پژوهشنامه گرافیک و نقاشی
پیاپی 3 (پاییز و زمستان 1398)

the motifs of ancient times are derived from rituals, beliefs and customs that have maintained their unique features over the centuries. The most remarkable artistic achievement of Western Iran at the end of the 2nd millennium BC and the beginning of the 1st millennium BC is the bronze works known as Lorestan Bronze. The Sorkh Dom-i-Lori site, the first excavated site in Pishkuh of Luristan, was excavated in 1930 by the Holmes Archaeological Board under the supervision of Friedrich Schmidt. Sangtarashan site is also another ancient site of Lorestan located 52 km southeast of Khorramabad. The newly discovered site has an unusual texture. Studying and comparing the typology of the objects, these two sites were introduced as one of Iran’s largest bronze treasure troves. In the present study, authors examined the motifs of the Sorkh Dom-i-Lori and the recently discovered Sangtarashan sites. It was first excavated in 2005 and the excavation in the south and west of the site has not yet been completed. The study mainly aimed to identify and introduce the bronze objects of the two archaeological sites and also quantitatively study the types of motifs, and adapt the time period, form and content of the motifs used in the archaeological sites.The first phase of excavation was done in the area in 2005 and the excavations are not finished yet in southern and western regions. Studying and comparing the typology of the objects of these areas introduced these two places as the greatest Iranian bronze treasure locations. Statistically, most of the known findings attributed to the culture of Lorestan were not obtained through scientific excavations. They were transferred to museums from antique markets. In Sangtarashan, archaeologists are exposed to a series obtained from scientific excavations. Therefore, clear and certain foundations can be created to compare Lorestan bronze objects. The present study identified different types of bronze objects in the two ancient sites of Sorkh Dom and Sangtarashan with a new attitude and examined their motifs, concepts and applications with an amazing variety. The data analysis method was descriptive-analytical. Using desk studies, the bronze objects of both sites were introduced, and the types of their motifs were generally divided into several categories: human, animal, plant and geometrical, imaginary and mythical motifs. Animal motifs were most used. These motifs have been studied quantitatively, qualitatively and comparatively in terms of time, concept and form.

Problem solving, creative and critical thinking are among the most important skills in today advanced world. This research intends to investigate the components of creative thinking and problem solving methods in designing methods of interactive books with cognitive approach in order to upgrade the creativity of children in preschool level. In this research, attempts were made to propose appropriate principles of designing interactive books and at the same time, investigate the impact of designing methods of these books in relation to promoting the level of children’s creativity in preschool level. The research method of this study is descriptive and analytic and the results are collected through library and field studies over 120 Iranian 4-5 years old boys and girls at preschool level 1 & 2 in two kindergartens using random sampling method. According to the results of this study, it is important in the design process of these books to generate creativity in design and illustration. Hiding complex concepts in book illustrations, paying attention to the cognitive skills of the preschool age group and purposeful design considering different stages of cognitive and psychological development of the children should be taken into account and necessarily, the idea of the book must involve the child with the subject in question in a certain way in order to challenge his/her mind and respond to many of his/her needs from various aspects such as social, educational, moral and emotional aspects. Paying attention to characterization in illustration and more using of unconventional elements, the structure of composition and surreal spaces in addition to realism enhances cognitive skills, question formation, ideation and creative thinking of children. Interaction of the children with their surroundings may take place in different ways, including Dynamic Interaction, Touch and Feel Interaction, Visual Interaction, Speech Interaction and Cognitive Interaction.  Interactive books can interact with children in different ways. These books encourage the audience to react to the book and by including many visual dimensions they help to the development of child’s abilities. These books also establish the spirit of interaction in children and by introducing new models can enhance the process of thinking. By using these books you can enhance the sense of aesthetics, creativity and level of visual literacy in children and help their cognitive development. By analyzing the visual characteristics of the images of interactive books we can understand that whatever the subject matter of interactive books for promoting the creativity of the children is closer to the experiences and concerns of the children’s life, they can communicate with the story better and better understand the concepts. The illustrations of these books are capable of enhancing the creative thinking skills of the children. Given the results of conversation with children and studying their paintings and also their feedback to the selected books, it can be concluded that paying attention to personality in illustration and more use of unconventional elements, structure of the composition and creating surreal space along with the realism can lead to formation of the questions, idea making and creative thinking. For this purpose, knowing the child audience and the stages of his/her cognitive development is essential. This research attempts to express the methods, criteria and processes of creative thinking and interactive books design practices in order to increase the cognitive skills and learning abilities with regard to cognitive development of the children. This article consists of four sections. First, it studies child psychology, creative thinking, cognitive development and learning and then, deals with interaction and interactive books. Third part deals with the way of designing these books for promotion of creative skills and in the fourth part, it includes a practical research on preschool children which is a field study that is performed to examine the level of children’s creativity while facing with interactive cognitive books. The results of the study of interactive books and their impact on the process of learning and promoting the creativity of the children show that coordination between images and written elements and their impact on what the child imagines and builds in her/his mind, helps the process of learning. Creativity requires learning and practice and seeing and interacting are the best ways of learning. Moreover, the results of this study show that in many cases, learning process in interactive books happens through the interaction between the characters of the book with each other and also with the cognitive image that children make of these characters in their minds. To achieve this goal, it is required that interaction and level of the story be in line with each other.

A part of the story of Yusuf has been narrated in Torah and in the Surah of the same name in the Qur'an, which describes the story love of a beautiful woman for a young man. Given the relative similarity of this story in the two scriptures, various illustrations have been created by illustrators.  In this research, two works from the scene of Zulaikha's request from Yusuf are studied; a painting by Mahmoud Farshchian based on Qur'anic verses called Chaste, and the painting of Yusuf and the Potiphar's wife by Guido Reni, based on the story of Joseph the Prophet in the Torah. The research questions are: what effects can pre-texts have on hypertextual in portraying a scene by two different artists? What are the similarities and differences in the paintings of Zulaikha's request from Yusuf with different pre-texts?  The main purpose of the research is to study the factors of the Metatextuals such as texture and the cultural and religious pre-textual elements of the internal factors in similar visual systems of narration to find a better understanding of the deep structures of these paintings and the degree of convergence and their correlation by studying these cases. Therefore, using the descriptive-analytical method and with the transtextual and hypertextual approach, various factors in painters' obtaining from this story and its different representations in their works have been investigated. In two different but equally thematic works and discovering the underlying layers of the work and the transition from hypertextual to pre-text (religious text) and intra-disciplinary pre-text (Baroque and Iranian painting style) cultural symbols and indicative elements at the time of the narrative place, the painters received different works and distinctions in their work. One of the important factors of this distinction is the difference in the narrative of two religious texts, one in the Qur'an and the other in the Torah, as well as the cultural and artistic differences in the style of each of the authors, which also influence the audience's reception of the artwork. There are differences between the visual representations of the single text, but the details of the works of the two artists appear to have been more closely scrutinized by the Iranian painter, including the symbols of ancient Egypt which represents the time, location and the narration. Zulaikha’s face has been drawn purely Egyptian and one of the reasons for using different elements and images in the space is the use of an Iranian spaceship that the artist has used well to portray the narrative better, but the Italian painter Guido Reni’s painting is simply European and there is no Egyptian symbol in the work, and painting completely follows baroque style using opposite colors. According to the pre-texts, the Qur'an and the Torah, we found that the story of Yusuf and Zulaikha is more detailed in the Qur'an, but is briefly mentioned in the Torah. Another major distinction between the two paintings is the difference of each painter’s painting style, one drawn with Iranian painting style full of space and detail and the other with Baroque style with simple spatialization and the use of light and contrasting colors without details. After differentiating these two works, there is the difference between narrative in the pre-texts, the cultural differences, the differences in the style of painting and the differences in the perceptions of each artist and their imagination. Thus, every text preserves the tradition and cultural heritage of its predecessors, and the texts are part of an interconnected chain whose authors preserve and display the influence of earlier texts by preserving the contemporary context. The results of the study indicate that although the paintings have a common theme, because of the differences in the hypertextual factors, the cultural and artistic pretexts and the difference in narration in the two pretexts, the Qur'an and the Torah, the effect on artists is seen from different imaginative perspectives in their recreations.

One Thousand and One Nights is a collection of stories that belong to the Orient. The fundamental basis of the book is the Iranian book called "Thousand Legends" which seems to belong to the Achaemenid and Parthian Dynasties. The book was translated into Arabic during the third century AH and became "One Thousand and One Nights" with changes over time. The first Persian version of the book available today is a translation of the Arabic text was written in the thirteenth century AH by Mirza Abdul Latif Tsuji, ordered by Bahman Mirza Qajar. This book published in Tabriz in 1263 AH. Nasser al-Din Mirza, who lived in Tabriz, became interested in the anecdotes. Upon arriving at the monastery, The One Thousand and One Nights manuscript was ordered by Nasser al-Din Shah Qajar and accomplished under the supervision of the painter, Sani ol-Molk. It was completed in six volumes and took seven years (from 1268 to 1275 AH). There is a hypothesis that Sani ol-Molk has been influenced by the life of Iranians of his time in painting The One Thousand and One Nights manuscript. This hypothesis provides a way to compare the images of The One Thousand and One Nights manuscript with the life of courtiers or other people during the reign of Nasser al-Din Shah. One of the highlights in this field is a comparative study between the images of Caliph in One Thousand and One Nights and Nasser al-Din Shah Qajar. The story of the Caliph Noaman in One Thousand and One Nights is an epic in which the painter has attempted to portray Zu-olmakan, one of the sons of Caliph Noaman, similar to Nasser al-Din Shah. So, in this research, the images of Malek Zu-olmakan in One Thousand and One Nights were reviewed in order to compare them with the images of Nasser al-Din Shah, based on the semiotic approach. In other words, the question is: what is the relevance between the images of Zu-olmakan with the images of Nasser al-Din Shah that were drawn by Abolhassan Khan Sani ol-Molk? This research is a descriptive-analytical study that collects and analyzes historical evidences to interpret and evaluate historical events. Resources such as books, articles, documents and images have been used to gather information. In this regard, the signs of the images of Zu-olmakan and Nasser al-Din Shah were examined and compared with each other based on the semiotic approach. The studied images also were chosen in which both kings (Nasser al-Din Shah and Zu-olmakan) were in the same position. Subsequently, the semiotic comparison of the life story of Nasser al-Din Shah and Zu-olmakan also discussed. It was concluded that Sani ol-Molk’s intention was likely to create a similarity between the images of Zu-olmakan and Nasser al-Din Shah. He drew both of them in the same positions of sitting and gesture of hands, the same types of clothing and faces details. Furthermore, referring to the historical facts and the life stories of the two kings, it was concluded that there are so many common points in the lives of them. They were both young kings whose births were the result of a union of two cultures or two civilizations to unite and increase the power. Both were born after years of their families waiting and were anxious for the royal family to continue generations. Despite the custom of raising many children in the royal family, the two kings had only one sister, which there was a close relationship between them. Both kings faced many fights against stronger and more powerful rivals over the succession of their fathers. Also, they fight with their religious and cultural enemies after their reign, and both eventually overcome. Therefore, Sani ol-Molk had many facts to draw Zu-olmakan, similar to the king of his time, Nasser-al-Din Shah. Sani al-Molk may likely have tried, in other cases, to portray some events in the One Thousand and One Nights paintings similar to the reality of Iranian life that would require further studies to prove this hypothesis.

According to Deleuze` ideas, there are several types of compositions or arrangements: material composition, which is a function of the artist’s perceptual product or his/her sentiments. Technical composition, which renders the perception of the artist subject to scientific discoveries, such as perspective rules or mathematical rules, like the golden proposition and the Fibonacci sequence, or ultimately disorder in fractal order. Aesthetic composition is formed from the sensitivity to different forces on the surface. The forces of colors and shapes puts the painter in a variety of ways. Each color and form expresses a degree of force. Once the criteria or rules for creating visual works become unimportant. The dissonance and chaos may occur at the surface of the work, which is the most important factor in organizing this composition. The diagram, in an instant, relates both the contractionary and expansive moments between chaos and the order of composition in the way. Contraction is a sequential movement that, like the point of imbalance or collapse, tends to return everything to the matter, mass, or material structure indicating the fragmentation of each piece, the patch of color, the color strokes. Expansion bonds between horizontal and vertical surfaces; in addition to conveying and expanding, it merges them in depth. In addition, the diagram induces a process that continually organizes a set of relationships based on the sensitivity of the forces. They shatter and disintegrate, squeeze one another, rescuing themselves from the chaos of indeterminacy, while still remaining self-contained. The diagram moves between disorder and order of composition. The emergence of the diagram is as necessary as possible, which resembles throwing of  a dice by chance while sitting on the surface with emergence of a number  and allowing the artist to move forward based on it. The Method of this Research is analytical-critical according to Gilles Deleuze`s thought. To clarify some contents the author has criticized an Iranian contemporary artist’s work, Shahryar Ahmadi who creates many paintings by deforming the forms and shows that artistic work as a field of  forces. The result of the analysis of Shariar Ahmadi`s painting based on Deleuze’s ideas shows that the artist has gone through material and technical composition using the force of forms, colors, and virtual aspects of classic images, concepts, subject maters like ascension of muhammad. The action of contradiction and expansion in complementary colors of red and green, orange and red and the yellow variation of the color along with the black color flows, creates close-knit, yet stressful relationships. The diagram is the condition of  formation of aesthetic composition. Relying on diagrams, necessary contingency and chances, the artist goes beyond the visual rules of the organization and creates a composition in which the eyes is ocuppied with the surplus puissance.   The study question is asking from the conditions for the formation of aesthetic composition from the heart of the artistic material with the description of the different levels of composition in Deleuze’s books: “Francis Bacon: Logic of Sensation ” and “What is Philosophy?”. In the next step, the purpose of this paper is to evaluate and critique the work of Shahriar Ahmadi, using the analytical-critical approach, with regard to the steps that have been taken from Deleuze’s discussions. The analysis of the aforementioned process in Shahriar Ahmadi`s work “untitled” and it`s  criticism reveals that many moments  of creation of aesthetic composition  such as overcoming the artist`s style and conventional understanding of Iranian classical art and abandoning from archives and mental images are left behind. The result show that the diagram  does not act locally and it encompasses the entire surface of the work. However, this work provides the grounds for proposing a new “rule” and thinking about the semantic dimensions of the concept of  human in the contemporary situation.

The art of the Qajar period is one of the most important and brilliant arts of this period in Iran. Mirzababa played an influential role in promoting the art of this period. He was a painter at the Qajar court in Fath Ali Shah, who began his service from the time of Agha Mohammad Khan and presented a different form of art. Oil painting and iconography were formed during this period. In addition to creating sculptural and human-made laws on the Qajar court and training great artists such as Mehr Ali, Mirzababa also undertook other important activities including watercolor, illumination, poetry, broken calligraphy and Nastaliq. The main issue in this research is the study of Mirza Baba's role as the first Qajar court artist and court painter in different fields. In what areas did this artist work? The purpose of the present study is to study Mirzababa's works and the influence of Western art on the quality of his works. This article deals with two categories: 1. Mirzababa's influence on the Qajar era from Western art and 2. His pivotal role in Qajar art. The present study is a qualitative and historical-analytical one. The information is also collected as documents. The results show that as the first and foremost artist of Qajar court, Mirzababa was very influential in the art and formation of the artistic laws of this court. He was familiar with all the arts and built the infrastructure of all the Qajar arts. In addition, some of the arts were influenced by the West and in some cases had shortcomings. Looking at the art history of the Qajar period and the impact of Western art on the arts of this era, we are witnessing developments. Under these circumstances, Mirzababa, the chief artist of the Qajar court, worked in all fields for his ability. The present study seeks to investigate his role in various arts and how Western art influenced his work. He was the first painter of the Qajar court to play an important role in transmitting the standards of Zandieh's art to the Qajar era and establishing the Qajar court art. Mirzababa wrote various laws for the Qajar arts that were in force until the end of the Nasserian Era. The most important art of Mirzababa can be seen as the courtly sculpture that drew the most image from Fath Ali Shah, so the painting and visual rules he followed were endorsed by the Shah. That's why other artists imitated him. Mirzababa was active in other arts and was the most important artist of the Qajar era. In this study, the artist's biography, iconography, his role in this school and his book-making, lacquered volumes and iconography, the design of dishes and jewelry, the inanimate nature and the design of the royal throne are examined.

In the history of the Turkish literature of Azerbaijan, we are witnessing great literary figures, each of which has somehow helped in understanding Islamic literature and culture and culminating in it. One of these distinguished characters and of course the founder of the Indian literary genre, Mohammad Fuzuli, is the greatest poet of the Azerbaijani Turkish in the 10th century. Illustrated manuscript of this literature is full of paintings taken from his contemporary painting schools, Baghdad, Ottoman and Tabriz. The purpose of this research is to analyze the illustrations of Fuzuli literary books and to investigate the influence of Iranian art of painting on the images of Baghdad and Ottoman schools and the influence of Shiite themes on Fuzuli literary works and finally to illustrate them and to try to answer the questions whether the illustrations of books have affected Iranian Islamic culture or not? And according to which basis are the Shiite themes based on the paintings? Accordingly, in this study we first describe Fuzlui's life, then introduce Baghdad's school of painting and the impact of Iranian painting on the school, and finally analyze Fuzlui's works. At the same time as the Safavid dynasty, we are seeing the development of Iranian book-making art in Istanbul because Sultan Salim I was fully aware of the history of Iranian painting. At this time, Sultan Salim I first went to Tabriz after the victory in the Chaldoran War and collected all the works of art and artists and moved to Istanbul. Over the course of the first half of the 10th century, artists and other artworks were plundered from Iran and turned to Istanbul's Topkapi. In addition, with the capture of areas such as Iraq, a kind of art was discovered in Ottoman Empire under the influence of the Baghdadi School, which had a strong background in book art. These art arrays are very similar to Iranian paintings, which can be said to be imitated the Persian art. Fuzuli has written his works in three languages: Turkish, Persian and Arabic. All these three languages were spoken in Baghdad those days. Although he was a Sunni believer, he respected Shiite beliefs. His works reflect his attention to Shiite beliefs. His Turkish poems include: Shah and beggar, Layla and Majnun, Masnavi of Bang and Badah, Rozah, Hadiqa al-Soada, Suhbat Al-Asmar, Complaint and Riddle Treatise. Divan of Persian Poetry includes Divan of Poetry, Rand and Zahed, Health and Disease, Anis al-Qalb, Saqiqnameh (The Seven Cups), Ruhnameh (Spirit Travelogue or Husn and Ishq) and Arabic works include Matla’ Al-Eteghad, Divan of Poetry, Kalam and Falsafa.  According to the purpose of this research, it is related to fundamental research in theory because of its dependence on epistemic domain and its knowledge-making aspect is considered, but it is descriptive-analytic in nature. Therefore, after explaining the subject, the state of the problem and its dimensions are concerned and explored and the rationales are drawn by linking the visual elements of the Baghdad and Ottoman schools with the style of the Tabriz school of painting and the impact of the Shiite themes on the literary and visual works. In this way, the qualitative method of the criterion is certainly in place. The information needed to start the research was provided by the library, the documents and the collection tool was taking notes. The statistical population of the study consisted of selecting 17 pictures of existing manuscripts in overseas libraries. The results show the studied works in terms of content, text, painting, and book-keeping are influenced by Islamic mysticism, religion and literature, and in fact, the field of thought is a ground for the understanding and consensus of the three Islamic-Iranian and Turkish worlds. Another point is that despite Fuzuli’s religion which was Sunni, his works were influenced by Shiite culture. Persians, Ottoman and Arabs could live together in love and exchange, trade, education, and even bragging, but in the upper classes of the society, the kingdoms and sultans, could not tolerate the presence of each other at a parallel time. At the community level, the situation was different; the citizen of Hillah, regardless of the Ottoman and Safavid sovereignty, and disregarding the linguistic and racial political realities, understood that what is lasting is art, humanity, and the spirit of the regime and this is the essence of all, the foundation of not Royal is eternal. As all those hegemony and majesty fell into neglect in the dust of history, but what remained was a beautiful feeling that was decorated with the water and other colors of the artisans. Today's world and most importantly, today's Iraq is thirsty and eager to repeat such experiences that it has gone through.

Guilan province, especially Rasht city, is one of the most important cities of Iran in the Qajar era. The city became one of the busiest cities in Iran because of its maritime and land borders with Russia during the Qajar era. A city of historic antiquity, location, climate, natural resources such as mountains and forests were far more modern than ever imagined. Cultural interactions with the neighboring countries have enabled the city to maintain its values ​​and embrace modern developments in its culture. Important amenities such as Baladiyah (municipality), modern hospital, post and telegraph, silk factory and public bath are among the important facilities of the city during Qajar Period. Among the amenities of the bathroom is considered one of the most important public places. According to documents, until the late Qajar period, Guilan had 17 public baths. Today there are only three public baths of the Qajar era in Rasht. Two of the three bathrooms, the Haji Bath and the Golzar Bath, are operated by a family of artists and tile makers. The Great Haj Agha Bath, the third bath since the Qajar era, has only a handful of tiles whose creator's name is unknown. The Haji Bathroom tiled by Mashhadi Yousef is of great visual and cultural value. The bathroom dates back to about 132 years. This bath is located in one of the oldest neighborhoods of the city of Rasht, called Saghrizan. The bathroom is next to Rahmat Samiei's house and the bazaar. After field research on the building, what draw the audience's attention are the extraordinary tiles of the Haji Bath. Bathroom portraits include Rostam's battle with White Demon, deer hunted by hunters, two angel species and plant forms. The angels are present in both earthly and symbolic positions. After examining and carefully considering the forms used in the Haji Bath, the main question that comes to mind is why and how to choose themes with the observance of a form by self-taught artist Mashhadi Yousef. Mashhadi Yousef, a painter and maker of Haji bathroom tiles, adheres to the visual tradition and the informal flow of art during the Qajar era; which can be deduced from the battle picture of Rostam and White Demon. The deer hunting role shows that the Qajar visual tradition seeks cultural attachment to the Sassanid Empire era as it was in their visual taste. The floral motifs on the fringed angels have a realistic and abstract visual appearance. Although plant elements are considered as space fillers, the exact form balance between the plant form and the figurative form has occurred. Two angels carrying a basket of flowers have reported the transformation of the angel and their physical quality in the bathroom. The angels are weighty and carry a basket of flowers that are heavy in the shape of hands and body type seen in the pillar section. Smaller angels express a symbolic quality of bath and purity. Generally speaking, the painter is experienced. For this reason, as well as the visual tradition, it has achieved an exemplary quality in which the imprinted image is associated with the functionality of the building and is not considered a tiling adornment. Mashhadi Yousef is perhaps the first tile artist in Guilan who revived the tradition of tiling and tile making in Guilan and passed on to his son, Mohammad Pur Yousef. The Golzar Bath two decades after the Haji Bath is considered the result of Mashhadi Yousef’s tiling tradition. The images created in Haji Bath in terms of quality have no relation to the images from Qajar time in Guilan, which illustrates Mashhadi Yousef's unique feature. Regarding the research background, it can be said that unfortunately, except for a few news sites, there is no precise and scientific content of this valuable bath, and the vacuum created by this research has created a motivation for the author. Hadi Seif, author of “Painting on a Tile”, refers to the lives of tile artists. This book refers to Mashhadi Yousef. In this book, the author has attempted to cover the tile artists' bells. The following article will certainly consolidate Hadi Saif's findings, but take a different path. Research on this monument has been done in two respects. First, using field research as well as library resources led to useful material for description and positioning, and in the second part photography and image analysis by graphical software made the research more scientific and effective. The collected documents overlap with image analysis and complement the research process.

In this survey the position of figurative painting in Iran’s contemporary art economy is studied with statistical population of Tehran’s auction. Despite the fact that the economy of art has always been denied by the artists, patronage is the most contributing factor that forms and maintains all the art movements through ages. On the other hand, figurative painting in Persian contemporary art has always competed with abstract paintings, calligraphy and miniatures to find purchasers as the foreign purchasers are more interested to buy calligraphy and miniatures. In this research, we have tried to find out how is the figurative painting’s position in the art economy with the case study of financial transactions in the national market, how they worth aesthetically and in which way are they created to satisfy the market or serve the needs of aesthetic. The main reason of conducting this documentary research is to discover the influence of the national market on the Persian figurative painting movement. The result is, according to accumulated data, among all 841 artworks which were sold in Tehran’s auction, only 60 of them are included as figurative paintings with aforementioned defined features in this survey, it is noteworthy to mention that only 10 percent of all transactions are allocated to such paintings. The highest sales were in December 2016 with total amount of 879 million IRR.  Finally it is concluded that figurative paintings occupy only 10 percent of the whole volume of financial transactions so it can be said that the figurative painting’s place is not secured in the national market. We should mention that in early auctions most of the artworks which were chosen, had the features of market’s values but gradually it improved and due to governmental subsidization it is anticipated that the quality of sold artworks in national market will have a significant impact on the maintenance  of figurative painting in future. Supplementary to this, the most expensive sold artworks have no market oriented features; this means that those artworks which have academically aesthetic values attract more purchasers so their market value is higher. This is a sign of the increasing tendency to this form of art. Despite this, the figurative painting has only 2 percent share in all transactions and according to abundance they are only 10 percent of all sold works of art. This indicates that, figurative painting has not yet secured its place in economic transactions. Figurative painting of Iran has already been surveyed by many researchers but its economic position which is the main purpose of this research, has never been studied before. The subject-related essays are “The mechanism of artworks pricing and determining pricing group in Tehran auction” by Mohammadjavad Mohammadi and  Mohammadreza,Moridi in A symposium of Iran’s art economy book, “Contributing factors in evolution of art economy process” by Samaneh Mohammadi in Pajoheshe-Honar research journal, “Processes, trends and perspectives of art economy” by Lotfali Agheli in A symposium of Iran’s art economy book and “An Introduction to the structure and logic of the visual arts” by Hamidreza Sheshjavani. Another research which is related to contemporary art is “A comparison of the viws of Ziapour and Greenberg of the concept of modern painting” conducted by Reza Rafie Rad and Alireza Akrami Hasan Kiyadeh in Alzahra research journal of graphic arts and painting. The research method is analytical and resources used were documentary. Statistical population was Tehran auction with the target group of sold artworks since 1978 by non-random and judgmental sampling approach.  The way of data analyzing was inductive reasoning.

The difference between images and music is visible and invisible potentiality of them. Changing this difference to similarity is an important factor to make the album cover of the music everlasting. The emotion that music creates in the listener cannot be described by the language unless its internal forces are visualized. To invite the audience to buy a music album, it is necessary to transform the musical form into a visual one. Also, the interpretations of the creator of the music and the audience are based on the mental background of each of them, but the graphic designer is responsible to coordinate these two. This study investigates the types of visual sign and compositions that designers use, and we have also sought to examine the harmony of the two audio and visual arts in order to maintain a more lasting sense of music in Iranian society. Without this type of investigation, the ineffective images are dominated on the cover design of the music albums and it confuses the art music audience. The questions being asked in the study are what kind of signs does the designer use to coordinate the mind of the creator of the work and the audience? What compositions does he/she use to achieve this alignment? The research method was descriptive in the literature section of the documentary research and for the extraction of the signs and methods; we used descriptive field finder method. The purpose of this method was to study the relationship between the visual signs and compositions of the music albums covers and their effects and to report data extraction without any interference and inference of the status quo. For this purpose, 154 CD covers from the years 2000 to 2019 of Iranian traditional music, western classical music, rock, jazz and electronic released in Iranian Music Market were collected by easy sampling method and they were easily accessible for research purposes. Then they were analyzed by Gardner theory. An examination of the subjectivity and ways of changing the audience's mind showed that music artists use methods such as 1) evocative 2) associative 3) imagination to sustain their effect on the audience's mind. Evocative manner is reminding of an event in the listener's mind to a genuine recreation in the enclosures of his mind that drives the musician into a state of flux.  The results showed that designers in Iranian traditional music have used more than 60% of the signs, and in western classical music nearly 50% of the audience has used signs rather than conventional ones. The results show that designers, as can be seen, are 80% familiar with Iranian classical music and more than 60% with western classical music. These signs are more familiar to the audience because they have more interactions with these styles. Nearly 70% of Iranian classical music has been using descriptive method, but in western classical music both the descriptive and the recovery method have been used relatively. 72% of Balancing and 80% of Single-Cone Composition have been used in the cover of Iranian traditional music albums. But arrangement, calmness, and consistency are less frequent, and designers tend to use more attraction and rhythm and give less attention to other elements. As a result, these compositions only account for 73% of their album covers. While traditional Iranian style of music is unique to Iran, and designers should strive more to make better covers. Studying the covers of rock, jazz and electronic albums show that designers have used more conventional signs. About 71% of designers use conventional signs, which is unknown for the audiences. Cover design should challenge the mind of the audiences. In this situation, the audience's mind acts like a white tablet on which the designers record their favorite image. The best way for designers is to make a sudden attraction by using asymmetric and complicated combinations, and this method has become very common these days. Asymmetrical and complicated compositions are mostly common. Visual elements are very low in music expression and they only care about traction and rhythm and the least attention to height of sound, which is very applicable in the cover design of this type of music has been paid. The designer in this style is more in a state of obscure imagination with ambiguity, while making the audience think about it. Generally, it is the task of the designer in the process of introducing associative music to form the content of the musical work and then to associate it with the audience for the album. But the results showed that the designer was only somewhat successful in Iranian classical music.

Illustrated by the order of Hossein Khan Shamloo, ruler of Herat under the reign of the Safavids, Shamloo Shahnameh has not been dated and documented, and the illustrations have no signature. The illustration work was carried out during 1598-1618 in his capital city.  However, as it is inferred from historical documents, it was manuscripted by Jani bin Muhammad Qassim Muhammad Mo'men, also known as Asah-e Kermani, in Nasta'liq calligraphy style. Artists named Habibullah Save-i and Muhammad Heravi illustrated the manuscript.  Yet, since the book was not available, it was not listed in the Shahnamehs of Iran (Mohammad Bagher Najafi, 1997) and Namvarnameh (Abdolmajid Sharifzadeh, 1991). The only mention of the book is in the footnote 38 on p173 of the book Les peintures des manuscrits de Shah 'Abbas 1er a la fin des Safavis (1964), where in a note entitled Artists for Shah, Anthony Welch refers to Hossein Khan Shamloo's patronizing role in supporting the art of book illustration in the late 16th century, stating that a new Shahnameh dating back to 1599 had recently been auctioned in the Sotheby's. Later, the book ends up in Farah Diba's office, but it is not known whether she purchased it or it was presented to Mohammad Reza Shah as a gift in the Nowruz of 1976/1355 on the occasion of the 50th anniversary of the Pahlavi Dynasty.  Then, the script was returned to Farah's office for maintenance and restoration. For years after the 1979 revolution in Iran, the book was not available yet, until it was transferred to the library of Niavaran Palace Complex in 2000, and was presented to the public view in June 2011. The illustrated manuscript remained in the Pahlavis’ private collection and was confiscated after the revolution as a property of the royal palaces, and was thus out of reach of scholars and researchers. This was while the illustrations of this book are important documents of the visual history of the nation. Thus, the significance of the present study lies in the reading of such a collection, since it is an attempt to analyze the 9 illustrations of the book with mythical human signs with an in-depth look.  To this end, the structure of illustrations was probed into, and their visual principles and basics were examined as well as the link between the mythical human semiotics and other signs in each illustration.  Eventually, the narrative connotations of the illustrations have been examined in the light of their structural patterns. The authors believe that all through the illustrations of the Shamloo Shahnameh, the mythical human signs were used in such a way as to communicate narrative concepts.  The manuscript has two illuminated epigraphs in the first two pages, two spandrels [lachak-quarter of medallion] in the last pages, and 44 illustrations. These illustrations demonstrate a combination of aesthetic elements and mythical human elements to narrate legends from the epics of warriors and courage of heroes of great landowning tribes who provided support for the royal throne of Persia. The present study employs a descriptive-analytical method to answer the following question: How were the mythical human elements depicted in connection with the overall structure of the illustrations of the Shahnameh in question to serve the purpose of conveying the concepts and narratives of the stories in the book? Examining and analyzing the creditable library and electronic documents and the visual data gathered in field research through observation and photography of the illustrations on display in Niavaran Complex indicate the following: The illustrators deliberately adhered to the symbolic, allegorical world of the mythical Pahlavi characters, and made all attempts to make them visually distinguishable from others by magnifying their figures and painting their outfits with glowing colors. Also, they have been placed in the golden proportions or the center of the illustrations where they are depicted as battling other characters. In other words, the dynamic centers of lines and motions are where such elements are present, mostly placed in the golden ratio of √3. That is to say, mythical human signs like Rostam, who represents resistance against the daemons, Afrasyab, who is a tyrant, Keykavus, who is selfish and frivolous, Siavush, who symbolizes purity and innocence, Bahram and Esfandyar, who are the victorious warriors of all battles, and Keykhosrow, who is courageous and cherished for presenting the crown, are all placed in radical proportions in order to demonstrate the narrative concepts. Whether they are heroes or villains was marked by placing them in the identifying square either to the top or to the bottom of the painting and use of warm and cool colors. Other lines of the illustrations flow from the outside of the squares to the inside.

Calligraphy is one of the earliest, most creative and invaluable Iranian arts which has undergone many developments. In the history of Iranian calligraphy, Siyah Mashq is one of the fundamental developments which started its progress before the Qajar era, especially in the Safavid era, and flourished significantly during the Qajar period. "Siyah Mashq" is a calligraphic form that could be associated with the components of modernism, reflected in the works of Qajar calligraphers such as Mirza Gholamreza Isfahani, Mirza Mohammad Reza Kalhor, Mir Hossein Turk and Mirza Kazem. On the other hand, the abstract expressionism that emerged in the post-World War II era in the United States may be regarded as one of the latest art forms in the West influencing Iranian calligraphy and painter artists. This art movement which is a kind of pattern-free painting, lacks basic forms while utilizing a spontaneous, dynamic and free-spirited style. The strange affinity of the black practice with the abstract expressionism grown rapidly in the West, made some Iranian calligraphers and painters combine their own manuscripts with modernism and use their visual culture as well as the products of expressionism. So, they created a new style of art. From the artistic point of view, calligraphy from of Mir Emad period, so far, has experienced little development and nothing new has been said in Nastaaliq calligraphy except for the Siyah Mashq. From the emergence of today's Siyah Mashq, another artistic development has taken place in Nastaliq, the emergence of modern calligram and graphic calligraphic effects that has opened a new era. Many secrets lie in letters and words, which are revealed in the calligram. Siyah Mashq is in fact the way of the art of calligraphy to this day. The way in which a new word comes up. Calligraphic graphic may seem canvassing, but from the evolvement point of view, it is an inevitable and algebraic evolutionary movement in order to link to traditional calligraphy with today’s modern art. The purpose of this article is to examine the common and diversified aspects of Qajar Siyah Mashq and the abstract expressionism in painting and the attempt is made to answer the following questions: 1. What are the visual features of Qajar Siyah Mashq and the abstract expressionism in painting? 2. What are the universal aspects of the Qajar artists and the abstract expressionists in the painting? Undoubtedly, the world of Iranian calligraphies and paintings is not incompatible with the abstract expressionism of the West. Considering the influence of these two works of art on the formation of a group of works of contemporary Iranian artists, the study and recognition of the commonalities between these two streams is very significant and contemplative; and to distinguish between Siyah Mashq calligraphy and abstract expressionism paintings. It is noteworthy that although some research has been done in this area, the comparison of the two artistic fields is a subject that has not been addressed in other studies. The research follows a descriptive, analytical and comparative method and data gathering developed through library study and referring to the video resources. According to the studies conducted, the research findings demonstrate that sharp contrasts, shades, blacks and whites, positive and negative spaces and using spiritual colors and combinations based on classic golden proportions and aesthetics are of common aspects in the Qajar Siyah Mashq. Also, using the physical colors, modern and inexperienced compositions, are among the differences found between these two styles. Semantically, Siyah Mashq roots in mystics and originates from the inner peace, however, the abstract expressionism relies on the spiritual influence and emotional reactions.

Calligraphy art has been existed in various forms such as Kufic, Naskh, Thuluth, Nastaliq, etc. which adorned Islamic buildings in various eras. Kufic script has been used in architecture especially since the 12th century AD. The script is divided into three types of easy, medium, difficult and includes premium features that are highly customizable and highly capable of having secrets in writing. These features can be used to design a text logo, which is one of the most important topics in visual communication. The designer of the visual communication with the knowledge and understanding of this script, by considering the subject of the logo and its functionality, while properly applying the shape and structure of the script which it can offer appropriate behaviour such as deletion, addition, movement, repetition and integration that help the audience understand the topic more and more. The aim of this research is to understand whether the Kufic script can be used in contemporary design because of its visual capabilities. Therefore, the purpose of this study is to analyze and use visual Kufic elements in three examples of Isfahan 12th century AD monuments including Jameh Mosque, Pir Bakran mausoleum, Hakim Mosque. To identify and compare the alphabet of Kufic letters, they have been studied separately in the first to fifth centuries AH (7th to 12th century AD). Each word has been studied as far as possible in the first, middle and last three modes and in addition, the word “Allah” and “La” have been studied because of their different structure and variation in their writing in the Qur'anic versions. In the end, the simplicity of the words in these letters is a hallmark of this script. The structure of the Kufic script, with the exception of Magheli script, is such that in the inscriptions, the order of the text is followed, meaning the words is not written backwards and forwards, because the Kufic is basically a straight line drawn on the horizontal axis, and the letters of the words are less stick together in writing than necessary. Whereas in the Thuluth scripts to achieve the ideal composition, the letters are usually out of place and even have overlapping for proper replacement. The writing system is heavier than the other two in terms of visual load because it must bear the same geometric and plant motifs as the solid base and column. There must always be perfect harmony between these three systems. Today in the graphic space we are looking to convey the concepts with the simplest elements and in the simplest possible way. In the Kufic script, the text is written in the simplest form, with the least elements, but also beautiful and varied. This is part of the purpose of this script and the goal pursued in today's graphics. So this script can be used as a method in graphics to create new works. For example, in visual and written logos, we are looking for the simplest and most minimal elements to achieve the right combination of beauty. Because of these features, Bannai script is the best way to present these works. Of course, how to use, exploit, and how to graphically load it, would be extremely important. By viewing the works of the Bannai Kufic script and its various methods of writing, as well as recognizing the features of this script, it can be used as a template for the creation of graphic works. The present research is a descriptive-analytical study in terms of its method of implementation. In this research, the visual elements of the Kufic script are first identified. Then the process of using these elements in the monuments is examined. The results of this study show that factors affecting the survival of the Kufic script in monuments can be factors such as simplicity and impeccability, logical order, succinct structural form of the text, coding with readability, black and white space side by side, devoid of thick and often dense variations of pictorial script, traditional religious backgrounds, geometric capability, both upper and lower case letters, minimal writing and composition, alphabet transformation, loss of empty space in used materials and nonlinearity in text, repetition of letters in another way, ability to change positive and negative spaces and texture.

History has shown that in the beginning of human civilization, people did not need to pack food, but people went from place to place for food until they came to their permanent shelter. In such circumstances, they had to collect food from different places and bring it to their place of residence. This necessitated the use of the first samples of packaging such as dried pumpkins, mussels, leaves, animal skins and other natural materials. Animal skin was used to transport water, milk, yogurt, oil or buttermilk. Animal horns were used for transportation and storage of food and crops (currently bamboo is still used in the tropics for food storage). The industrial revolution made the world face the eruption of various industrial commodities. The diversification of goods and the intense competition between producers and traders over the arts also brought them into the collection of food packaging (dairy) as well as other sciences. With the advancement of the field, additional sciences such as individual, social and ergonomic psychology were added to the collection. The expansion of food packaging has made the industry independent from other industries, and competition from manufacturers and consumer needs has made the packaging industry a significant part of the production companies' budgets. The packaging industry has also become a powerful technology today. One of the types of packaging used in the food packaging industry today is the packaging of dairy products. Nowadays graphics in packaging are one of the main and influential factors in creating a customer's desire to buy a product that can affect product differentiation. Therefore, consumer perception of the nature of products through packaging communication elements influences their choice. Food packaging is a key factor in selling more and delivering attractive products to consumers. There is a two-way relationship between the packaging of a product and its conformity with the psychological aspects and characteristics of buyers that influence its marketing and sales. Studying graphics in food packaging can, on the one hand, show the importance of this type of art and, on the other hand, serve as a driving force for companies and marketers to increasingly compete to meet consumer demands and sell more of a particular product. This research aims to explore the potential of images in messaging and the visual appeal of food packaging, by answering the question: What effect does food packaging graphics have on their shoppers' desires? The purpose of this study was to evaluate the effect of packaging according to the variety of designs and graphic elements mentioned in the packaging of dairy and beverage products such as Daily and Kalleh, because these products have a very competitive market. The research method was descriptive-analytical and the data were collected through a library and field study and randomly distributed among 300 students, senior students of Shahid Rajaee University. The purpose of this study was to understand the impact of color quality, shape, and form of packaging on customers' expectations and willingness to buy the product and then to understand the customer's expectations in order to properly design the packaging and create the right place in the customer's mind. Accordingly, in this study we first describe the concept of packaging, graphics, characteristics and its constituents, the criteria for the success of food packaging, and finally analyze the samples of Daily and Kalleh products. Research findings showed that Daily was more important among consumers due to the comparison of the packaging graphics of the two products. Although their differences were observed, overall color and product information were identified as the most important packaging features for consumers' interest in and desire to consider in food design and packaging.

There are many reasons to prove the importance of painting-calligraphy in Iran contemporary art, especially after the Islamic Revolution. Modernism was associated with the emergence of some kind of painting subset of the Sagha Khaneh Movement in the Pahlavi Era which was named painting-calligraphy or Letterism. This art stream has not yet been analyzed except in some cases superficially. So, the purpose of this research is to analyze the centrality of letters in some contemporary artworks in Iran, using the many examples available in this field and comparing the presence of this current in Iran in parallel to similar works in Western Art.  By studying this art stream, through examples such as the Fajr Festival as an official event and Tehran's auction as a business event in Iran contemporary art, we can get enough information to study this approach in Iranian art. Achieving these goals provide a deeper understanding of contemporary Iranian art developments. Strengthening this approach after the revolution can be linked to the foundations of preservation of Iranian-Islamic Identity due to the Importance of calligraphy in Islamic Culture. The purpose of research studies was to Understanding Current Contemporary Iranian Letterism, quantitative and qualitative performance review of its presence in the developments of a recent decade of Iranian art in order to answer this question: "What examples can be seen as the reasons for the importance of letters and calligraphy in contemporary Iranian art?" Historical studies of contemporary events as qualitative data and extracting quantitative data of Fajr Visual Arts Festival and Tehran Auction, examining similar visual approaches with Western Art, structural classification of Iranian samples and identify existing subtypes were the research strategies to achieve the result. Strengthening this approach after the revolution can be related to the basics of preserving Iranian-Islamic Identities in contemporary Iranian art. In contemporary time, this identity approach find out for the first time in Sagha Khaneh before the Islamic Revolution to emphasize on Iranian Cultural Identity. The statistical population was based on the quantitative study of Tehran Auction and Fajr Visual Festival according to an overview of the emphasis on letters in contemporary Iranian art that: “Letter-based works are examples of which, lines, or calligraphy, or inspiration for their movements and shapes have been used in a visual structure. The technique and style of the artist are not considered in this diagnosis.” It was found that reinforcement of this post-revolutionary approach could be linked to the foundations of preserving Iranian-Islamic Identity in contemporary Iranian Art, according to the importance of writing and calligraphy in Islamic Art. In the contemporary era, this identity approach first came to be in the art of pre-revolutionary Sagha Khaneh Art, to emphasize Iranian Cultural Identity. Similar trends in the use of letters as an expressive element in contemporary Western Visual Art have also been influential in the creation of this branch of Sagha Khaneh Art. But after the revolution and after observing the cultural currents that sought to emphasize and strengthen the use of letters in the art of recent years in the country by holding competitions and exhibitions, quantitative findings from the study of the Fajr Festival and Tehran Auction were cited to show that this visual approach is measurable as an accepted and considered method in major art events of the country. According to quantitative findings from the study of the Fajr Visual Festival and Tehran Auction, the research question can be answered as follows: “The Fajr Visual Festival and Tehran Auction are two examples of measurable features that indicate the importance of lettering in contemporary Iranian Visual Art”.  Combining qualitative and quantitative research methodology, observation and collection of library information led to the final analysis of the research. Quantitative studies are showing that attention to the letterism in contemporary Iranian Art in Fajr Visual Arts Festival and Tehran Auction is almost equal but the impact of the business approach on this artistic trend is even more.

Angel as a single creature, heavenly and invisible from the sight of humankind has always occupied the minds of humans throughout history to attain its semantic dimensions and nature. This element has been most frequently cited and introduced in the Abrahamic religions and its teachings so that it can clearly be traced in almost all stories of prophets and relatives of God. In the teachings of Islam, angels are divided into two types such as Archangels and Malik (groups of angels) who have certain tasks specific duties under the command of God. In the meantime, the proximity of the four angels Gabriel, Israfil, Michael and Azrael has given them a special place to seek the help of Malik. Their role in the events that took place for their divine prophets is an interesting subject while referring to the scriptures such as the Torah, the Bible and the Holy Quran, has attracted the attention of the general and specific audiences so that each one can be narrated in different time frames. One of these events is the ascension of a prophet to the classes of heaven and drawing closer to God and being mediated by him to obtain further knowledge about the existence and secrets of the time compared to his contemporaries and to transmit his messages. Meanwhile, the ascension of the last prophet, Prophet Muhammad (PBUH), according to reliable sources and transmitters of news, was the most complete journey among all of ascension journeys to the point where he spoke directly with God. This great and memorable journey, throughout the history of Islamic Art, has always been the subject of illustrations by artists, supported by the supporters of Islamic Culture, including the two periods of artistic and brilliant Timurid and Safavid Iran. In these two periods, the ascension illustration has been presented in various books and epistles consisting the motif of an archangel to character of Prophet (PBUH) in the frescoes and so far, case studies or comparative longitudinal studies been always examined  over a period for example the Safavids. But the role and position of these celestial beings in the paintings in cross-sectional comparisons - such as the matching of the two selected periods, namely the Timurid and the Safavid - have been no found to record, so far this would be the place of questioning and  a new exploration. So the main question that arises is by studying and evaluation of premium examples or image sources of the two Timurid and Safavid periods is that what are the similarities and differentiations of the angelic form and in paintings content and how does it make sense? This question will be answered during the research, such as what are the most important aspects of asceticism in both Timurid and Safavid Eras? The methodology used in this study is descriptive and comparative with the selection of the Mirheidar, Khavarannameh and Nezami Khamseh for the Timurid period as well as Khamseh Tahmasebi, Haft Orang from Jami and Habib al-Sayr for the Safavid period with emphasis on the angelic image element. Analysis of the angel element in each of these characters with variables such as number, size, gender similarity, overlay, color, shapes, faces, etc., was performed in comparative tables for each period the and two comparative tables  has been set and  will be provided at the end. The results of the study on the subject of research can be followed in three dimensions: order, appearance and quality of appearance. In the first dimension, it can be said that by dividing angels into Archangels or other angels, the studied paintings have demonstrated the character of Gabriel as a guide and Israfil as a flagman. However, the rest of the angels are more or less present with them, with more Timurid paintings than the Safavid ones and they are mainly saying welcome while they have Incense burner and thurible in their hands. In the second dimension, we have a varied appearance of shape, color, iconography and portraiture, which in the Timurid Era tends to be simpler and in the Safavid Era more precise in volumes and shadows; in such a way that this reason should be considered due proximity to Realistic Patterns of the Safavid Era followed by “ Behzad” School. In the third dimension, the quality of the presence of angels in the composition is presented. Looking or facing by angels in the Safavid Era is considered a point of difference with earlier times. As usually this case is routed from right to left in the Timurid Era.

The present research is concerned with investigating the effect of the Formalism style on the Bauhaus school. Every picture is composed of multiple simple layers which significantly contribute to the aesthecity of an art work as long as it is designed following the visual art principles. The emergence of this thought  various domains of art is attributable to the creation of diverse and salient art works which have drawn a lot of attention throughout the history of art. Formalism accentuates formal structures and has influenced various works in literature, cinema, music, painting, photography, sculpture and architecture, which are formally distinct, yet share the same features in nature so that simplicity and purity, as the intrinsic characteristics of Formalism, manifest differently in these areas. In the last decades, formalism has always been a topic of thought and discussion among various European critics and theorists like Roger Fry and Clive Bell. Since 1920s, formalism has gained its reputation through various researches on the stylistic characteristics and formal structure of the literal works conducted by a group of Russian authors including Viktor Shklovsky. Known as formalists, they merely devote their attention to scrutinizing forms. Formalism is an action which highlights form or formal structure. In this study, we have attempted to answer the following questions by assuming that: How similar is the Bauhaus school to the formalism structuralism and whether form stands against content in the Bauhaus school? As an analytical-comparative study, the ongoing research adopts the qualitative approach to analyze the data collected via library method. The term “formalism” accounts for various concepts. It is noteworthy that formalists are inclined to believe that form does not serve as a container to express content, but the content of a literary work plays a pivotal role in creating its form. Therefore, the content is a major element which determines the form, thereby deserving a close scrutiny. Kant’s concerns about the independence of art and his account of beauty leads us to an important theory named Formalism. Accordingly, all artistic values and aesthetics have their roots in the form, and hence leave no room for the concepts of content, meaning and function.  A number of central modifications in formalism and appealing discussions on the functions of the shape and form have triggered significant changes in other fields. We merely need to focus our mind on the static characteristic of posters and typography in the field of “poster designing and typography”. When form is recognized as the structural (formal) quality of pictures and letters, “space form” and “form and function” are two fundamental concepts which date back to the dynamic trend of the Bauhaus school, which in turn was attributable to the aesthetic theory of formalism. Another example comes from our insight into the nature of iconicity in the cinema. Besides the importance of the thoughts and opinions propounded by such modernists as Clive Bell, who believe in the nobility of the form within an artistic work, most part of the related literature place an important value on the role of Russian Structuralism and Russian Formalism streams in the developments of visual arts in the early 1920s, especially when the Bauhaus school of architecture and applied arts was established in the 1920s in Weimar, Germany, and then dissolved after National Socialist Party came to power. Taking a close examination of the educational foundations of the Bauhaus school reveals the influence of formalists’ opinions on this school of thought. Examples of such thinkers includes Wassily Kandinsky who not only was recognized as a pioneer in abstract art, but also exerted a significant effect on the Bauhausian thought owing to his Russian background and friendship with Russian formalists. He proposed the view that the “forms” of objects have a kind of music in their nature. The Bauhaus school, influence by Russian structuralism, seek to revive a more popular art, whose experimentalism and objective point of view inspired Gyorgy Kepes to write the book entitled “The Language of Vision”. What discussed above was the etiology of the shape and form (in terms of their morphology and their interrelationships) which manifested in abstract, expressionism, minimalism post painterly abstraction and Op art, and have remained in the artistic expression method until recently; a form which was conveyed from formalism to the Bauhaus school, and then affected applied and ornamental art, entered painting, penetrated into the narrow openings of the rooms and influenced all furniture and fixtures.

One of the necessities of innovating in the curriculum process is that educational institutions, by recognizing their strengths and weaknesses and the opportunities available, design different curricula in a particular field. In today's age of competition and innovation and the creation of knowledge-based approaches for marketing, the role of art lessons in facilitating entrepreneurship is far greater. As a result, educational institutions should rethink their curricula to fit new indicators of curricula and institutionalize them in educational processes to compensate for the damage caused by neglecting of art lessons at various stages. In this regard, improving the quality of the evaluation process in art curricula provides the basis for improving learners' skills. Evaluation is a stage in investigation process in which the work is measured on the basis of individual standards. Given the valuable place of art in school curricula, the design and development of desirable curricula for this valuable knowledge has an extraordinary sensitivity that can only be achieved through enlightened evaluation. In the present study we would like to answer the following questions: 1) What are the innovation indicators in “evaluation of art lesson”? 2) To what extent do academic members apply the innovation indicators in evaluation of art lesson”? 3) Are there any differences among students’ perspectives in “applying the innovation indicators in evaluation of art lesson” with regard to demographic variables (sex, level of education, Faculty)? The present research benefits from analytical-descriptive and surveying method. Depending on the theme of the research, two qualitative and quantitative approaches were employed in performing the different sections of this research work. Qualitative method was used to collect information from specialists and authorities in education while quantitative method was employed to collect information from elementary teachers.  The population in this research work consists of two sections: A) the authorities and high-ranking experts in art education at the national and international level form the qualitative section of the population in this research work. Nineteen authorities in education who were the sample of this research, were interviewed in a semi-structured manner.  B) The elementary teachers of Isfahan formed the population of the quantitative section of this research work. The initial sampling method for the selection of the authorities and experts in art education in this research work was targeted. In addition to targeted sampling, network-sampling method was also used during the interviews. A semi-structured interview and a researcher-made questionnaire were used in this research work. The researcher interviewed the authorities to acquire their views. The validity of the interview form was investigated and confirmed by those who examined the validity of the questionnaire. The reliability of the questionnaire form was examined by three experts knowledgeable in the qualitative research methods. They studied the summery of the issues and determined the categories by the use of the triangulation method. To determine the content validity of the two tools of interview and questionnaire, the views of 12 academic members of the Faculty of Education and Psychology at Isfahan University and who enjoyed the required specialty were employed. The Cronbach’s Alpha was used to estimate the reliability and internal correlation of the questionnaire questions. The most important indicators of innovation in the evaluation of art curricula are the views of faculty and art education experts at national and international level. These include: 1) Innovation in the field of conceptualization (evaluation, interpretation, and understanding) of art, evaluation of art perception, the process of art production at the individual and collective level, providing an overview of artworks and creations, evaluating the ability to critique artworks according to national and transnational standards, balanced attention to cognitive, emotional and psychological-motor skills in learners’ assessment, knowledge-based assessment 2) Advanced skills (Know-How) learning approach and evaluation for learning in the arts, applying innovative approaches to artistic appraisal (self-evaluation, observation, team exercises) and emphasizing on aesthetic skills of students.