), and The Spirited Away (2001).  The intent of this comparison is to find how Vogler’s hero’s journey apply to these different animations and also to examine the differences between the journey of Hayao Miyazaki's heroines and Disney's Princesses.This research is a descriptive analytical research. Upon defining each heroine’s journey, this article shows that despite the adaptation of Vogler’s Hero’s journey structure in Hayao Miyazaki's narrative, the non-patriarchal nature of the Miyazaki world stands in contrast to Disney’ patriarchal world where men are the position of power and judge female characters by patriarchal virtues such as obedience and beauty and don’t approve of heroine’s independent and adventurous nature. The existence of complementary female characters in Miyazaki’s works are powerful, independent and kind, and influence the heroine's journey in a positive way while in Disney’s animations the absence of such characters is prominent and the heroine is surrounded by male characters. The lack of traditional antagonists in Miyazaki’s stories allow every character to put on the shadow’s mask and take it off at any turn of the story. Both Disney animations have an antagonist whom wears the shadow’s mask throughout the story and dies at the end of it. Miyazaki’s female protagonists are active throughout their journey while Disney’s Belle and Ariel can be considered passive during the end battle. Miyazaki’s characters undergo greater evolution and growth in comparison to the Disney’s characters who only have minor changes. Miyazaki’s complex world in which character’s desires and journeys are not as obvious and simple as Disney Heroine’s desires, which are sung out at the beginning of the story. The diversity of the Miyazaki’s heroines’ elixirs in contrast to Disney’s elixir of romantic love, a love that would surely result in marriage, are some of the factors that distinguish the journey of Miyazaki's female protagonists from Disney’s heroines. The use of quiet climaxes in Miyazaki’s animations as opposed to Disney's action climaxes in which there is a spectacular scene with a physical fight resulting to shadow’s demise creates a different experience for the audience and distinguishes Hayao Miyazaki's character, narrative and the world from Disney’s black and white world of fairytale qualities.

Postmodern movement emerged in the 1960s as a reaction against modernism, the most important differences which distinguished it from previous periods were its attitude to the reality and critical attitude towards the certainty of science and truth. In this view, reality differs for individuals and is determined by the perception, culture and language. In this view, each person's perception of reality is the product of his attitude to the life, so the existence of an absolute reality is rejected. Postmodern culture does not represent a systematic and pervasive theory because every individual or culture measures reality in its own way; so they can be understood by their own criteria, not by a standard and objective one. People also use language to construct their inner realities, so each person's words and manner of speech reflect the internalized realities and their perceptions of reality. Based on what has been said, deconstruction can be considered one of the most important postmodern manifestations that has influenced not only on aesthetics discourses but also in the sciences such as psychology in the last three decades of the twentieth century. This approach seeks to eliminate and abolish universal principles and emphasizes diversity, plurality, differences, contradiction and relativity. Accordingly, postmodern psychotherapy also came under the influence of postmodern philosophy. Social constructivism is a postmodern view of therapy that believes reality is not outside to be found; it is built within each of us and socially constructed through the interaction of culture, perception, and language. So everyone is personally and actively involved in making his own reality. The purpose of this paper is to study and investigate the impact of the features proposed in postmodernism on postmodern art therapy in an analytical and theoretical way. The main question is to find in what extent postmodern art therapy is related to the concepts in postmodernism. In this study, it is assumed that the concepts discussed in postmodern philosophy are specifically applied to the postmodern art therapy. The results of this study confirm that the deconstruction of social structures and internalized narratives, the importance of multiple realities, the importance of social aspect of art, group and discourse-based activities, pluralism, the importance of audience interpretation, the use of metaphor and etchings as well as the use of different medias in creation of artworks are among the most important features that have been introduced and applied in postmodern art therapy. Postmodern art therapy began as a means of combating social conditions, with the idea that individuals are influenced not only by their childhood experiences in the family, but also by culture, ethnic, race, gender, politic and other issues in the life. In this context, art was used as a means of expressing multiple realities to establish mutual discourses and communication as well as identifying and eliminating the dominant narratives of life. In this way according to post modern art therapy all people have the ability to lead their own lives in ways that are both satisfying and socially productive.

Geometric shapes and motifs are a combination of the human spiritual mind which sees the existence of beautiful and paints a historical civilization through this vision. The geometric motifs are an expression of the rhythmic and balanced human beings possessions when the human being wants to imagine beyond the present and create a world full of love. The patterns/shapes are the basis of artworks and give a great prominence to it. In this paper, it is struggled to combine and analyze discussions and statements along the fractal geometry approach of Herat embroidery in order to determine the impact and effectiveness. The researcher intends to give a brief information about embroidery for a comprehensive understanding, and then to analyze the embroidery patterns of Herat and study them from the perspective of fractal geometry. Although this traditional art is a part of the tangible culture of Afghanistan, the use of the geometric structure in these embroideries shows the originality of art and culture of ancient Herat. Therefore, the study and analysis of this feminine and primitive art can be a useful step in the direction of the ancient Herat art and culture studies. Embroidery is one of the ancient methods to decorate the surface of fabric or clothing and is one of the traditional arts of Afghanistan, which has a great reputation and ancient history that has special interests in all countries. In Herat embroidery we can see a type of geometric motifs which adorns the male and female clothing in Afghanistan especially in Herat. Undoubtedly, the essence of each of these products shows the skill, taste, initiative and creativity of Afghan women. The majority of these women live in remote villages and hamlets and are engaged in this craft with a special interest in the fractal geometry Unusual geometric shapes that are most important feature of them are self-similarity and repetitive formation. These features can also be seen in the designs of these embroidery in Herat. The main questions raised in this paper are: What is the relationship between the Herat embroidery and the fractal geometry patterns? What are the similarities and differences between fractal shapes and embroidery patterns in Herat? The research in this paper is based on descriptive - analytical - and adaptive methods. The library method, field observations and interviews with embroiders in Herat were used to generate and gather the relevant information. The most important part of this article, which is the embroidered patterns of Herat, was in the form of an interview and to get the basic knowledge that has been taken from local customs and traditions, travel has been made to distant cities. After collecting the data, the results showed that the embroidered patterns of Herat have similarities and differences with the fractal geometry patterns and motifs. However, their similarities are far greater than their differences. In general it can be stated that these patterns by having the features like repeated formation, self-similarity and zooming to infinity are being counted as part of the fractal geometric patterns.

It is often thought that appropriation art doesn’t give rise to its traditional concept and place. Because there are secondary works in the world of visual arts that are taken from the original works. From a legal point of view despite their uniqueness, definite and certain material existence of these works, the situa tion of the author is not very clear. “How can be explained the authorship relations be tween the artist and his work in a work that a part of it (sometimes the whole work) has appropriated from another artist?” It is assumed that in all appropriation works the viewer and author are aware about the presence of the first creator in that art work. This study is descriptive-compar ative and interdisciplinary analysis. The research data are taken from the fields of contemporary arts, structuralism, intertex tuality, and intellectual rights, and have been extracted and collected in the form of libraries and documents, and through the tools of taking notes and observing relevant sources and references. In this regard, exceptions of international legal systems and Intellectual property rights in Iran. At the end, some suggestions includ ing preparing an art certificate has made to evaluate these types of works.

Joseph Campbell's "monomyth" or its adaptation in Vogler's book The Writer's Journey is a common known framework of a hero's journey among all contemporary writers and screenwriters, and there are a great number of works which are written based on this structure and can be argued that the writer had, instinctively and unbeknownst to himself, followed this model. The purpose of this essay is to analyze and pinpoint the deficiencies and shortcomings of Campbell's monomyth in regard to the female heroin and her journey, explaining that according to female psychologists and feminist theorists how this structure ignores women and their quests for wholeness and growth, to introduce and study different theories regarding the "Heroin's Journey" and explore Clarissa Pincola Estes' "La Selva Subterránea: Initiation in the Underground Forest" theory in order to analyze Hayao Miyazaki's Howl's Moving Castle (2004) according to Estes' structure and insight. Following the comparison of Joseph Campbell's monomyth and Estes' wild woman archetype, this essay strives to answer questions about these theories superficial and semantic differences, the diversity between their distinct approaches in defining the world and women's role and position in these worlds. As this essay is a descriptive-analytical essay, it argues that Howl's Moving Castle heroine journey follows Estes' "La Selva Subterránea Initiation in the Underground Forest" theory. The heroine of the story, Sophie, goes through all the stages which consists of the bargain without knowing, the dismemberment, the wandering, finding love in the underworld, the harrowing of the soul, the realm of the wild woman, and the wild bride and bridegroom.  These stages are depicted in her transition from a dull and depressed girl with no desire to a wild woman who acknowledges her power and beauty, breaks her own and her friends’ curse, rescues the king and finally finds her true love. Miyazaki with his unique storytelling had moved beyond Estes' King's journey in her "La Selva Subterránea: Initiation in the Underground Forest" theory and changes the path of Howl or King of the underworld in Estes' theory. It is discussed that in his change of narrative during the adaptation process, from Dianna Wynne Jones novel to his animation script, Miyazaki has combined Estes' king's Journey with Joseph Campbell's monomyth and thus has enriched and deepened Howl's Journey. Miyazaki's Howl goes through the three main stages of the monomyth (the departure or separation, the initiation and the return), and with Sophie as the one who calls him to adventure, the one who is his mentor, ally, goddess, they put an end to an aimless war and find true love. Additionally, Howl returns with the elixir, and becomes the wild bridegroom, which is connected to Sophie’s journey. He is a groom that has followed his love and after enduring so much hardships and escaping from the clutches of the natural predator of the psyche has become a man worthy of his wild bride. Thus Miyazaki, creates a new narrative structure and tells a story which is more complicated than his western counterparts, with more powerful and deeper characters that transform and evolve in a different and more beautiful way.

In the contemporary era, the increasing presence of women in the international art scene has been considered. The increasing presence of women in the visual arts, especially painting, has witnessed a great development in recent decades. The increasing presence of women in the field of visual arts, especially field painting, opens up the possibility of exploring the role of women in the field of contemporary visual arts. Women usually use ‘gender themes’ in their work and use their work to express their identity and representation and gender. This study examines the works of contemporary Iranian artist Mounir Shahroudi, who has been active in the international arena. His work is based on traditional mirroring based on the geometry and fracture of mirrors, so that it can be compared with the contemporary theory of gender-based theorist Lucy Lippard, which has been restated on the basis of failure. Lipard’s theory as an artis t A theoretical perspective is presented and then the works of Munir Farmanfarians are studied and analyzed with this view.The content of the present study is qualitative and based on a descriptive-analytical methodology and the method of data collection is library-based. How is feminine gender defined in the writings of Monarchs? How is Monir Farmans’ works analyzed with Lucy Lipard’s theory? Neha and its geometric order are in his works. Failure and cavity in his works is the main pillar of the work of art and is influenced by the norms of Iranian Islamic aesthetics in mirror art. Failure in his works completes the evolution of the final process of the work, and in this respect the most important development in his work is the failure of mirrors, and the process of traditional object transformation, metaphorical image, and failure occurs in the mirror. The mirror is used as the main element that symbolizes femininity and reflection. In his works, the composition of his works is arranged in an orderly and irregular manner, influenced by his life and worldview. In these works the failure of mirrors challenges the eyes of the audience and is a visual representation of reality. The reflection and repetition of her work can be a symbol of femininity. Unfortunately, good written works in this field were not found in Persian sources and most of the text is translated from Internet sites. As noted in the article above, the works of militarists as one of the most prominent contemporary Iranian artists have always been considered. His work is influenced by Iranian-Islamic art and traditional Iranian architecture. He was a modern artist who used traditional mirror material as a tool to show an abstract and modern approach to his work. The works of the Commanders are geometrical works based on precise geometry and mathematics.It is fragmentary and emphasizes the personal life of the artist, femininity and reproduction, as can be seen in the work of Monir Farman and emphasizes the assumption that her work has a feminine aesthetic and is based on repetition and formality.

Everyday objects are the basis of many exquisite similes and metaphors in Persian literature, many of which are less well known in the modern world and this leads us to fail to grasp the proper aesthetic of their reception in literary texts. The present study assumes that a criterion can be reached by reconstructing the expectation horizon for the aesthetics of everyday objects in literary texts. Now, in a brief explanation of this approach, the horizon of expectation in Hans Robert Jauss's perspective is a measure that readers use to judge, evaluate, and interpret literary texts of age and believes that it can be reconstructed with a three-step instruction. In this research, to test the effectiveness of this method, the expectation horizon of two illuminated light containers in Persian literature (Qandil and Lantern) was reconstructed.Thus, in the first two stages, based on literary texts, specimens in museums, or their images in some paintings, they recognized the real expectations of the people who appeared in the form of metaphors and similes, and in the third stage. By comparing the actual expectations of these dishes with their imaginative and creative reception in the literary texts, their aesthetic analysis in the literary texts was investigated. The result of these reconstructions shows that this method can achieve a better aesthetic interpretation than the everyday objects in literary texts.

Applied artworks of the Islamic era of Iran are generally presented in art history books with their features, main functions and, ultimately, their backgrounds. These works are also very general in dictionaries, with their main features and uses described. While treating the enormous treasure of Persian literature, the various features of the dishes can be identified and their aesthetic status found among their audience (users), and the information gained to breathe the spirit of life into the museum's silent works. Because Persian literature is full of descriptions of things that are obscene in today's world, and without knowing their true characteristics one cannot attain or even understand the poetic fantasies about them. In this paper, the method of the reconstruction of the horizon of expectation was used to overcome these defects. To explain this method, the horizon of expectation in Hans Robert Jauss's theory it has to be said, the criterion that audiences use to judge, evaluate, and interpret literary works of an age; and we can reconstruct it in three steps. It should be noted that the reconstruction of the horizon of expectation has been used for the study of few artworks. One of that is reconstruction of the horizon of expectation Roman sculptures. To collect information to reconstruct horizon of expectation, available studies of sculptures through lens of formalists and the social, cultural and religious conditions of that era were used. This study suffered from major limitations some limitation were: a) the failure to consider the social status of audiences, b) the inefficiency of the method in studying some unique objects, and c) the lack of a real distinction between the viewpoint of modern audiences and audiences from the past. Therefore without documentary evidence from the audience, one can only expect conjectures of people's expectations of the artwork of any age. It is assumed now that this article can reconstruct the expectation of people of any age for artworks based on literary texts. In this study, the horizon of expectation Tass was reconstructed as one of the most widely applied artworks in the Islamic period of Iran, as well as one of the most widely accepted applied artwork in Persian literature. The result of this reconstruction shows that it has benefited from this dish because of its deep form, as well as its use for some kind of jugglery to create imaginative metaphors and similes. To the extent that, using the topics of the chain of perception and the social function of literature in the Jauss's theory, the evolution of the perceptions to their expression on the horizon of the audience's understanding was addressed. Because, in accordance with Jauss’ chain of reception (development of works during successive receptions) and the social function of literature (the entry of literary works into the field of understanding of the audience of society), The series of Tasses receipts have appeared on the Tasses of the Safavid era after entering the horizon of public understanding of the community and everyone's agreement on these meanings. According to these meanings, they appeared on the Tasses of the Safavid era. It should be noted, however, that this research achievement is not limited to the case study of Tass; because on many of Iranian Applied artworks considered poems from the reception of the object itself. The result of this research shows that, based on literary texts, we can obtain extensive, diverse and documented information from the audience's horizon expectation of applied artworks of the Islamic era. Also, since the most detailed expectations of everyday audience of applied artwork have been the basis of many metaphors and Similes in Persian literature, this approach can provide a more complete understanding of past literary texts.

Gérard Genette named any relationship between one text and other texts “Transtextuality” and divided it into five categories; including intertextuality, paratextuality, metatextuality, architextuality and hypertextuality. We have conducted a case study of four paintings of the Iranian contemporary painter, Aydin Aghdashloo by using the theory of “transtextuality”. These four artworks belong to “the Orientals” series and they depict the Qajar king, Fath Ali Shah. The completion of subject matter and data used in this essay is extracted from library, record and thesis materials and the conduction of the theme is comparative and analytical. The aim of the essay is to evaluate the reasons, which made the theory of “transtextuality” an appropriate critical method for artworks of Aghdashloo. The other aim is to study the five categories of “transtextual” relationship in these four paintings, by focusing on “hypertextuality”. The findings show that the artworks of Aghdashloo are a perfect example of transtextual relations.

According to Pregnanz principle in Gestaltian psychology every visual pattern leans towards the simplest structural pattern. Here, the basic principle of assimilation which includes similarities in size, color, shape, positioning and spatial orientation, all affecting the generative quality of imagination, plays the most significant and influential role. Rudolf Arnheim, a major thinker in this field, questions another precondition under the principle of differentiation. He asserts that similarity is meaningful only when it is linked to division and difference since in the absence of such link, due to the many common features among the visual patterns, any chance of differentiation and recognition is impossible. Through the lens of this theoretical framework, images in the Mongolian Shahnameh, Imad Al Kottab, because of their integrity and compatibility with the criteria’s of the aforementioned point view, seem suited for this analysis. Therefore, this paper seeks the answer the answer to the question that how will the similarities in the idea of monarchy presented in the images of Imad Al Kottab’s Shahnameh be analyzed using Rudolf Arnheim’s differentiation principle? To better understand how rulers were pictured in the Qajar Shahnameh, six pictures out of this special edition will be studied using analytical comparative methods and library research. The result confirms that in all research subjects, because of replacing applicability with meaning, similarity surpasses division and the ability to differentiate is disrupted. In fact, the painter of this edition has pictured the kings by commitment to Fath Ali Shah’s aesthetics and devoid of any personal characteristics and the result is that the concept of monarchy replaces the personhood of each monarch. It is as if all the kings in this mythological literary text are defined, all the while to the end, as a single figure, the ruler, and it is not possible to make distinctions among them. In fact, it can be claimed that when monarchy is described in this Qajar relic meaning always comes before the title and is superior to it. Unintentionally, the painter, committed one-sidedly to the homogeneity in simplification principle, when demonstrating monarchy has left behind the differentiation principle. To do so he has used exaggeration, warm colors, arraying and other useful details, and replaced the various monarchy examples with what it means to be a monarch. As a result, one can claim that, when analyzed using Arnheim’s differentiation principle, the pictures in this version of Shahnameh turn out to be faulted and lead the viewer’s mind to amplify the similarity principle during its simplification process. It replaces all of them with the image of monarchy and ruling and puts meaning in the place of applicability. Moreover, it is worth mentioning that since this paper uses Gestalt’s psychology of visual perception in visual arts, scrutinizes Arnheim’s differentiation principle, and accommodates a scientific and practical theoretical framework to Iranian study subjects, the obsolete Imad Al Kottab’s Shahnameh, it maps new horizons for future researchers who plan to rely on any of these mentioned poles to break new grounds in a world of knowledge.

Surāhī (decanter) can be regarded as one of the most common types of drinking vessels in Persian art as well as one of the containers mentioned most in Persian literature (especially in mystical literature). In this study, in order to complete this information in the Safavid era, in both domains, the method of reconstructing the horizons of Hans Robert Jauss was employed. Explaining the theoretical approach of this research, the horizons of expectation in Hans-Robert Jauss thoughts are said to be a criterion used by peoples of every age to interpret, reinterpret, and evaluate literary works of their time. He believes that with a three-stage instruction, one can reconcile the horizons of the expectations of people of every age to the work. Jauss has also used the artwork to review the work, but without having to document the audience it is only possible to guess how the audiences' expectation horizons are. However, in this research the horizons of explicit expectation in the Safavid era have been rebuilt based on the many and varied sources found in the Persian literary texts. The results of the research show that by applying the method of reconstructing decanters' horizons on the basis of contemporary literary texts, we can experience a major revival of this work of art, and from this approach it will become possible to have a better understanding of the findings of this container in literary texts and in some works of art (especially the images of the angels holding that container in their hands).

The approach used by professional sculptors to come up with novel ideas is a kind of "Heuristic research". Based on their experimental skills in understanding and analyzing the design of a work, they investigate other's works and finally find the right way using a schema inference. Schemas formation can be considered as results of "deductive reasoning" and "visual analog strategy" in the ideation based on previous works. Although the method of deductive reasoning and visual analog design strategy along with ideation in the traditional way are common in the behavior and performance of artists; unfortunately, there is little academic records in the visual arts.
The behavioral studies in the process of creating a work is a part of "research design" studies. The designers create new forms based on the foundation of existing forms in the nature and what they find in the collection of artistic works. It is clear that the combination of visual data requires an understanding of the design and deductive reasoning skills as well. Portions of interdisciplinary studies in architectural design, namely “design studies”, have been done in this regard. The studies in this area have shown that most successful designers use visual stimuli, such as video records, for achieving success in the design process and ideation. Moreover, it has been shown that the use of visual analog design increases the quality of design solutions and ideation. In most cases, the value of a design is attributed to the deductive reasoning, and inductive reasoning is considered as a result of deductive thinking. The deductive thinking means conducting a new situation based on previous similar situations. In this way of thinking, two positions are always defined. The first situation which is a result of the analogous element, represents the old position and it is referred to the element of “analogous origin”. The new, position that the argument is carried on it, is called “analogous purpose”. Each of the analogous elements is representative of a position and the analogous is a systematic relationship among them. The analogous source and target can be represented by images. When the origin position is represented by a packet image in the mind, we get close to “visual analog" as the images could be applied in "understanding" or “problem-solving".
The purpose of this article is exploring the visual analog inductive reasoning and strategies to analyze the behavior of sculptors in the design process and ideation. This study, based on the qualitative- analytical approach and provides examples of the works by Henry Moore, Antony Gormley, Jeff Koons, and Richard Deacon. It explains the relationship between visual studies and process design ideation's records. The results of this study indicate that ideation analysis based on deductive reasoning has an academic, research and practical importance which can be helpful in the theoretical and practical training of sculpture.

Noticing the pictorial background, culture and the past artistic conventions along innovation are the most important factors to attain grandeur and identity of contemporary art in each land. Exploring the impact of symbolic concepts in Iranian emblem design constitutes the main purpose of this study. Thus, the goal and the basic matter of this research is based on investigating the graphic design roots in Iran and the way of applying them regarding the symbolic meanings, especially in Tehran university logo. This survey has focused on analyzing symbolic meanings in the relevant logo beside its pictorial background in Sassanid period through a plaster plaque. While a passage between pictorial past and design renewal in an expertly process can bring into life a new chapter of motif in every culture, it can develop a new graphic visual identity. On this basis it appears predominant to use semiotic knowledge with ancient asset in designing contemporary emblems; the characteristics of this Sassanid plaster plaque in brief are: 1.Wing and feather in Sassanid art are symbols of the Bahram god (Mars), which Sassanid kings due to their need for expanding the power of their divine splendor needed the patronage of this god. Wing motif besides being a symbol of the Bahram god can be a symbol of mythical Simurgh (phoenix) and its significant role in Sassanid art. Moreover it is a symbol of bird and ascending to heaven. 2. Circle is a symbol of sun and its surrounding pearls being a symbol of harvest, are two of Mithra symbols frequently seen in Sassanid art. In addition it is supposed to have a relation with Anahita- the water goddess; Motifs being placed inside this circle can be a symbol of divine splendor which help the designer to gain the organizational points of the university. 3. The short Pahlavi inscription placed above this Sassanid seal which means excessive glory is similar to the way the word "Iran" is written. There is also an apparent resemblance between the word of Tehran University writing in the present logo and the plaster plaque. This study besides observing ancient Sassanid legacy in designing Tehran University logo can be also outstanding for studying the main stream of Iran contemporary graphic design. Since visual value and conventional and national motifs are considered as the continuity of cultural stability of every country, rupture of this historical artistic process, which in recent years in the world due to communication expansion has entered into a new era, eradicates small non original identities and spreads dominant cultures. Therefore, it is advisable to use the conventional and national pictorial elements to develop a graphic visual identity and to actualize the potential capacities in creating logos. Recognition of Iran’s artistic identity and constitutive elements of Persian art in authoring artistic books on logo design, also presenting Iranian culture to the art students and graphic designers altogether with directed training can be effective for this goal. The Style of data collection is compound and the method of writing is descriptive- analytic.

In the swarm of artistic transformations in 20th century، works of painting also have got different «titles». In examining these titles، through passing the reasons for choosing them the role of title is introduced in encountering the audience and the way of affecting on the interpretation of audience. This research also tries to study about these influences through Ricoeur''s hermeneutics. Ricoeur explicitly states that the first realm that hermeneutics takes the responsibility to represent is the language. It is the language that allows us to talk about arts. In defining the language Paul Ricoeur is influenced by Emile Benveniste and stays away from structuralism. Like Emile Benveniste، Paul Ricoeur considers the language based on discourse; accordingly، each work of art is a discourse which conveys a message، and reveals an aspect of reality through the conversation with the audience. By presenting artistic work as discourse، audience and text are more important than author، and meaning of the work only becomes complete in action of interpretation by audience. Work refers to a world that encounters the world of audience، and audience by passing through stages of Ricoeur’s interpretation، that is، explanation، understanding، and self- understanding، interprets the work، in other words، the audience reaches the meaning. One can consider a role for title in this process which starts with explanation of the work، and finally ends up in self-understanding. Title can be considered as a part of the author''s strategy and can create meaning innovation through functions such as metaphor or plot innovation. In fact in the reading action of audience، title can give refiguration of the work to audience till audience can recreate meaning of the work in each interpretation and turns configuration of the work. As the painter of the 20th century demands the audience semantic innovation so that with the assistance of painting interlude and its title، the audience won’t be the inactive consumer of the thoughts of the creator of art anymore، but he should have participated in creating the meaning of the work by himself. Titles often play an important role in relation to the audience’s interpretation ever since the modern art. In modern painting، due to multiplied importance of structure of the art work for its creator، the narrative fades out and the titles get metaphorical function. Such a function could be seen during this period، particularly in the titles selected by Dadaists and Surrealists due to their particular perception of language. However، through transition from modern art to post modernism and with increasing importance of narrative، audience، and audience’s interpretation، the titles in postmodern paintings function more to devise plot because the artist’s strategy demands the audience to recreate the configuration of the work and to make his own interpretation via his contribution to plot invention. Procedure of this research was development-applied in terms of objective، and also، this research used a descriptive and comparative-analytic method، and data collected by library method were finally qualitatively analyzed logic and argument.

It is said that Persian painting has always been under Chinese influence after first and second Mongol invasions in thirteenth century (A.D) when Mongol empire was established in Persia. There is no doubt in the lack of artistic and cultural background of Mongols and the influence of Chinese on them. We have also heard of the arrival of Chinese artists with the Mongol governors in Iran but little has been said about how much Chinese art influenced Persian painting. On the other hand, the taste of Mongol conquerors was gradually formed or, better saying, corrected by Persian art and culture. There is not much research about the characteristics of Chinese painting during the Yuan dynasty and the origin of Chinese elements in Persian painting. Exploring these issues, we try to clarify the image of Mongol period. We will focus on the bilateral artistic relationship between Iran and China via looking at some manuscripts of Tabriz School to mention their mutual influence. Among these samples we can name: The Great Shahnameh, Jame’ al-Tawarikh by Rashidoddin Fazllollah, Manafe’ al-Haywan by Ibn Bakhtishu, Kellila va Demna and some Chinese examples from Sung and Yuan periods such as Kaoku Ming, Li Tang, Chaopu Chu, and some more. Our research shows that Persian art has influenced mutually Chinese art in this era. The research method in this article is comparative and qualitative based on a descriptive-analytical view.