مجله مبانی نظری هنرهای تجسمی
سال سوم شماره 2 (پیاپی 6، پاییز و زمستان 1397)

The paper in hand, aims to answer a number of questions regarding formation of some fundamental frameworks of Iranian miniature paintings and describe some of the apparently paradoxical issues which are significant in the basis of this artistic expression. As an instance, it has been tried to figure out the thought based upon which the pattern making became possible in these paintings. By pattern making, we try to refer to the fact that based on some art historians; Iranian painting is formed by a series of repetitions of similar patterns. To these scholars, the facial features, physical positions and a lot of other characteristics are not very different from one and other. These common and repeated forms can be found in the paintings ranging from Ilkanids to Herat school (Timurid), and even Safavid era. Art scholars call this repetition of same forms and moods, pattern making. Some moved further and attributed this to an assumed inability of Iranian artists in representation and creation of new and innovative forms or even their lack of creativity which forced them to follow the exact path of their masters. It is worth mentioning that there is also a number of other reasoning mentioned in order to define and explain this method. For example some claimed that Iranian artists were after depicting another world, apart from the mundane, everyday universe: a universe in which people’s facial differences do not exist. These patterns can be explored and analyzed in the following groups: Patterns related to human moods such as bewilderment; the ones connected with types e.g. kings, sufis, musicians, or servants as some examples, as well as the patterns which convey conceptual messages. For instance the biggest figure in size, represents the character of the highest social, political, or religious ranking. Therefore, unlike the second type, these patterns do not merely represent one specific type. Meanwhile, other questions have been dealt with. What is the logic behind representing the objects with such minute details while the people were drawn based on the exact patterns far away from realism for many centuries? Why do we simultaneously observe representation of some objects in two dimensional and three dimensional ways, even in one piece of art work? In order to answer these questions, there would be no choice, but understanding the optics as it was known by the people contemporary to these art works. To do so, the paper tries to focus on some parts of Al-Manazir written by Ibn Al-Haytham. Abū ʿAlī al-Ḥasan ibn al-Ḥasan ibn al-Haytham (Alhazen) who is known by some as the father of modern optics, was born in Iraq in c. 965 (c. 354 AH) and passed away in Egypt in c. 1040 (c. 430 AH) and his most significant book in the realm of the optics is Al-Manazir. Since this book is the most comprehensive work in Islamic optics, and the majority of the other optics-related works, written in the following years, have roots in this single book, the focus point of the present paper has been placed on Almanazir based on which it has been understood that mind (الممیزه) and repeated visual signs play a significantly important role in conceiving the objects we see. Based on the same view point and the objective of miniature painting (communicating primary and secondary messages), pattern making, and representation of decorations on the objects as well as showing the third dimension have been elaborated. Pattern making and detailed presentation of decorations, both guaranteed conceptual signs’ existence (الامارات) and used to establish a known coding responsible for communication between the artist and his audience. The audience contemporary to the artist himself, because of the repetitions of these cods existence in other art works could distinguish them as soon as they saw them. This was important since unlike modern times, at that moment, communicating a singular and unique message was crucial. These messages were responsible to do a two sided task; one to visualize the story narrated in the book and second to imply political and social events. Presenting the third dimension was also allowed only in cases which did not disturb representation of these visual codes. This research has a historical approach towards reading Iranian miniature paintings. The scientific issues are discussed in a descriptive analytical method and the artistic parts have been dealt with in a comparative way. The paintings which have been discussed here are chosen selectively from the existing pieces left from 13th to 16th centuries due to the fact that unfortunately, not many manuscripts have been left from the period prior to the 13th and the ones produced after 16th century were greatly influenced by western style of painting and gradually detached from their original traits. The art pieces, explored here, at least present one of the points mentioned earlier.

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.

The purpose of this study is to investigate the relationship between the interpretive indicators (Corman’s Model) in the children's family drawing test. The subjects included 50 children (25 normal and 25 bad parenting children) aged 4 to 6 years old, girls and boys who referred to kindergartens in region 3, in 1397 of Tehran and 3 bad parenting children care center (affiliated with Welfare Organization) in the regions 3 and 5 were selected based on randomly cluster in Tehran. The reason for choosing bad parenting care centers in two districts has been a lack of these children with considered age-related conditions in one are In this research, drawing level of family test has been examined and interpreted; that including (the extent of the lines, rhythm and manner of drawing, drawing area, drawing direction) from superficial construction (drawing dynamic and interaction between individuals), and measured by Chi-square and T-test. Findings in rhythm section showed significant difference; this means that children likely are exposed to hard mental and behavioral, and this issue may be related to manner of child educations by parents, but there is no significant difference in other parts, and both groups have behave roughly the same, that this is notable issue because the conditions that normal children have and the difficult conditions that bad parent children had have and are exposed, it’s expected that normal children to be in a better and normal conditions. The child will reveal to the aid of their struggles and anxiety, thereby reducing their impact. In the field of painting, Freud theories suggest that the child work of the child will greatly affect the wishes and fears of the child, although the expression of these desires may take a symbolic form or become another shield. Most researchers believe that art is nothing but expression of feelings, excitements, and effort to produce an image. Corman, based on instruction (drawing a family system), tries to illuminate the relationship issues. While using a semi - guidelines interview, it suggests that the meaning of drawing content signatures in a way similar to the testing overhang method is subject to interpretation; the profound study of the importance of painting of children eventually leads us to the conclusion that they have worked with children and the therapist of painting and other academic activities. When children are given an opportunity to paint, they feel better. Family painting is a logical place to children to express their individual insights.Among the child's activities is painting a message. What he cannot say is conveyed to us by drawing the picture. In all ages to adolescent boundaries, most children are engaged in a collection of graphic activities and that way their relationships with reality. painting is an activity that influences the cognitive, affective and social transformation and thus contributes to the formation of the child's personality and psyche. The study and understanding of the drawing language provides valuable information to parents, educators, psychologists and psychologists who want to understand and capture the child secret world. the findings of this study show that the normal child is more disturbed because of the significant level that has been created in the rhythm of the form, and the two influential factors that have not created a meaningful level and the use of straight lines (rational poured), which have not created a significant level, can be found that normal children suffer from anxiety and interruption.the line without dependence on the content has a strong expressive power and existential power that is derived from it. the line can appear in different shapes: thick, thin, dotted, continuous, vertical, horizontal, angular, spiral, etc. it may be shiny or opaque ; therefore, the line itself has the capacity to represent different psychological states such as sadness, happiness, desire, anger , self-confidence, or like contemporary painting; therefore, from beyond the line there is something that may represent conscious or unconscious mental states of its creator or marker of his personality lines. familiarity with the line goes back to childhood; and almost the two-year-old appears as the natural and instinctive reaction of human art. in these circumstances, artistic visualization begins.

This research deals with the analysis of ewers’ form of the Seljuk period in Kashan. These ewers are now being kept in Metropolitan Museum of Art. Apparently, these ewers possess a sign system and have hidden meanings. The purpose of this research is to discover these meanings using structuralism semiotics approaches. In this study, theories of structuralism figures such as Saussure, Strauss and Jacobsen have been employed. Saussure distinguished langue and parole. Langue is a system of signs and special rules that creates a particular language. The personal use of language is parole. Strauss studied Saussure’s Linguistic Principles on narratives. By studying myths and getting help from linguistics methods, he came to believe that a myth must have a structure similar to language. For this reason, myths can be considered similar to parole. Then he tried to find the langue of each of the myths. In this study, based on the theory of "langue" and "parole", ewers have been considered as texts whose langue is hidden in their parole. In order to understand the meaning of these dishes, one must find the smallest unit of meaning. By studying the ewers and using the commutation test, it becomes apparent that their langue is in their body. The most important part of these dishes is their body and that removed, other components will be meaningless and passive.Roman Jacobsen believes that Language units are related to each other with binary oppositions. These binary oppositions create meaning. The Meaning of "dark" depends on the meaning of "bright". So searching for oppositions in the body of ewers, "open-close" and "up-down" meanings were perceived. The comprehendible meaning is that these dishes are suitable for storing, filling and emptying foods and drinks. Actually ewers’ Langue that has not changed over the time is related to their function.Next, the relationship between the components was examined to realize ewers parole. In this part of the study, one of the dishes has been selected for the case study.In this analysis, first the sign system of components was studied followed by checking the relationship among these components. In order to realize the components and read meaning, the "Code theory" has been used. In semiotics, artworks can be considered as a text which consists of signs; and in order to be able to understand their meaning, we must know their code or communication contracts. Only in the context of codes, the signs have meaning. Codes create a relationship between the signifier and signified. Given that the relationship between signifier and signified is optional, so in order to know the meanings of the signs, we must know their contracts and codes. Jacobsen was from among those structuralism linguists who insisted that production and interpretation of texts depend on the codes or conventions. In this study, we focused on perceptual codes (A kind of interpretive code that is related to Gestalt psychology). But if necessary, we will use other codes related to the visual arts to interpret the meanings of visual messages. Meaning could not be built from combination of the basic elements signs; but largely they depend on the specific sensory devices that are the same in all human beings. In fact, our perception makes the meaning of the visual messages. Some theorists believe that our daily perception world be possible with codes. According to Gestalt psychology, there are features in human visual perception that can create the perceptual codes. Artists and interpreters of artworks accepted Gestalt principles as rules for the production and interpretation of visual artworks. But, of course, these rules are not conclusive; there are many contracts and codes to produce and interpret works of art which are related to specific context of art field.Components that are known in the form of ewers are: line, volume, color, texture, positive and negative spaces and Motifs. Their relationships were studied to understand the meaning of ewer. According to the types of volumes that have shaped the ewers, a balanced, stable and non-active composition from the type of symmetry is created; According to perceptual codes, their meaning is order, balance, poise, stability and without excitement. Symmetry composition is boring in a long time. The sense of stillness and uniformity is decreasing by shape and position of handle and by cause of pressure to visual perceptual system.Another identifiable component in this combination is turquoise blue and ultramarine color that matches with spherical body. And according to the psychology of color codes, it means Gnostic intuition, calm and supernatural world. Blue gives calming effect to our psyche. Texture and positive and negative patterns and spaces mean contrast and are against uniformity. And finally the meanings perceived are balance, symmetry, poise, calmness and movement.

The relationship between realism in Tabriz second school of miniature and the Islamic mysticismNeda Hooshmand Mofrad, M.A., Graphic design, Alzahra University, n.hooshmandmofrad@gmail.comAbstractSometimes, realism in Islamic art is linked to mysticism. Realism in painting, which is the result of focusing on affairs, It creates in mind that there is the truth behind affairs. In fact, this type of focus emphasizes some kind of experience, Mysticism is also important for experience and knowledge. On the other hand, mystics see beauty in everything because in their viewpoint, everything is in the best form it could have been and is thus, very close to truth. The closer something is to the truth, the more beautiful it is and the painter seeks to portray this beauty; So it tries that illustrations are close to reality.Assuming that the Safavid painter is influenced by the common thoughts of his time; so it can be argued that he most probably creates his art works on this basis and the prevailing realism in the paintings of this period is derived from the principles of Sufism. Empiricism and emphasis on knowing creatures lead to the truth of the world. The painter seeks to portray a beautiful illustration inspired by the perfection of divine creation.Realism is a characteristic of the Safavid paintings. The painter of this era makes efforts to take a specific moment and recreate it on the canvas with so complete details as if it is a live object. Since the artists of each epoch are usually influenced by the popular mindset of their time, Sufi and mystical beliefs and ideas, that flourished and spread during Safavid rule, left their impact on the art of this era more than ever before.This research investigates the effects of the Islamic mysticism on realism in Safavid miniature. Mysticism emphasizes on experience and the knowledge arising from it. Sufis claim that images are endowed with multiple semantic layers and that concentration on a single subject, leads the audience to the knowledge of its spirit. On the other hand, we observe the advent of a new form of realism in Safavid miniature: admiration of the terrestrial world as a manifestation of the divine world. It is an effort to illustrate a passing moment with the help of words and pictures, representing things in the minutest details to an extent that they seem to be alive. Since the subject under study revolves around changes in miniature within a historic period, data are collected through a desk study. Finally, the analysis is conducted through a descriptive-analytical method. The approach taken in the paper is a philosophical-mystical one.The process in which, as explained, Islamic art, as one of the manifestations of Islamic civilization, is derived from the dominant thinking of the existing culture and civilization and influenced by the prevalent philosophical doctrines.The results suggest that the works of Islamic art are created, inspired by the dominating thoughts in of a particular era. Following, and even under the influence of, his contemporary thoughts, the Safavid miniaturist produces work of art. Arguably, the realism prevalent in the era’s miniature emerges from the principles of mysticism, empiricism and emphasis on the knowledge of all other things than God in order to know the truth. Making use of realism, the Safavid miniaturist aims to reach the ultimate beauty God has endowed the existents with. The necessity of research in this area is determined by the fact that in most of the existing sources of Safavid art, it has been emphasized that over time, art and especially painting have been influenced by alien culture and the way of art painting has thus changed. This attitude is acceptable and the writer's goal is not to reject it. The intention is to address the other possibilities available to redirect the art of painting, and they should also be evaluated.Keywords: Tabriz II School of Miniature, Islamic Mysticism, Realism, Sufism.

Murals are one of the works that are included a range of patterns from past to present, including themes derived from Iranian painting, calligraphy or pictures of architectural works. These paintings in comparison with original context have gradually changed in functions and materials according to the needs of the community and the new context.Also, given that metro stations are considered as public spaces; Their role is important for communication and interaction among people. Therefore, it is necessary to pay attention to the features of public art and to understand how they are perceived and efforts to bring their experiences closer to different citizens. Therefore, the factors influencing the perception and visual preferences of public art audiences can improve the perception process of these works. Such an understanding of the quality of space that hosts a public art work will also be affected. Visual quality is measurable from three dimensions: functional dimension: (readability), identity dimension: (beauty), semantic dimension: (meaning and message) that this article focuses on two dimensions of identity and meaning. Despite the expansion of cities and the increase in their populations, the need for high-speed public transport and the establishment of subsurface metro lines and related stations, the use of public art to attract audiences in this area has been less considered.One of the most popular public spaces in the city of Tehran is the metro station of the city's theater, which houses various wall paintings. Some of these wall paintings borrowed from their traditional arts, and they see a lot of memories for the viewer's mind. Therefore, the greater the degree of this adaptation, the effect will be to make the sense of satisfaction more successful.The good of this paper is to investigate the intuitive features of patterns and traditional calligraphy as decontextualization and detextualization in mural of City theater Metro Station. It seems the changing nature of the media type, materials and also how to express has turned the fine and court art into human and public art. The current study aimed at answering the question of what characteristics of City theater Metro Station's murals can be verified as decontextualization and detextualization? This research has been done through descriptive-analytic method and by using case study. In order to collect information in the theoretical part of the literature, library documents and in the field of observation, questionnaires and interviews were used. Due to the large volume of murals at various metro stations that were randomly selected and visited, The city's theater station, due to the large number of murals in the path of switching lines, which allows more people to visit them, The variety and content of works of public art, proximity to the city's theater and student park and the existence of high levels of walls were selected. Then, from 9 murals at the station, One of the pictures of 9 murals in 388 questionnaires filled by citizens and 13 questionnaires of visual arts specialists Selected as one of three preferred preferences, analyzed. The design of the questionnaire was based on the visual preferences technique (VPS) and the analysis method using the spss software.This art work that has been selected as a case study has the motifs, partly inspired by calligraphy and the other part, inspired by the art of book writing. And these motives, borrowed from two images; one of the book Khamseh military titled "Killing Bahram Gore Dragon" by Mohammad Zaman, painter late Safavid period, and the other "The sequel of the old man of shitty" by a certain image, painter of the time of the Shah Abbas, from the book of the Jamie. Applying the Iranian motives, in addition to preserving cultural identity, if there is a logical connection between the visual elements of an effect, improves the understanding of the message of the effect by the viewer and, by promoting the quality of the environment, results in meaning and satisfaction in the audience. Observation technique and library studies are used in order to collect information. The result indicate that artist has used intelligent device for preservation of iranian identity by using the existing motifs and measures such as decontextualization and detextualization that creates changes in structures, elements, and materials. The above changes in structures and elements have been achieved the relationships of visual elements in murals of City theater Metro Station. The above changes indicate the change in function and differences that distinguish today's world from the past.

One of the solutions that leads to different brands being seen in the contemporary advertising space is the use of visual cultural-ethnic identities in their logo, and to achieve this, the use of symbols is of particular importance. But unfortunately, it seems that the choice of symbols by the graphic designer in some cases is tasty, without prior research or in its optimistic state, only by a formalistic approach. The present study addresses this question as a way to create a culture-based logo using cultural-ethnic symbols, and asks how the symbol can be used in an appropriate way to create a logo culture-based?It should be noted that in this research, the culture-based logo is not merely a logo of cultural organizations, such as the logo of museums, universities and cultural centers, although this item can also be subset. But, the meaning of the culture-logo the logic axis is that in the design of the logo cultural-ethnic symbols play a key role in the transfer of organizational concepts, and the main idea behind the designer to create a logo is the symbol and cultural motifs of a people and a culture.This is an applied research objective with analytical descriptive nature and data collection is done by the library method. By analyzing international specific logo elements and presenting case studies, this article will examine how some contemporary logo designs have inappropriately exploited specific cultural groups. In the process, this study will theorize how designers can practice culturally and socially responsible design by researching the context as well as the cultural and historical significance of major elements used to create a logo design. For designers to implement specific symbolic elements, they will need to analyze each of them to understand the multiple meanings and what they communicate to the intended audience. This is an important step in the design process that should be addressed prior to formalizing the final design proposal. Understanding the importance of the symbol is very important when creating a culture-based logo. Symbols can also be confusing or informative, given how well they are designed and the fact that the designer has well investigated the audience of that brand. A review of the global literature on logo design suggests that the design of the logo includes two basic steps, the research phase and the design stage; however, with this in mind, in the research phase of designing a culture-based logo, there are two basic stages Another included: 1. Research on the organizational goals of the brand and the identity that the brand is seeking to create; 2. Research on symbols that are consistent with the organizational identity in terms of explicit and implicit implications. Therefore, designing a logo is not a tweet or only a matter of formalistic and aesthetic issues, but in designing a logo, especially a logo that plays a key role in the symbol, the designer needs to have a thorough and proper research before designing it. One can conclude from the examination of international samples that use the symbol in the design of the logo in line with organizational interests, regardless of the harmony of semantic implications of brand identity. Apart from undermining the cultural values that it the symbol of its text is extracted, the use of such an inappropriate symbol can also have a negative effect on the organizational goals of the companies that use such logos, and this is where brands usually have a significant amount of time and funds to create their own logo. When the resulting logo is used to insult a group or ethnic group or use their visual symbols inappropriately, it can be very costly for both that particular culture and that organization's owner. Also, by exploring the purposeful international samples that used the symbol in the design of the logo in line with organizational interests, regardless of semantic implications of the symbol, it was concluded that, apart from the inhibition of cultural values, the use of such Inappropriate symbols can have a negative impact on brand identity and brand image throughout the brand's life, as well as organizations that create and use these logos.Finally, the result of this essay was that in the majority of cases, the connotational meaning of the symbol in the design of the logo was given more attention, whereas the same attention to the denotational and connotational meaning of the symbol and its alignment with the brand identity was the appropriate way to create a culture-base logo. Also, by exploring the purposeful international samples that used the symbol in the design of the logo in line with organizational interests, regardless of semantic implications of the symbol, it was concluded that, apart from diminishing cultural values, such use incorrect symbols can have a negative impact on brand identity throughout the brand life.

George Dickie introduces an innovative definition in the knowledge of art through a social-cultural context in institutional theory. The purpose of such a context is the same artworld which has the ability and competence to grant an artistic dignity to a work and can turn it into an artwork. So, what turns something into an artwork is not apparently a specific noticeable quality, but rather a particular dignity that the artworld attaches to it. In fact, a work is only referred to as an artwork when formed in its institutional context called artworld. So, in George Dickie's viewpoints, the subject of art is based on a more anthropomorphic subject and on cultural phenomena, actions and behaviors related to the artworld. On the one hand, the design of the artifact component in the institutional theory opens the way for the arrival of many pre-made and ready-made works to the art field. In this context, many postmodern artistic movements, including the works of conceptual art, can be evaluated and analyzed. Prior to introducing the artifact component to the creation of artworks, what was always accepted by the audience as art and artwork was works based on the traits and qualities of aesthetics and other artistic theories such as imitation, expression, and formalism, but by introduction of such a component, many of the works that were previously not accepted as an artwork were turned into art by receiving dignity from the artworld.The objective of this research is to challenge the basic concepts of Dickie's institutional theory, including the nature of the artwork, the artifact, and the artworld. In his viewpoint, George Dickie regards the artworld including members of (art philosophers, instructors, artists, etc.) who, by granting artistic dignity to a work, can transform it into an artistic work, but what are the eminent criteria for the artworld qualified to grant artistic dignity to a work? On the one hand, according to George Dickie, a work is an artifact that shapes the nature of an artwork. Now, a question arises as to whether the artifact has a clear definition in George Dickie's viewpoint? However, what is known about the characteristics of an artifact is based on the notion of Noël Carroll. Considering the descriptive-analytical research method of this paper, the basic concepts of institutional theory seem to be ambiguous. Such ambiguities are caused by the fact that George Dickie, in his viewpoints, does not set out particular criteria and specifications for defining them. Such ambiguities challenge art as an institution, and according to Levinson's historical theory, the creation of an artwork does not always require a social institution such as artworld. On the other hand, institutional theory cannot provide a comprehensive definition of art and artworks like artistic theories since a social and cultural context, such as the artworld, may be effective in transforming a work into an artwork but it cannot be considered as a necessary and sufficient condition for creation of an artwork. Despite the ambiguity and critique of the above theory, the introduction of such a theory in art can cause to include many works in the field of art. In George Dickie's institutional theory, despite the presence of a convincing definition of art and artwork, many arts, including conceptual art, can be analyzed and evaluated because the fundamental components of institutional theory are fully adaptable to such works. For example, what has always been considered for a conceptual artist in the creation of an artwork is the artist’s idea and the negation of the work of art. For example, what has always been for the conceptual artist in the creation of the work of art was the idea of the artist and the objectivity negation of the artwork. The transfer of the artist’s idea, as a member of the artworld, is fully compatible with the component of the artifact of George Dickie’s theory, and on the other hand, rejecting any objectivity in the creation of the artwork, challenges all artistic theories based on the traits and qualities of modern aesthetics. It can certainly be said that such a theory is important because it gives open and wide meaning to art and artwork. George Dickie's institutional theory does not intend to determine the value of an artwork, but what is emphasized by such a theory is the nature of art which can be provided by components such as artifact, artworld, and the good and suitable object. Dickie can give his audience a more comprehensive definition of art and artwork by setting out the specifications and criteria for an artifact and every member of the artworld. However, such ambiguity may lead to include many unartistic works in the field of art. The entry of unrelated works may deviate George Dickie’s aim on presenting the nature of art and defining the artwork

AbstractSight is the most important human sense, through which human becomes aware of the environment and world around him and dominates them. Sometimes the process of visual perception in human is done with a kind of impairment, which can be called Optical illusion. Disturbance in visual perception requires certain conditions that are generally created in the absence of sufficient information, withdrawal from the accepted constraints, or contradiction in the constraints. Numerous factors can affect visual perception such as the amount of stimulation of the vision organ, the impact of the environment on the individual and the phenomenon being observed, and the mental and psychological condition of the individual, etc. There are a variety of ways to challenge the visual perception of the viewer, which is used in the design or implementation of graphic works, from the design of signs and symbols to environmental and multidimensional graphics. In the graphic design, Optical illusion has opened a new space for designers in order to further influence the audiences. Using visual ambiguities in graphic design has led to the production of striking and unique works which have a high degree of aesthetic value. These works are usually very creative and innovative according to the subject they have been designed for. Viewing the works by the audience and understanding its ambiguities creates a sweet challenge that leads to penetration into the mind, becoming works more memorable. Graphic designers of the field of logotype design, with the knowledge and understanding of the writing with regard to the theme of the logo and its function, while appropriately using the form and structure of these arrangements, by providing the appropriate design behavior, while influencing and influencing the mind of the audience, can reach the audience to comprehend the subject more correct and better. It should be kept in mind that a logo, in terms of its application, must maintain its nature and quality in all circumstances. This should be especially emphasized in the logotypes, in which the linguistic elements are used in their design. Any disturbance in the proper reception of the linguistic logo may create another purpose in the mind of the audience. Some of the errors in running and displaying a logo are efficient in a variety of media, such as the virtual and animated media. However, in designing a logotype, taking into account the limitations and capacities of logo, only some methods are useful. In designing a logotype with optical illusion, careful attention should be paid to features such as simplicity and succinctness, applicability in different media and conditions, Uniqueness and creativity, and linking with the subject, along with the reference to cultural identity, and at the same time, the usability for many years, To lead to an effective and efficient logo.This research aimed to identify the most commonly used methods of optical illusion in logotype design. The results of this research show that it is possible to use just some certain methods of optical illusion in logotype design. And this is affected by the nature and design limitations of the logo. Also, Optical illusions that are presented on a two dimensional surface with the the least details, such as impossible shape illusions, meaning changes illusions, shadow illusions, and illusions of motion, have the most capability to be used in logotype design. additionally Persian logos, based on the Iranian-Islamic script, can be used in all types of optical illusion compatible with the design of the logo, and in some cases also have special capabilities. The varied shapes of the letters, word sections and their structural capabilities, the visual variety of the types of calligraphy, along with the various combinations and layouts, is a very valuable capacity that can be a source for creating treasured, memorable and highly influential works. The appearance of connected words is one of the features of Iranian-Islamic writing, which is considered as an appropriate case for illustrating the use of partial motion illusion. furthermore, in the use of "change meaning" optical illusion, or in other words, in a unitary image with multiple impressions, such as the inversion and the simultaneous use of the positive and negative space, which is found in the writing of Islamic art inscriptions, is a suitable base for provide logotypes that are incisive for mind of the audiences. On the other hand, designing using the visual capacity of a Moaqqali writing in various two and three dimensional. conditions, in the design of impossible shapes, is also considered as the possibility of particular Iranian-Islamic writings in conjunction with the use of optical illusion in the design of the logo. The paper method of this essay was descriptive-analytical, and method of information gathering has been library studies.

Safavid dynasty is one of the most important eras in history of Iran, because a powerful and central government ruled all of the country. Fabric weaving was flourished at this time and luxury fabrics were produced and used for apparel of kings, nobles and princes. In Safavid era, fabric weaving, such as other arts branches was affected by policy of the kings. Evolution in textile industry in this time had a strong relationship with court’s patron. Also fabrics were valuable commodities for export to abroad and increased government income. On the other hand, sumptuous fabrics had been used as gifts for foreign ambassadors and European kings. In this research paper the main questions are: How did Safavid rulers support fabric weaving? How did textile change in this era? And what were the main fabric designs? This research is based on the historical method. According to the library resources and documents the descriptive and comparative analysis were used.Results show that people life was affected by Safavid kings. Craftsmen and weavers were under court’s patron. Therefore, the fabrics that had been produced at this time are among the most beautiful textiles in Iranian history. Varieties of colored fabrics indicates that the art of designing and fabric weaving were on high techniques. The main reason for this situation was availability of suitable conditions for handicraftsmen. Kings, princes and other people in court liked to wear expensive and beautiful clothes, therefore in the textile workshops many types of fabrics had been produced to meet thier demands. Also a part of these textiles were exported to abroad. In Isfahan; painters, architectures, calligraphers, and weavers worked together in the workshops and helped to closeness of arts branches. Some of the painters were the weavers of the luxury fabrics designed by themselves. Therefore, excellent fabrics were produced and admired by the people around the world. One of the most important Safavid’s artistic specifications was foundation of art schools under supervision of imperial court that resulted to begin a close relationship between fabric weaving and painting. Two distinguish durations can be counted for textiles in safavid era. First; under influence of Bihzad, the great painter of the court, the Tabriz painting school was established and influenced fabric designing. The specicitions of Tabriz school are: designing narrow trees such as cypress, serrated leaves, detailed background full of flowers and botanical motifs, and realistic designs. All of these aspects can be seen in the textiles produced at this time as well. One of the famous artists of this style is “Ghias e din Ali Naqush band”. He was a painter and weaver and many artists followed his style and produced magnificent fabrics.The second school was established by Reza Abbasi, a famous painter of Isfahan school. His style was used in velvet weaving. The main aspects of this style are: people were designed with Iranian faces rather than Moguls, the main motif was big and the background decorated with smaller motifs. Many artists follow his style in painting and weaving as well. One of the most important specification of Safavid fabric weaving was co-operation between painters and weavers in Isfahan. In fact many weavers were woven their designed fabrics and some woven the paintings of that time. At the end of Safavid dynasty, a new decorative style was introduced by Ali Ashraf, a famous painter. In his style depiction of human body and face were changed. The rose followers with birds were used for decoration and lily and poppy flowers in rows placed next to each other in fabric design. Actually, the beautiful and magnificent textiles as apparel for human in the paintings shows the development of textile techniques at this time. Safavid fabrics according to designs can be categorized as follows:- Human picture: attention to the human is one the main specification of Safavid paintings that depicted in the textiles as well. Weavers according to their tastes or necessity of the designing, had used human in the textiles. Sometimes one person as single decorative design, were used and sometimes people are shown in a ceremony or hunting senses.- Calligraphy: decoration of silk and brocade fabrics by writing with Naskh or Nastalig was a very common style in Safavid era. This type of decoration were always used for grave cover or draping in holy places. The motifs were designed symmetrically.- Geometrical design: This type were used for showing repeat of a motifs. Geometry designs, flowers and other shapes were used in embroideries at this time.-Animals: The animal pictures such as sparrow, parrot, peacock, duck, and goose can be seen in safavid fabrics.- Botanical: people liked followers and gardens, so the botanical designs were very popular at this time.

The rituals related to the tomb of famous believers are among the most important appearances of religious beliefs. The most obvious reasons for the creation of these tombs is respect for the passed away person, hoping that his/her soul benefit from the prayers made by the visitors of the tomb. The symbolic concepts have been applied in the arrays of the tombs of Islamic era, according the Muslim artists’ views have found a spiritual nature. Among the arrays of the tombs, their covers have been provided by the art of weavers and knitters who either have donated their works sincerely or have performed the order of a great person. In Iran, since the Seljuks era, we observe this type of works. By the start of Safavid era another flourishing period was started in the textile production that was very attractive for kings. It was very valuable for them and they supervised on the textile production workshops. In this era the precious cloths and garments were granted to ambassadors and specific persons as present. Cloths had an essential role in the ritual ceremonies, as the king or a senior official’s passing way were covered by silky and golden cloths. Cloths were used in the normal affairs of the daily life as well. Quran and valuable books were put within the golden cloths and also the important letters were put within the precious or velvet cloths. Grants also were put within bundles of silky cloths. Prayer and amulet were covered within a cloth and in the religious practices such as prayer different cloths were used. Prayer cloth, turbah cloth or the rectangular cloths that were spread in altars, all had been made of beautiful and precious cloths. Also the cloths were used as cover of kings, saints and nobles’ tombs. Some of weavers granted the woven cloths to the sacred tombs as a sign of respect or by order of authorities. Construction of the tomb of Sheikh Safi-ad-din Is'haq Ardabili, one of the mystics of Ilkhani era and the great ancestor of Safavids, that had a mystical status, was very important for Shia Safavids. Visiting the tombs of Imam Ali’s descendants was very important for Shia dynasties and movements. Hence, the tomb along with a collection of tombs of Safavid elders and of kings and ritual spaces in Ardebil was very important. As in the Safavid era the official religion of the country was twelve-Imam Shia, Sheikh Safi-ad-din Is'haq Ardabili, as a religious support, found a special status for Shia Safavids. They even adopted the name of their dynasty from their ancestor. Ghyathedin, the famous knitter artist of the era, has woven several pieces for the tomb of Sheikh Safi-ad-din Is'haq Ardabili that one of them is more specific. This piece, with an altar pattern, is bold-flower velvet in dark blue in background with a cream colored border that has been woven by Golabatun, Shah Abbasi flowers, arabesque and Khataei patterns and has three rows of border and the main border has a text of preyer for the Fourteen Ma’soomins by cream-colored Thuluth calligraphy on the dark blue background. The dimension of the cloth during the textile history of the era is rare. It is possible to understand largely the views of this artist that was influenced by the Isfahan though school in creating his works, beyond the social, political and economic backgrounds of the era relying on the Ervin Panoffski’s iconography theory. In the Safavid era, applying symbolic Shia elements in textiles became a part of the policy of Shia Safavid rulers. This cloth in addition to the respect of the dedication of the one who ordered it, that was probably Shah Abbas Safavi, was taken from Shia beliefs. Its knitter Ghiyathedin Ali Yazdi intelligently utilizing the symbolic and abstract patterns, which always had religious weight in the Islamic arts, has conveyed the spiritual concepts through the pattern and texture of the cloth. This article has addressed to the symbolic themes of the decorative patterns and has interpreted the worldview of the creator of the work and his awareness concerning the Shia school with Ervin Panoffski’s iconography theory. This work implies the interpretation that has been originated from spiritual rituals such that the knitter knew it and has manifested Velayat, one of the principles of Shia, cleverly in the cloth.