فهرست مطالب mohammadreza sharifzade

Today, the use of online education significantly has grown in compared to the past. Therefore, the aim of this study was to determine the effect of components of the field of artistic aesthetics on online education.

The present study in terms of purpose was practical and in terms of implementation method was interventional with a pretest, posttest and one-month follow-up design. The research population was the fourth grade students of district 2 of Tehran city in the 2021-22 academic years. The number of 50 people of them were selected by cluster sampling method and randomly replaced into two experimental and control groups. The experimental group was trained for one month from Saturday to Wednesday in the field of artistic aesthetics in Skyroom, and the control group was trained with the usual method in Skyroom. The research tool was a researcher-made online education questionnaire with 13 items, which the face validity by the opinion of experts was confirmed, and its reliability with the test-retest method was obtained above 0.80. The data were analyzed by methods of variance analysis with repeated measurements and Bonferroni post hoc test in SPSS version 19 software.

The findings of the present research showed that teaching the components of the field of artistic aesthetics led to increase all variables of online education including music and sound, dramatic movements, imagery, visual arts, digital media and film, animation, storytelling and narrative, recognition of colors and lines, poetry and text, pantomime, rhythmic story writing, humor and puppet shows were improved in students and these results remained in the one-month follow-up phase (P<0.05).

The results showed the effect of the intervention based on the components of the field of artistic aesthetics on all variables of online education. Therefore, can be used the method of teaching the components of the field of artistic aesthetics along with other educational methods to improve online education.

Time, as one of the important components of "narrative", has always been one of the important topics of the science of "narrative" and the theorists of this field have discussed it. In the meantime, "Gerard Genet", as the most influential theoretician about the time of the text, has presented an independent theory about the factor of time and its role in the narrative, order And it is often distinguished. Looking at the play as a text with a conventional structure and relying on time, which includes elements such as: confusion, conflict, complexity, suspense, crisis, disaster, and landing, which follow each other in a certain order; The present research intends to use a descriptive and analytical method, while examining the temporality of the narrative play "Dehani Per Ya Kalagh" written by "Jamshid Khanian", to answer the question: what effect does the temporal model used in the play "Dahani Per Ya Kalagh" based on the approach of "Gerard Genet" have on Does this work have a structural aesthetic? Since time is one of the influential components in Jamshid Khanian's dramatic works, this article aims to show, based on the approach of "Gerard Genet", the special temporality used in the play "The Crow's Mouth" as a narrative, in order to plan and discover the hidden cause in The events and payment of the structure, creating suspense and attractiveness for the audience and adding depth and richness to the characters have been effective.

In relation to the Sacred War, dramatic literature includes many great plays, many of which are based on narratology and the conflict created by narration, storyline, and the point of view. If we accept that one of the play pathways, crosses the storyline in terms of analyzing the hero’s actions and their impact on story advancement through a visual narrative, then the interrelation between narration and criticism and its effect on the play and its storyline, can be determined. The Sacred War plays are good cases for such analyses because of using narrative capacities for storytelling or reviewing and recognition of characters’ history and life events. This research, using descriptive and analytic methods, investigates one of the main elements of plays, i.e. conflict across one of the most successful plays of the Sacred War theater. are employed in ‘Three passes of good life of a noble teenager and Ziba” by Alireza Naderi NajafAbadi? Conflict is one of the mode important structural elements and advances the storyline. Besides, focusing on conflict and recognizing the inner worlds of the character, Robert Mckee represents the three levels of conflict in terms of character action analysis. Thus, this research focuses on the levels and kinds of conflict according to Robert McKee’s extensive works to descript this viewpoint and element.

Considering the importance of the teaching and learning process and the role of artistic aesthetics in it, the present research was conducted with the aim of determine the effect of the field of artistic aesthetics based on creative drama on the teaching and learning process.

The present study in terms of purpose was practical and in terms of implementation method was interventional with a pretest and posttest design. The research population was the teachers of the first period of primary of district 2 of Tehran city in the 2021-22 academic years. A number of 20 teachers were selected by available sampling method and were trained by artistic aesthetics based on creative drama for 10 sessions of 70 minutes. The research tool was a researcher-made questionnaire of the teaching and learning process with 10 items, which its face validity was confirmed by opinion of experts and the reliability of the teaching and learning components by retest method was obtained above 0.80. The data were analyzed by the dependent t-test method in SPSS version 19 software.

In this study, 2 teachers due to personal problems withdrew from the study, and analyzes were performed for 18 teachers. The findings showed that the training of artistic aesthetic based on creative drama increased all six components of teaching and learning process including skill-oriented and skill-learning, lifelong learning, application of education, simultaneous activation of multiple senses, doing collective activity, and class vitality and dynamism (P<0.001).

The results showed the effect of the field of artistic aesthetics based on creative drama on the teaching and learning process. Therefore, to improve the teaching and learning process can be used the method of field of artistic aesthetics based on creative drama along with other educational methods.

One of the most significant issues and challenges of human existence since the emergence and advancement of technology is "being human." The meaning of "being human" (in this research), as opposed to machines, is existence with passion. According to the Danish philosopher "Søren Kierkegaard," passion is the most critical driver of human life. There is a belief that with the advancement of technology, human beings are getting closer to machines. Humans are entering the era of artificial intelligence and "transhumanism," which "Max Tegmark" calls "Life 3", not only the survival but also the existence of humans is endangered.. About two centuries ago, Kierkegaard, in his diaries and the book "Two Ages: A Literary review" pointed out that man is moving away from the passion in the modern age. The current research seeks to find the relationship between passion as the driving force of human life and the position of humans with machines and living in the era of transhumanism and artificial intelligence by examining Kierkegaard's opinions about the present age and human passion. As a result, by referring to Kierkegaard's theories, it is possible to understand that the best way to escape passivity for humans in the age of technology is to choose the authentic self and prove the spiritual existence of humans in the moral and religious stages, provided that such an idea is converted into action.

The present article studies and analyzes two different viewpoints on art and philosophy of contemporary art. On the one hand, Arthur Danto's philosophical views on the challenges of definition of art that lead to the theory of the End of Art and the Death of Painting, and on the other hand, the thought and works of Gerhard Richter, which led to the revitalization of painting. According to Danto's theories, the main purpose of this research is to study the position of painting after its announcement in the works of the German contemporary artist Richter and seeks to respond to topics such as the definition of art and the role of aesthetics in contemporary art. The main question is: why and how, after technological advances in the structure and methods of creating and producing works of art, the entrance of new media and challenges in the basic concepts of aesthetics, the art of painting returned to the Avant-garde  art scene and revived? To answer this question, Danto and Crimp's views on the End of Painting were first attention in a descriptive-analytical manner, and then the important role that Richter played in reviving the painting was discussed. The results of the research show that in such conditions, Richter knows painting as something beyond the image, and as this process continues, he opens a modified view of art history, which is a way to find personal and historical language in postmodernist experiences. Arthur Danto's attempt to evaluate Endism in the late twentieth century has been a source of inspiration for many contemporary artists and theorists. He believed that painting could survive only if it negated itself and could continue the efforts of conceptual and avant-garde art. Danto does not claim that no one works in art anymore, nor does he claim that no good art is made anymore, but he believes that a certain history of Western art is over and that "Art after the End of Art" pursues a new goal. In the face of this pluralism, Gerhard Richter focused his artistic work on how to continue painting in the face of the End of Painting and created a collection of artworks in which a critical and in-depth understanding of art history can be found. His strategy was to cope with the End of Art and break the deadlock of painting in the 1960s by turning to photography and confronting the efficiency of photographic imagery as a means of representing the outside world. Richter turned to photo-painting as a way to deal with the crisis in painting. Instead of creating his subject or inventing it, he turned to painting from photographs, thus trying to overcome the artificiality of painting and bring reality back to his artworks. But what is interesting about his work is the connection with his predecessors, the endless sequence of realism and abstraction that is evident from the juxtaposition of the paintings. A realistic view that goes to abstraction in the next work and reality is redrawn with a reference to abstraction. An endless rotation that spins on Richter's career path. The general goal is to know and discover correctly the issue of the End of Art and the Death of Painting and to determine the boundaries of art from non-art in the contemporary world and to explain the impact of these philosophical theories on art. When signs of Death of Painting were ubiquitous in the 1980s, even in the painters' own works, artists allowed their paintings to blend in with alien elements such as photographic images. Only in this kind of manifestation, which was in fact a kind of conceptual painting, could painting have a place for itself in the life of new art, and there was no way for it, except to infiltrate itself in some way in critical discourse and avant-garde approach and try to theoretically challenge art and painting while creating a work of art. In the contemporary interpretation, art was no longer a process of creation and construction, but a product of study, thought, and theoretical challenge. Danto found an infinite variety of art, as if the contemporary artist had invented a new kind of it, so that if one wishes, can interpret the End of Art not as the beginning, but as an invitation to unfettered freedom. He guided the way for a new kind of critique that could help us understand art in the post-history era. On the other hand, Gerhard Richter willingly declared his heartfelt allegiance to the great tradition of Western painting, and with his diligence in this field, he revived the Painting after the End of Painting. Richter's every attempt to add meaning to the photographs was his attempt to create illusion and nothingness. He used the artificiality of his artwork to cast doubt on what people thought of the photographs. If there is nothing to cherish, one's belief in the reality of photography is challenged. In this regard, Gerhard Richter's message should be clearer than anyone thinks. The truth has never existed. Therefore, enjoying art never seeks reality or truth, but pursues the labyrinth in the image, uncertainty and nothingness. This paper is extracted from PhD dissertation titled «Analysis and Criticism of Arthur Danto’s Theory about The End of Art and The Death of Painting Based on Gerhard Richter’s Ideas and Works» written by the first author under the supervision of the second author at the Central Tehran Branch of Islamic Azad university.

By explaining the function of the semiotic and the symbolic, Julia Kristeva describes the simultaneous movement of the two to express the language of art. By describing the subjectivity as an element that influenced by culture, history, and language, she describes the subject process/on trial and places it in art. In her view, art is the discharge of driving energies in language, which uses the jouissance of creation in the symbolic superstructure to epiphany. Hence, what creates a work of art with the help of effect can have multiple meanings, and in this two-dimensional structure, the viewer stands on the other side to interpret. The viewer enters to the process of creating meaning and his/her action leads to the creation of various interpretations. What is taken from human s emotional life by the dominance of symbolic discourse is reflected by art, and this action in semiotic functions, to transgress of the symbolic goes on , and the various interpretations of the viewer of the work as reconstructive revive subjectivities emotional life. This descriptive-analytical research, with considering the transgressive mechanism of the semiotic that constantly disobeys the symbolic, analyzes the power of art in the reconstruction and revival of the subject and analyzes the works of leading Iranian artists in the nineties decade from this perspective. We will do and the possibility of aligning the ideas of Iranian artists of the nineties, from different ages and climates, in the presence of an action indicating a tendency to transgress the symbolic structure will be assessed. Julia Kristeva is a poststructuralist thinker, and her definition of "subjectivity" is effective in explaining her path to processive philosophy and her formulation of the subject in process/on trial. The distinction of his views from Lacan, while being based on Lacan's ideas, has made Kristeva a prominent thinker. To define the subjectivity, we have to give a brief description of the meaning of "subjectivity" and its difference from "self". The distinction between "self" and "subjectivity" must be considered in Kristeva's definition of the subject in the process, in which case one can distinguish between the essential philosophy of essence, that which considers "self" as an independent and self-static element, with subjectivity that is in an intersection of language, history and culture. Kristeva and other poststructuralist thinkers believe that changes in opinions, events, and history affect human beings. This dynamic being, created from the past and present, is not a creature that can determine its own destiny in a desirable way. For to Kristeva, language, which is a process in motion and benefits from the element of synchronic, is different from the language of dominant institutions and discourses. Her intentionality is to show qualities in the underlying layers of language, as distinguished from the structure of formal literature. What is explained in Lacan's description of the chain of signifiers and the absence of meaning, in Kristeva's interpretation, considering desire as absence, becomes a symbolic chain that in practice surrounds desire, and the chain of kristeva signs contain meaning and productivity. Kristeva's idea about semanalysis is different from the way it provides meaning in language. Her idea to an aspect of signification that actively directs the motility of signs in an infrastructure from the symbolic level to semantic significations. Reconstruction of the subject involves the creation of a new object. According to Kristeva, interpretive action, through semanalysis, leads to multiple processes and multiple interpretations, which, while the subject collapses, causes its revival and multiplicity of interpretations. The structure of exceed of meaning moves at a level of semiotic motility that puts the subject in the process of reconstruction as well as the object undergoes change and reproduction. The rupture of the object produced in the interpretive process is considered as the regeneration of another object. Going beyond the conventional interpretation to something superfluous, in a sense beyond visible composition, brings the viewer closer to what Kristeva calls semanalysis. What can be deduced from the symbolization of avant-garde art is its revolutionary expression in the birth of creation of meanings in the interpretation of the work of art and the attainment of meanings beyond the common meaning, which is transferred from sign motilities to the interpreter. The first sparks of semanalysis formation in Kristeva's thought are intertextuality. In his view, semanalysis can provide a wide range of words, and in this regard, a wide range of interpretation arises from its relation to the work of art, and it has borrowed this from Bakhtin. In semanalysis, the stability of meaning is shaken and the interpretive flow takes the work out of monotony. The works of artists who create art in one direction will firstly have multiple meanings in that concept (violence, discrimination, inequality, and a desire to dismiss symbolic discourse) and secondly, perception by a subject within the same symbolic structure. It lives and moves the flow of interpretation. So Exceed of meaning , is produced in the semiotic disposition with the help of multiple interpretations that take the work out of the one-dimensional realm. Kristeva's explanation of the symbolic order is the destruction of the symbolic and its reconstruction, through which multiple meanings emerge. A work that stagnates common practices, disrupts previous direct interpretations, and advances multiple interpretations, has gained new credibility. By breaking down common discourses, avant-garde art provides a multifaceted expression in interpretive structure. In this research, we first describe Kristeva's views on the definition of subjectivity and examine its function encounter to historical and cultural changes, and then, by defining the exceed of meaning with her idea of the semiotic disposition, we analyzed the works of some Iranian painters of the nineties decade in terms of their alignment In disrupting the symbolic order and described the subject encounter to the work of art as analysts encounter to psychoanalyst. Through the various interpretations that the viewer derives from the work, we explain his reconstruction and analyze the function of art in society in order to revive the subject and disrupt the symbolic order and rebuilt the dominant discourse that is beyond the usual discourse definitions. Through the various interpretations that the viewer subject perceives from the work, his/her reconstruction was explained and the function of art in society in order to revive the subject and disrupt the symbolic order and modernize the dominant discourse that is beyond the common discourse definitions was analyzed. In this approach, the idea of Iranian artists of the nineties decade, from different ages and lands, showed the alignment of artistic actions that from the discourse of each exclusively and specifically, the existence of an action indicating a tendency to transgress the symbolic. This approach According to Kristeva, the surplus of meaning is explored by the viewer and led to the interpretive flow is manifested in the works of each of them.

Wars leave indisputable adverse effects on social conditions. Upon the abatement of social traumas left from the World War II, Germany, that had suffered a lot during this time, encountered the question of defining the future. In the meantime, struggling to duplicate the developmental values ​​of the capitalist system and particularly the American consumerism, the country endeavored to present a fresh look. However, the fierce actions resulting from the unstable conditions arising from the world powers’ clash was not only still prevalent, but each day, such condition was emerging in a new form in another part of the world. The development-based values ​​of the Western society were spreading alongside the war ruins. The cold war was the official manifestation of the violence rooted in the ideological confrontations of the World War II. The ferocity of war and its aftermath in a society does not end at a specific time but runs through the history. For a long time, artists keep reflecting the terrors, humiliations and frustrations caused by wars in diverse forms of art. Postwar events and developments left a profound impact on the world of art. Post-World War and frustrations, Cold War challenges and concerns, economic crises, etc. comprised some of the major external elements that made the world of art no longer tolerate conceptual and minimal expression and agree or oppose to the politics of its time. Even the humiliations and frustrations of war was manifest in various forms of art for a long time. Just like others, the artists were witness to the cruelties of their time and suffered although they were not soldiers. In such circumstances, creation of artworks was a reaction to such events in the artists’ style. Anselm Kiefer and Georg Baselitz are among those artists each of whom have responded to the life events in their own specific way. In Germany, many artworks were created to portray the aftermaths of war in a new style influenced by expressionism. Such style is referred to as ‘neo-expressionism’. Employing descriptive-analytical method of research conducted through the desk study of library resources, the study at hand surveys the effects of war on the works of artists who created their artworks under the influence of the turbulent postwar period. Moreover, it seeks to illustrate how the consequences of suppression, such as violence, are portrayed in works of art. Through examining the form and content of the works of artists who have only seen the postwar ruins, the paper analyzes how social and political conditions can affect the works of artists of one specific era and beyond. Keywords such as violence, necessity, deficiency, etc. used to analyze artworks are generalizations that can be derived from an author's point of view in artworks. Hence, no criticism is absolute and artworks require repeated surveys and reviews in the framework of social, cultural, political and artistic developments. Evolution in the world of art world calls us to review the art of the past eons. This study seeks to take a closer look at the works of the two German artists using Žižek’s commentary on violence. The main purpose of this paper is to examine the hidden origins and aspects of violence in the works of postwar German artists based on Žižek’s viewpoints. In fact, the research mainly aims to address this question that how a human being suppressed by and humiliated in war, engages in the world of art. Artworks are ever involved in politics and social affairs whether consciously or unconsciously, explicitly or implicitly. Apparently, this is not a new or even a contemporary phenomenon. If politics is considered a matter of power or relevance, every work of art, even the most conceptual one, is linked to its own contemporary politics and is its product. Wars do not necessarily commence and conclude at a certain point of time; contrariwise, they engage with the cultures and societies for successive periods. Reflection of personal human experiences such as pain, grief, rage, and the like, for which there is no external equivalent, constantly make the contemporary artist face this question that whether such experiences can be demonstrated as art objects. The outcomes of this paper indicate that art is an effective and influential tool that communicates directly or indirectly with human thought and worldview as well as the society conditions. It is within the developments of the society that art currents are shaped and it is in the same ambience that they find meaning. But since the work of art has ever been considered beautiful throughout the history of art, it has been unable to portray ugliness and inequality, because for the audience, a work of art is beautiful and this accounts for a kind of failure for an artist who protests against social conditions.The ferocity of war and its aftermath in a society does not end at a specific time butruns through the history. Postwar events and developments left a profound impact on the world of art. Post-World War terrors and frustrations, Cold War challenges and concerns, economic crises, etc.comprised some of the major external elements that made the world ofart no longer tolerate conceptual and minimal expression and agree or oppose to the politics of its time. Even the humiliations and frustrations of war was manifest in various forms of art fora long time. Just like others, the artists were witness to the cruelties of their time and sufferedalthough they were not soldiers. In such circumstances, creation of artworks was a reaction to such events in the artists’ style. Anselm Kiefer and Georg Baselitz are among those artists each of who have responded to the life events in their own specific way. In Germany,many artworks were created toportray the aftermaths of war ina new style influenced by expressionism. Such style is referred to as ‘neo-expressionism’. Employing descriptive-analytical method of research conducted through the desk study of library resources, the study at hand surveys the effects of war on the works of artists who created their artworksunder the influence of the turbulent postwar period. Moreover, it seeks to illustrate how the consequences ofsuppression, such as violence, are portrayed in works of art. Through examining the form and content of the works of artists who have only seen the postwar ruins, the paper analyzes how social and political conditions can affect the works of artists of that era and beyond. The research method in this paper is descriptive-analytical and it is done using library resources. This study seeks to take a closer look at the works of the two German artists using Žižek’s commentary on violence. The main purpose of this paper is to examine the hidden origins and aspects of violence in the works ofpostwar German artists basedon Žižek’s viewpoints. In fact, the research mainly aims to address this question that how a human being suppressed and humiliated in war, engages in the world of art. Artworks are ever involved in politics and social affairs whether consciously or unconsciously, explicitly or implicitly. Apparently, this is not a new or even a contemporary phenomenon. If politics is considered a matter of power or relevance, every work of art, even the most conceptual one, is linked to its own contemporary politics and is its product. Wars do not necessarily commenceand conclude at a certain point of time; contrariwise,they engage with the cultures and societiesfor successive periods. Reflection of personal human experiences such as pain, grief, rage, and the like, which we do not have an external equal, constantly makes the contemporary artist face this question that whether such experiences can be demonstrated as art objects. Keywords such as violence, necessity, deficiency, etc. used to analyze artworks are generalizations that can be derived from an author's point of view in artworks. Hence, no criticism is absolute and artworks require repeated surveys and reviews in the framework of social, cultural, political and artistic developments. Evolution in the world of art world calls us to review the art of the past eons. The outcomes of this paper indicate that art is an effective and influential tool that communicates directly or indirectly with human thought and worldview as well as the society conditions. It is within the developments of the society that art currents are shaped and it is in the same ambience that they find meaning. But since the work of art has everbeen considered beautiful throughout the history of art, it has been unable to portray ugliness and inequality, because for the audience, a work of art is beautiful and this accounts for a kind of failure for an artist who protests against social conditions.

Ontology has always been an important topic for thinkers from presocratic philosophers to philosophers of the Enlightenment. Considering the existence and appearance of Man, as well as the periphery and its constructive nature, is a reflective matter. Heidegger, with a rigorous military formulation of existence, put forward a plan based on the universe of Dasein, and called Dasein, in the sense that he has his own being, taking care of the "Surrounding World" in order to make his own formulation. Heidegger, using the definition of the "Surrounding world", believes that Dasein, when he comes to these possibilities, always reveals himself to the Invironment. According to Heidegger's definition, Dasein in his Being-in always faces with Being-with future that there is a picture of the present, which reveals itself through perceiving the periphery of the world. In this paper, our goal is to use the key phrase of average kind of mean understanding to examine whether the Surrounding World in the works of painting futurism, according to Heidegger's thought of the "Being-in-the-world" of Dasein, can be an approach based on the Fusion of horizon with The world of art or not. The research method in this paper is descriptive-analytical and is done using library resources. With using the entrenched system of combining the effects of futurism and its kind of relationship with the Surrounding world that Heidegger used to explain the concept of Disclosedness and the concept of dasein s Care, many of the effects of the futurism movement can be analyzed, The intellectual world of painters and thinkers and indeed a kind of Fusion of horizons is emphasized.In this research, we intend to explore some of the effects of futuristic painting using the idea of the Surrounding world, Disclosedness, the concept of average kind of, and time sequence (as Heidegger forms the time).Man has a kind of not-obvious average kind of environment surrounding him. For example, when he/she is in writing, not only is his attention to writing, but also an average kind of his surroundings. He finds the desk, recognizes the chair, and in general has an understanding of his environment that does not disrupt the senses of his writing, but at the same time understand them all together, but there is no obvious perception. Heidegger believes that Dasein finds herself in her own being, and that has a precise understanding of the world.The Surrounding World is a collection of humorous alternatives that surrounded him. This tension brings to him an average kind of understanding, and in all of his states and cognitions, he introduces an unusual mean to him. Henceforth, found that, which is based on Heidegger's thought, it has a direct relation with the structure of the peripheral world. Man is in his care, is in Being-ahead-of-itself, because he has his own being and this concept means Being-ahead-of-itself. The concept of “Disclosedness” for Dasein is an understanding that relates to the Surrounding World, which can be said to reveal inaccurate knowledge of the Environment and to explain the concept of Being-with and now. So Dasein, at every step that he has, has a modest understanding of the Surrounding World, and this is well illustrated in the works of Futurist painting. In this study, the structure of the composition of the works of Futurism with Heidegger's key interpretations was examined, and the purpose of it was to examine the concrete form of what Dasein encountered with his Surrounding World and his explicit understanding of this encounter. A way of reconciling the horizons can be seen in the Heidegger's peripheral world and the nature of futurism paintings. It must also be concluded, therefore, that Heidegger's formulation has become possible for the futuristic paintings to be conceived and interconnected. With using the entrenched system of combining the effects of futurism and its kind of relationship with the Surrounding world that Heidegger used to explain the concept of Disclosedness and the concept of dasein s Care, many of the effects of the futurism movement can be analyzed, The intellectual world of painters and thinkers and indeed a kind of Fusion of horizons is emphasized.

Handicrafts, as the productions of activities involving the making of decorative or other objects by hand and also as a rich source of Iranian culture and civilization, have unique potential in introducing cultural features and social beliefs to the world. Utilizing this potential, especially among the international addressees of handicrafts, requires employing modern and ingenious information and methods. Packaging can act as a valuable medium for introducing Iranian handicrafts to the global market and improving its status in an effective way. Iranian packaging is due to the very limited history of advertising and industrial design in the West. This issue has caused problems such as mismatches with identity and Iranian culture. The lack of creative packaging in harmony with Iranian culture, has led to dissatisfaction of Iranian handicraftsmen. On the other hand, in order to prevent the export of these products in bulk and with national identity, it is also necessary to consider multicultural packaging patterns. One of the effective indexes in selection and purchase of the packaged goods is the identity-giving factors. In a traditional market where goods are unpackaged and buyers directly contact with the goods themselves, consumers directly view the goods and cannot fully check them before they are purchased. In addition to the information on the package, the apparent shape and overall packaging condition inform us with a view of application, quality level, price range and product identity. A product such as chocolate, in a typical package, with the same product in ultra-luxurious and luxurious packages, offers different identities. As a result, they will target different buyers. In the same vein, the present study was conducted to identify an appropriate method to provide a good design for Iranian handicrafts while considering exports approach, in such a way that the identity-giving visual elements appropriately reveal the Iranian taste, identity and culture. Expressing the identity-giving factors is impossible without considering the effect of packaging in identifying the goods. Hence, in order to access the information of this project, after presenting the definitions and functions of packaging and determining the basic visual elements in packaging, the effect of handicrafts packaging in exports was investigated. Considering the significance of the multi-cultural packaging in products’ exports, this issue was investigated. Finally in order to consciously integrate identity and culture in designing packaging, the culture-oriented, in order to design a product based on culture, analyzes are done in three areas of user, design and product. Models of designing were proposed. By employing the proposed designing models, it is revealed that the packaging design, while considering the cultural elements, can ascertain the adaptation of the proposed solutions. Moreover, with a better understanding of the experiences of other purchasing cultures, it can present functional and effective solutions in this field while maintaining the Iranian cultural and identity attributes in designing handicrafts’ packaging. In other words, the use of cultural experiences of the producer and buyer group by the designers of the field of packaging of handicrafts improves the proposed designs.