zahra fanaei

The promotion of social interactions is one of the most important manifestations of successful urban spaces. But in the present era, the increasing use of cars and the gradual domination of pedestrian movement has reduced the social participation in urban spaces. This issue, while addressing the importance of social interactions in urban life, raises the need to return to the category of pedestrians. Therefore, the present study is based on identifying and evaluating the factors affecting the promotion of social interactions in pedestrian streets. The present study was conducted as a case study in Chaharbagh Abbasi Pedestrian Street of Isfahan. This research is of applied type and descriptive-analytical research method and an attempt has been made to determine the importance of each of the effective criteria and indicators using the opinion of experts. Therefore, effective criteria for promoting social interactions were identified in three components: physical, social and activity-functional. Then, using the Analytic Hierarchy Process (AHP) and Expert Choice software, the importance coefficients of the criteria, sub-criteria and their prioritization were determined. The study population consisted of experts who were randomly selected to answer the questionnaire questions. The results indicate that , the physical criterion with a weight of 0.31 is more important than the other criteria and the sub-criteria of visual diversity and permeability of the main physical criterion with a weight of 0.29 have the highest coefficient of importance in the process of promoting social interactions from the perspective of experts.

Identifying and analyzing the visual effects of the word Mustache of Allah in the Holy Quran Mustache, which embodies the image if the way in front of our eyes, is mostly used in the Holy Quran with the suffix Mustache of Allah and is often combined with jihad in the Mustache of Allah. This research seeks to recognize the verses of jihad analyze the reasons for honoring the efforts of Islamic warriors and to look at the lofty status of Mujahideen and martyrs in the Path of God. The word Moustache which is used about 173 times in the Holy Quran is one of the most used words in the importance of the use of this word in the present era, we will seek to understand the meaning of the Moustache, from an aesthetic point of view, and interdisciplinary activity. "Quran and art" in the field of Quranic research we will report its results, The Holy Quran paints a smooth and sometimes rough road in human thought. A person who for any reason decides to follow a path needs a path even though this path may be dark and winding, but in any case the appreciation of stepping on this path is in evitable for every path and the passerby has a vital in order to reach his very laborious and rough for the Mujahideen of Gods way just as the path of any desired and loved one can be like this.

After the Islamic revolution, the urban appearance and the main facade of the houses have undergone changes and lost their coherence and integrity, which has been influenced by globalization and the modern period. The aim of the current research is to explain the role of individualism as one of the components of the modern period and one of the factors affecting the main facade form of the houses of Isfahan city in the period from 1979 to the end of 2018. In this research, 135 houses in the city of Isfahan have been selected and researched by descriptive-analytical method using library documents and field studies, and the findings have been analyzed according to the qualitative method and through comparison and interpretation. So far, many studies have been conducted on the mutual effect of the environment and humans on each other, but the investigation of the effect of individualism on the facade of buildings was done for the first time in this research. In the tradition, credit was based on the family, but in the modern era, this credit became individualized, so the houses express their individualism by being different from other houses and showing them. Between the years 1979 and 1993, the difference between the houses in terms of form was very little. In the years 1994 and 2013, the tendency to create distinction in the shape of the facade and in some cases, the materials increased, and between the years 2014 and 2018, the end of the research, no two houses in terms of formThey were not alike, and the expensive materials, in addition to their different shapes, made the houses stand out. The houses were introverted in the early years of the research, but with the passage of time, the trend changed and the houses became extroverted, so that in the last 15 years of the research period, all the collected samples were extroverted. The research showed that the desire to make the house more visible by choosing the lands that are more connected with the passage increased significantly during the research period.

Iranian painting, like an illustrated dictionary, provides a wide range of research and exploration in various fields for researchers. Horse paintings are among the most important thematic contexts of Iranian painting, which are illustrated in common and various colors and   sometimes with specific mythological identities such as Shabdiz and Rakhsh in poetic versions such as Shahnameh. After the body of the heroes, horses are perhaps the most prominent element in painting; and one of the main characters in the stories. But, from about the middle of the ninth century AH/ fifteenth century AD, blue horses entered the field of painting and in the period between the tenth and twelfth centuries AH / sixteenth to the eighteenth century AD, they found a more prominent role in painting. Since historically this period coincides with the growth and promotion of mystical ideas in Persian literature, it seems that mysticism has been effective on the attitude of artists, especially painters. The important thing is that in none of the poems and legends there is any reference to the legendary blue horses, so the mentality arises that perhaps the special formation of historical, cultural and artistic history of pre-Islamic Iran and the Islamic era presents several important components. First, the position of the horse in the beliefs of the Iranian people in terms of cultural and mythological identity, then the interpretations of the concepts of color, especially blue in its general and doctrinal-mystical sense, and finally the current of thought that could affect the view of painting in this regard. The aim of this study was to identify the links between blue-colored horses in Iranian -Islamic painting and mysticism, as well as to study and to analyze the concepts of blue in blue-colored horses based on myth and allegory, in response to the questions that 1- what is the connection between blue-colored horses in Iranian-Islamic painting and mysticism? And 2- what is the message of the allegorical language hidden in the blue-painted horses in Iranian painting? It has been done in a descriptive-analytical way and in library way, citing the opinions of Islamic mystics. To conduct this research, 16 Iranian paintings were purposefully selected with special attention to the content of the story and with the assumption that there is a close relationship between Iranian mystical literature, myths and Iranian blue-horse paintings, and according to the story and literary and mystical features which were subsequently analyzed based on objectives and to answer to the questions. In the analysis, after examining the allegorical, mystical and mythical role of the horse in Iranian paintings, other items such as the verses in the paintings that are part of the story and the emphasis or reference to blue, to the horse and blue horses, and to concepts such as vigilance, loyalty, courage, etc. are considered from the point of view of mysticism. The emphasis of the color blue in riding is on innocence, purity, immortality, and sorrow, emphasis or reference to the position of Sufism on horses, and emphasis on the status of horsemen and princes. The discussion of mysticism, especially from the fifth century AH/ the eleventh century AD onwards with the presence of Nezami, Ibn Arabi, Suhrawardi, etc. in the literature of mystical poetry reached its peak and in the tenth-twelfth centuries AH/ sixteenth-eighteenth centuries AD, clearly shows in the fields of poetry and literature, especially Iranian painting. In promoting and spreading the culture of mysticism among the community of artists of the Timurid era, Abdul Rahman Jami, poet and mentor of Naqshbandiyya, Mir Ali Shirnavai and Sultan Hossein Bayqara, played a major role and influenced artists such as Behzad and his followers. Based on the results, the expansion and promotion of mystical ideas and their impact on literary and artistic fields, especially painting, show the mythical horse as a model of heroism, courage, and loyalty, and the use of blue tones as a model. The allegory of the concepts of purity, faith and innocence is a reflection of expressing a worthy and pure path towards the purpose and immortality. The horse seems to have been the strongest animal in terms of identity that the painter could have resorted to, and blue was the most appropriate color that could represent the common quality of the spirit of honesty and faith between man and animal as well as the dignity and decency of the horse. In addition to the items mentioned in many drawings, the use of blue color for horses is out of spirituality and is only to complete the color composition and rotate the eyes of the audience and create a visual balance in the drawing. The concepts are allegorical, mystical and spiritual and have been rendered only in order to complete the color composition and rotate the audience's eyes and create visual balance in the image, which requires another detailed discussion

Peter Bruegel is one of the greatest painters of the Flemish society of the sixteenth century, who in his works has considered the cultural and historical contexts and has displayed the characteristics of his society. The way he performed his paintings introduces him as the greatest comic artist of the Renaissance and the Middle Ages. But his work goes beyond laughter. To gain a deeper understanding and a newer meaning of his paintings, one must study them in relation to the cultural context in which they are created. A dialogue is a feature of Bruegel's work that reflects the society and culture of Flanders in the sixteenth century. Bakhtin, a twentieth-century Russian linguist, is one of the most prominent theorists to have dealt with the concept of dialogue, conversation, and polyphony. The aim of the present study is to study one of Bruegel's famous paintings called "A Way to Jaljata" and its relationship with Bakhtin's views on dialogue and polyphony by descriptive-analytical and comparative methods. It is a collection of library information, and the components and elements that create the dialogue and polyphony mentioned by Bakhtin are identified, introduced, and adapted by Bruegel. The results show that this work, based on Bakhtin's theory of dialogue, has the necessary components of dialogue and polyphony, and at the same time, it has been able to show the various conditions of its society in the best possible way.The usefulness of Bakhtin's ideas should begin with a description of his understanding of the phenomenology of self and his relationships with others, which he relates to the idea of accountability and reciprocity. In this research, the components of dialogue introduced by Bakhtin in the path to Jelgata by Peter Bruegel are identified and studied descriptively-analytically. Among the elements that can be identified and introduced as components of dialogue are narration, visual contradictions, movements and moods, sound and atmosphere. These five elements are the most basic techniques and tools for creating dialogue in the painting and are very useful in creating concepts such as polyphony, equality, freedom and dealing with the other. In the painting, usually using all or part of the techniques can convey these concepts clearly to the viewer. In the present study, after dividing the panel into different spaces, the application of dialogue techniques in these spaces is investigated. To this end, to identify issues such as the number of narratives that are more conversational, aspects of narrative sound, the introduction of images that are contradictory in meaning but complement the higher concept (narrations on the basis of which the effect is meaningful), The technique of sound and movement and moods that are essential factors in creating dialogue and animating images and narrations are discussed. For this purpose, diagrams are drawn that show the extent to which conversational and polyphonic techniques are used. Each technique is examined separately to reveal the amount of dialogue. The dialogue presented by Mikhail Bakhtin is one of the factors that create a connection in works of art, especially literature.

The issue of good and evil is one of the deep debates of philosophy and theology that has been criticized and studied in different periods of the history of thought and it has turned the minds of Western and Eastern philosophers. Among these, Islamic philosophers, especially the Sadra scholars with a rational and reasoned view, have studied the sufferings and evils in the universe and have explained the truth and its nature. In response to the problem of evil, the Sadr al-Muta'allehin relies on the three basic principles of the originality of existence, the non-existence of evil, and the goodness system. He turned to the definition of the example of evil, and dividing the examples of evil into natural, moral, perceptual and metaphysical has explained its nature which has four parts: non-existent affairs, perceptual evil, moral evil and basic of moral evil. The battle of good and evil has long been depicted in Iranian paintings, especially Shahnamas, and painters have always used different visual features to distinguish evil from good. Among the paintings in which the appearance of evil is often recognizable are drawings related to illustrated Falnamas. This study has a descriptive-analytical nature and method, and looks at recognizing the nature of evil in the drawings of Tahmasp’s Falnama, Dresden version. On this basis, after studying the library resources in order to identify the problem of evil and its characteristics, the types of nature proposed by Mulla Sadra will be addressed, and while observing the works, we will find paintings with the subject of evil in this version of the Falnama. While observing the works, the paintings with the subject of evil will be purposefully found in the Falnama of the Dresden version. Then, the nature of evil depicted in these paintings will be identified and their types will be adapted based on Mulla Sadra's views. This study is conducted to answer the following questions: What are the characteristics of the nature of evil manifested in Dresden Falnama’s paintings? How can the nature of evil be analyzed in Dresden Falnama’s paintings based on Sadra's views? The findings show that the image of evil, reflected in the Dresden Falnama, can be applied on the basis of the types of nature of evil by Mulla Sadra: non-existent affairs, perceptual evil, moral evil, and the principles of moral evil. Non-existent evil is depicted in the paintings in the form of death as a dying man, a cemetery and a shrouded deceased. Since facial expressions are not much different in Safavid painting and perceptual evil is an internal matter which is reflected in facial expressions, pain and sorrow instead of appearing in the form of faces in the form of people who are struggling or seen suffering from grief and mourning, moral evil can be seen in the form of acts of evil such as murder, as well as metamorphosis in the form of combined beings. The principles of moral evil, which are sensory and internal matters and in the kingdoms of vices such as anger, jealousy and deceit, appear as a kind of prelude to committing sins in paintings. Also, that part of evil that refers to the inner and perceptual states of man has a different appearance from other types. Mulla Sadra has paid extensive attention to human beings in explaining the nature of evil and has considered it not in terms of nature and other external factors, but in human states and actions. This is especially true in relation to perceptual evil, moral evil, and the principles of moral evil; it is as if he has explained its nature in deeper layers than what is mentioned in the division of all kinds of examples of evil. Sadra, like many other philosophers, accepts the definition of an example, while mentioning moral evil both in examples and in nature. However, some scholars have erroneously mentioned the fourfold division of Mulla Sadra's evil nature in giving examples of evil. The discussion of "nature" is different from "examples". Examples of natural evil such as storms and floods, and metaphysical evil such as the devil, demons, giants, dragons, etc. in Iranian painting, especially fortune-telling drawings, can be seen many times and it is possible to recognize them at first glance, but the nature of evil is much more internal and has a deeper meaning. Therefore, recognizing the different types of evil in the paintings, requires more reflection and sometimes, even to understand it, it is necessary to refer to the text of fortune-telling and to know about the misfortune and the subject of fortune-telling; while in pictures containing examples of evil, before knowing the text of the omen and only by looking at the image, it can be immediately recognized that it is evil.

Problem statement: 

Grotesque is one of the presentations used in art to manifest different figures compared to the usual ones. It tries to depict fear and humor together by creating monstrous content by distorting the truth and disfiguring it. According to metaphysical thinking, the ideal body is a healthy organization, while the Grotesque style challenges, disturbs, and sometimes reconstructs the rules of such a physical structure. The Grotesque body is one of the main concepts proposed by Mikhail Bakhtin; he believes it is an unfinished body that is constantly in the act of turning and becoming; It is a concept arising from the carnival and Grotesque realism; A novel and renewed event that takes place in association with these two concepts. In the illustrated horoscopes (Falnama/ Falnameh), there is an image with the theme of the ‘Dābbat al-Arḍ ’ (Beast of Earth). This painting has special visual features that match the characteristics of the Grotesque and can be analyzed based on Bakhtin’s opinions in this regard.

The present research, by applying the characteristics of the Grotesque in the image of Dābbat al-Arḍ  in Falnama books, analyzes the characteristics proposed by Bakhtin with regards to the carnival and the Grotesque body in the figure of Dābbat al-Arḍ .

It is a qualitative study attempting to match Grotesque’s characteristics to the image of Dābbat al-Arḍ . In the next step, based on the mentioned theory, the figure of Dābbat al-Arḍ was analyzed based on Bakhtin’s views on the Grotesque body. Data was collected from the library and documentary resources.

The research findings have shown that a number of Grotesque features such as terrifying, hilarious, exaggerated, unusual and nonuniformity aspects all are detectable in the image of Dābbat al-Arḍ . Moreover, the characteristics such as incompleteness, sense of death, mask (distortion), contradiction and duality, entanglement, and amputation, which were proposed by Bakhtin in relation to the carnival and the Grotesque body, can similarly be observed in the figures of Dābbat al-Arḍ .

The purpose of this study is to determine the status of economic indicators of the Qajar period in order to assess the roots of changes in Iranian architectural decorations based on it. The present study tries to extract open codes, axial and finally selective codes (indicators) with an analytical-historical approach and through the method of contextual theory in accordance with Corbin's problem-oriented theory, through which the relationship between the influence of Iranian architectural decorations from the West Express in the field of economic developments. The results of this study showed that the unfavorable situation of the four indicators of trade relations, moderation and moderation, consumption of goods and services, and knowledge of earning and earning money has led to the empowerment of the properties class against the further weakness of the common class. On the one hand, this situation has led to the direct transfer of Western decorations by properties to aristocratic buildings, and on the other hand, due to the economic weakness of the common people, the people have not been able to absorb and coordinate with Western developments.aims of research:1- Determining the status of economic indicators of the Qajar period2- Explaining the effect of Qajar economic indicators on the impact of facade decorations from the westresearch questions:1- What is the status of economic indicators of the Qajar period?2- What effect did the economic indicators of the Qajar period have on the influence of the facade decorations from the west?

Literary-artistic texts are better known and decoded in the context of their formation. Codes of artwork are seriously affected by the semantic roots from which the work develops. That is why a text in different periods has different implications. The story of Joseph is one of the stories that has been considered in the sacred texts of the Torah and the Qur'an, art, literature and mysticism of various eras, and over the years, artists, poets, and moviemakers have paid much attention to it.Joseph's narrative has been expressed in a special way in each period in accordance with the paradigm of time and with the effects that the author has had on the narration in the context of its formation, and in recreating the work, different sub-narratives have been used in creating the text, and it has considered the use of the story, the theme or the representation of a sub-narrative of a section of the narrative in various arts and media.This study intends to examine Joseph's narrative in an intertextual manner in literary, artistic and religious texts, as well as cultural, social and historical influences, the author's personal life in narration, and myth analysis in different periods of creation, and the expression manner in each media.In the narrations mentioned from the story of Joseph in different texts, the various relations of the texts in terms of form and meaning are mentioned, which is called intertextuality. But what is considered today in the field of literary criticism and theories as intertextuality, is not simply the expression of the relationship between texts. Intertextuality expresses the relationship and intersection of texts in different cultures throughout the history of human life, which are influenced by each other due to the nature of social life and cultural proportions and interactions. The creation of new texts with new approaches exposes them to the "reading" of other generations, and in fact it is the intersection and connection of texts that leads to their evolution.Narratives on art, literature and love have made a great contribution in the relationship between culture and the depth of society and people, as well as the fusion of different nations and cultures with each other, and love in this narrative, as a comprehensive theme for creating art and literature and creating interaction between the dominant culture of the time and the people, is of interest. Joseph's story has a religious origin and is introduced in the holy books of Judaism and Islam, and has since been widely discussed in religious and mystical interpretations, as well as art and literature. This research aims to: 1- Identify the considered elements and the components used in Joseph's narrative in different periods of recreating the narrative in the media and used in that time and culture (literature and visual arts) and to 2- Identify the similarities and differences of this narrative in different literary, artistic and sacred texts, studies the intertextuality of this narrative.It seeks to answer the following questions: 1- How have the context of time, community culture and the type of creator's attitude influenced how the narrative is presented in the context and the use of the sub-narratives? 2. What are the similarities and differences of this narrative in different literary, artistic and sacred texts? The research method is descriptive-analytical with a comparative approach and the collection of materials is documentary. In data analysis, the use of narrative and sub-narratives in each medium were examined separately and then matched with each other.This research aims to discover the changes and differences in the narratives of Joseph and the pattern of narrative of Joseph in different times, and to look at this romantic myth in the cultural context of the time of recreation. Then, the intertextuality method is used to analyze the myths and to match the texts with each other. In the analysis method, first the religious texts and their processing method are examined according to the narration, and then these processing methods, in each of the sources of Torah, Qur'an, Haft Awrang, Behzad's drawing and Farshchian's paintings, are analyzed and matched.The results show that the use of sub-narratives, changes in narrative style at different times, the effects of society on narration at different times, the influence of the author and the pattern of time on the effect and its impact on society make it widely used in the arts, especially in the contemporary arts. The expression of this narrative and the use of sub-narratives have varied over time and according to socio-cultural requirements. While emphasizing the essence of the story (Qur'an and Torah ), artists have considered factors such  as the interaction between society and myth, change in society and culture and its impact on the artist's perspective, and have incorporated various sub-narratives into each art form.

According to the decision of the Supreme Council of Unbanning and Architecture of Iran (2005), burnout in urban areas "reduction of efficiency" of one texture compared to other textures of the city was introduced and in the decision of 1385, only three indicators of instability, impenetrability and microdermabrasion were sufficient. However, studies have identified quantitative and qualitative weaknesses in determining these indicators. The present study aims to rank the indicators for determining the range of dysfunctional textures of Inner-City, with a case study on the city of Rasht. This research is practical and documentary in terms of purpose. After documentary studies and review of the literature, the indicators were identified and ranked, and thus, by applying the opinion of 8 experts, two techniques of process of analytic hierarchy analysis and preferential prioritization based on similarity to ideal responses were used. After the indexing process, 22 indicators were explained in relation to the identification of dysfunctional intermediate textures of cities, and in terms of environmental, economic and social conditions of Rasht city and the application of expert opinion, 12 qualified indicators were finally ranked. The results show five dimensions: physical, social, functional, economic and environmental. In addition to the three permanent indicators of instability, impenetrability and microdermabrasion, indicators such as poverty and deprivation; High level of unemployment, poor educational status, high population density, age of buildings, uncertainty of ownership, and lack of open and green space indicate the trans-physical dimensions of dysfunctional inner-urban that can be identified in the country's metropolises.

Iranian architecture underwent many changes under the influence of the Mongol invasion andtheir domination over the land of Iran. These changes are especially evident in the pre-existingreligious buildings. The changes that have taken place, sometimes have disturbed the spatialcoherence of the building so much that the relationship between the religious background of thebuilding and the physical characteristics of its builders seems to be quite confused. Therefore,the present study aims to explain the subject in two ways; First, by examining the historicaldevelopments in this period, the religious tendencies of the people and the rulers of the time wereanalyzed and the changes that have taken place in the religious buildings of this period with thechange of beliefs in the Ilkhanid rulers were investigated. In the first part, the research has beenconducted through a historical method, based on historical texts and documents. In the secondpart, six examples of the remains of buildings from the period under investigation have beenexamined. In this section, with the help of field studies, the changed components in the buildingwere identified and categorized, and how these changes became clear was stated. The presentstudy indicates that at the beginning of the 7th century AH, under the influence of the conflictsof the Shafi’i and Hanafi religions, major destruction took place in the buildings belonging tothese religions. Subsequently, with the abolition of the dominant religious tendency in the centralgovernment and the spread of the belief in Shamanism and Buddhism, such temples were built. Inthe second half of the 7th century AH, Christian and Jewish religions became more widespread dueto the will of the rulers of the time, and new religious buildings were built, and in some cases newbuildings were built on the basis of previously destroyed religious buildings. Finally, in the late 7thand early 8th centuries AH clashes between various Sunni and Shie religions have subsided, andthe construction of religious buildings became more common. The results of this research showthat just as the religious tendencies of the Ilkhanid rulers changed many times during this period,religious buildings have also undergone many changes, both in the spatial organization and in thedecorations and motifs

Attention to the narrative structure of stories from the twentieth century followed the science of linguistics and then semiotics as a branch of science. The narration of Sheikh Sanan is the most famous and longest story of Attar, which has been analyzed many times in terms of literature, narration and artistic since its creation. In the field of narration, Grimas proposed a comprehensive rule for analyzing the spiritual foundations of the text by recognizing its linguistic structures, and based on this, he proposed the study of characters and their actions based on the three verbs of wanting, knowing and being able.Also, the use of active-passive, transmitter-receiver and inhibitor-helper interaction actors and And highlighting by contrasts are items that can be seen in addition to the story in the images and drawings created from it and provide an artistic area of the story. This research has been done in a descriptive-analytical manner with the aim of recognizing, analyzing and adapting the characters of the story and drawing based on Grimas’ action model and has analyzed two drawings of Sheikh Sanan’s story and matching it with the story. The research questions are: What are the personality patterns of the actor used in the story and drawings of Sheikh Sanan? How verbal and conceptual contrasts are used in stories and drawings? The results show that all the models of active, passive, transmitter, receiver, inhibitor, helper are used in the story and paintings. The difference is that in the paintings of Mantiq al-Tair, the pattern of deterrent action is very weak and there is no supporting actor. Painters have used other elements such as nature, architecture, color, viewing angle, etc. to compensate for verbal. The research is done with a comparative approach and using library studies.

Man has always been amazed at the struggle between good and evil. It has been the basis of philosophical thinking since the beginning until now in binary oppositions. Belief in the conflict between the two forces is the basis of the myth contemplate of all Iranian nations. Moreover, humans have long been believed to have created creatures that have intruded into man’s collective subconscious in the ancient patterns of good and evil of generations. Sometimes the faces of evil creatures in Iranian paintings have features that bring them closer to Grotesque’s notions (The deep fear that sometimes leads to humor). Structuralists such as Wolfgang Kaiser and Mikhail Bakhtin have outlined their characteristics by investigating Grotesque’s domain. Finally, this artistic style sought to describe an alien world in which power was not directed. In the meantime, unlike Bakhtin’s, Kaiser's approach focuses more on the gruesome aspect of Grotesque and is more in line with evil archetypes in Iranian paintings. Grotesque 's features can generally be summarized in incongruity, exaggeration, and anomaly of funny and ominous elements. Fear and humor are two categories that can be seen simultaneously in Grotesque, a feature that can be seen in the ancient depiction of evil patterns such as demons, goblins, and monsters in Iranian painting, and especially in the paintings of Al bolhan. The image of evil creatures in these pictures differs markedly from other creatures, and there are features in the visual reflection of evil creatures that are consistent with Kaiser's theory. Contemporaries see Grotesque as essentially a dual nature that results from contradictions and, at least in some of its forms, is a proper interpretation of the complex nature of life. Grotesque is a more or less imaginative subject that has long been a subject of art and literature. The intermingling of anomalies, wonders, laughter, horror, and, above all, imagination is one of the most influential theoretical subjects to denigrate and responding to worldly issues. In the 19th century, philosophers such as Hegel, Hugo, Simmonds, and Raskin used Grotesque in critical art and literature. Enthralled by its seemingly odd and seemingly contradictory character, they realized the importance of its social and critical philosophies and presented the first purposeful and systematic measures to describe Grotesque. Al-bolhan's book, by Abu Mashar Balkhi, preserved at Oxford's Bodleian Library, is a kind of the book of omens and contains paintings on the subject of evil beings such as the species of fairies and Iblis, and is an acceptable example of matching Grotesque’s concept from Kaizer's perspective to the ancient image of evil patterns. The purpose of this study is to identify the Grotesque in the book Al bolhan Abu Mashar Balkhi with a qualitative and descriptive-analytical approach in answering the questions of what is the relationship between the image of evil beings in the Al-bolhan paintings with the concept of Grotesque? and how Kaiser's theorems can be used to attribute Grotesque to the image of evil creatures in Al-bolhan paintings?  For this purpose, ten illustrations of this book have been purposely selected and investigated in the context of the Grotesque concept based on Wolfgang Kaiser's view. He finds it necessary to apply Grotesque in relation to religious concepts unfamiliar to the human eye and emphasizes the more frightening characteristic of Grotesque. Grotesque is not just a common caricature or a joke for Kaiser, but it also provokes contradictory emotions such as fun and fear. Here the underlying feeling evokes a kind of surprise, horror, and fear in a global presence that is in disrepair and remains inaccessible. According to Kaiser, Grotesque is not nonsense referring only to evil forces, but rather a dumb concept that refers to new or dimensional insights into existence that have either disappeared or presented images of a new era or spiritual mask. Multi-angle design, exaggeration in limbs, dynamic and free-flowing design, sideways braided lines are the axioms of Kaiser's theory that are perfectly in line with the paintings of Al bolhan. The heterogeneity of the limbs is another feature of the Grotesques seen in the paintings of Al bolhan. These pictures show a combination of different animals’ heads (goat's horn, Cat-shaped animals nose, Large Anterior Teeth, and a few eyes). Snake tail, animal hoof and sharp claws can be seen in these pictures. Everywhere the Iranian painters have encountered evil beings, they have used Grotesque to illustrate them. On the other hand, among Grotesque's theorists, Wolfgang Kaiser and her theoretical axioms are consistent with the ancient visual properties of evil patterns in Iranian painting. Meanwhile, Abu Mashar Al Balkhi's Book of Al bolhan, with more than ten illustrations on the subject of goblins, Dave and Iblis, is a notable example of the use of Grotesque Kaiser. . Enthralled by its seemingly odd and seemingly contradictory character, they realized the importance of its social and critical philosophies and presented the first purposeful and systematic measures to describe Grotesque. Al-bolhan's book, by Abu Mashar Balkhi, preserved at Oxford's Bodleian Library, is a kind of the book of omens and contains paintings on the subject of evil beings such as the species of fairies and Iblis, and is an acceptable example of matching Grotesque’s concept from Kaizer's perspective to the ancient image of evil patterns. The purpose of this study is to identify the Grotesque in the book Al bolhan Abu Mashar Balkhi with a qualitative and descriptive-analytical approach in answering the questions of what is the relationship between the image of evil beings in the Al-bolhan paintings with the concept of Grotesque? and how Kaiser's theorems can be used to attribute Grotesque to the image of evil creatures in Al-bolhan paintings?  For this purpose, ten illustrations of this book have been purposely selected and investigated in the context of the Grotesque concept based on Wolfgang Kaiser's view. He finds it necessary to apply Grotesque in relation to religious concepts unfamiliar to the human eye and emphasizes the more frightening characteristic of Grotesque. Grotesque is not just a common caricature or a joke for Kaiser, but it also provokes contradictory emotions such as fun and fear. Here the underlying feeling evokes a kind of surprise, horror, and fear in a global presence that is in disrepair and remains inaccessible. According to Kaiser, Grotesque is not nonsense referring only to evil forces, but rather a dumb concept that refers to new or dimensional insights into existence that have either disappeared or presented images of a new era or spiritual mask. Multi-angle design, exaggeration in limbs, dynamic and free-flowing design, sideways braided lines are the axioms of Kaiser's theory that are perfectly in line with the paintings of Al bolhan. The heterogeneity of the limbs is another feature of the Grotesques seen in the paintings of Al bolhan. These pictures show a combination of different animals’ heads (goat's horn, Cat-shaped animals nose, Large Anterior Teeth, and a few eyes). Snake tail, animal hoof and sharp claws can be seen in these pictures. Everywhere the Iranian painters have encountered evil beings, they have used Grotesque to illustrate them. On the other hand, among Grotesque's theorists, Wolfgang Kaiser and her theoretical axioms are consistent with the ancient visual properties of evil patterns in Iranian painting. Meanwhile, Abu Mashar Al Balkhi's Book of Al bolhan, with more than ten illustrations on the subject of goblins, Dave and Iblis, is a notable example of the use of Grotesque Kaiser.

The most important element in knowing the identity of any building is its history. The history of a building means knowing the building in its historical context so that it can be fully understood in terms of its formation. It is, therefore, important to know the historical origins of any building and the period in which it was shaped and changed. A review of what is known about the historical origins of Iran's religious monuments, especially according to the records written in the 7th and 8th centuries A.H., shows that scholars who have been active in this field, despite their efforts, lack a deep knowledge of the geographical-natural context of Iran on the one hand and the socio-political-religious events on the other hand. The results of their studies are associated with errors. So, there is a lot of ambiguity about the factors involved in the dating of the 7th and 8th centuries A.H. buildings and the effects of the social, religious, and political developments of the Ilkhanid period on the physical changes in the religious buildings of this period. The present study seeks to identify the factors that have influenced the dating of the works of the seventh and eighth centuries A.H. by analyzing numerous instances. It also seeks to identify the relationship between physical changes and the political, social, and religious changes that took place during the Ilkhanid period. The analyses are conducted based on physical, documentary and historical studies. The results of the study show that most of the errors are induced by changes in the structures of this period, either in the spatial organization of buildings, the incorporation of decorations in later periods, or the use of various inscriptions in buildings. It can be said that the changes have mostly occurred with political-religious motives. The series of events that took place during the Ilkhanid era, from the beginning to the end, can be summarized in five waves. They include architectural dependency, the era of beginning and transformation, the period between transition and independence, the period of independence and production, and the period of isolation. The religious beliefs of the rulers also differed in each of these waves. From the Buddhist and Shamanic beliefs to the various forms of Islamic belief, each has an impact on the religious structure of this period. Finally, the factors influencing the ambiguity in the dating of the buildings in this period include a) the route of the Mongols' movement and the destruction of cities as the main factor affecting the construction and production technologies of this period abd b) the socio-political and religious changes of rulers and their impacts on the construction of buildings constructed. These factors have jointly caused inconsistencies in the decoration, motifs and inscriptions of the building during this period.

Mythological narratives and myths of names are influenced by the semantic pools in which they develop over time. Hence, a text has different meanings in different periods. Literary-artistic texts are better known and more appropriately decoded in the context of their formation; This leads to a more complete understanding of the pattern governing the culture of each period. Khosrow and Shirin's romance has always been considered in different periods of Iran up to the contemporary period; It has been studied by many painters, poets and writers and is one of the most widely used myths in literary and artistic texts. The present study aims to identify the impact of contemporary factors; The time, culture of the society and the type of the creator's attitude towards presenting the narrative deal with the intertextual study and myth-mining of this narrative in different texts of the contemporary period. This research descriptively-analytically seeks the factors influencing contemporary works and how the artist uses them to answer the question: "Has he created sub-narratives?" The results show that developments, events, communications and changes in society have directly affected the creative thinking and have caused new sub-narratives in the romantic presentation of Khosrow and Shirin in contemporary Iranian art works.

Miraj Nameh of Mir Haydar (the story of Ascension) is a mystic story describing the miraculous ascending of the Prophet Mohammed in a night that left the Earth and ascended the God’s presence. It’s the most popular religious concept in visual arts and Islamic miniature of Iran in which it’s made an appropriate place in creativity and innovation of the miniatures. This book is written in 1435-1436, 830-840 for Shahrokh Timuri. The present study investigated the chromatic symbols and the concepts used in Quran and how the miniaturist used these symbols and concepts in presenting the religious contents. The miniaturist presented the Islamic religious concepts in line with the theoretical principles of Quranic and Islamic epistemology by knowing the importance of using colors and lights in mysticism and wisdom in a way that in this collection the dominance of color over writing is obvious. The data gathered by using an analytical-descriptive method.
The purposes of the study:1. Analyzing the concepts and the place of color in Quran and its effect on Miraj Nameh’s paintings.
2. Recognizing the miniaturist influenced by Quran and manifestation of concepts and meanings and its principles in Miraj Nameh’s paintings.
The research questions:1. What features does “color” have in Miraj Nameh’s paintings and how can we investigate the Quranic concepts in these paintings?
2. What effects does “color” have in creating the patterns, schema, and colors of Miraj Nameh’s paintings?

The white background rugs of western Anatolia are classified into two groups of: Selendi and Transylvania. The Selendi rugs were initially created in a small city by the same name to be used in public bathhouses and consist of three designs of: Scorpion, Bird and Chintamani. It appears that the bird design is an abridged pattern of rose flowers and palm leaves taken from Chinese clouds; furthermore, they acquire dome-like borders, gothic or floral patterns and have a variety of colors compared to the Chintamani design. Scorpion designs with floral borders are created in smaller numbers and in maximum of seven colors. The general characteristics of Transylvania rugs is the presence of a one or two-sided mihrab design and a wide border with inscriptional patterns. These rugs are classified into four categories of “single mihrabs”, “two-sided mihrabs”, “simple insoles” and “column-based mihrabs”. Furthermore, as compared to Selendi rugs, they have a tighter weave and more rows. This paper is conducted via a descriptive and analytic method and the results show that in the mentioned rugs there is not much density of the patterns in the borders and inscriptions, also, golden proportions are more significant in the general outlook. Moreover, vertical guidelines in the inscriptions of the rug are lesser seen than lateral guide lines that cross the vertical lines.