نشریه هنرهای زیبا - هنرهای تجسمی
سال بیست و ششم شماره 1 (پیاپی 85، بهار 1400)

Design activity typically refers to a specific set of creative processes and tasks that work by the designers to improve a complex problem and usually provide a principal gateway to them. This process can be performed with the help of one or several people. However, recently the critical trend of co-creation in design has been instantly recognized as an undeniable approach that enhances the quality, speed, and precision of design and ideas. As the term "co-creation" It means creativity in team-working in which a team collaboration to solve a problem or valuable present a brilliant idea. Considering the importance of this issue in the academic environment, and due to the ill effects of this type of activity on learning and education, there has been considerable attention by individuals, especially students and researchers. Properly considering the theoretical foundations, this study seeks to explain this critical question, what endure the relationship between mental models and their impact on the tendency of industrial designers to team-working and progressively improve the design quality? This study was to investigate the cause and effect of the four mental models included: Goel-oriented, Unitarianism, Functionalism, and Stable-oriented on the tendency to industrial designers in team-working and cross-validation in the design workshop. This academic research is a correlation type of descriptive-analytic study. The statistical population was formed through a targeted sampling of all industrial design master students in all IRANIAN state universities between 2017 to 2019 and, also their bachelor's degree was in industrial design. Consequently, we designed mixing questionnaires, and 54 designers that had these study conditions were examined. The measurable results were analyzed by SPSS 21. Consistent findings of this study showed that among the four mental models, except for the Goal-oriented mental model with a significance level of 0/407, mental models of Unitarianism and Functionalism were significantly less than 0.05 in Team-working Students and they retained a direct relationship with them. Also, the Stable-oriented mental model with a correlation coefficient of 0/372 and a significant number of 0/006 at the level of 0/01 was significant and considered as the dominant model among the four mental models. In the second phase, the study was validated in a 7-day focus group design workshop on pre-training and post-training mental models in the form of a patient transfer device. Comparison of morphological analysis Results of pre-training and post-training designs concerning the short time of the workshop still indicated a notable qualitative difference. The results showed that by focusing on reinforcing the mental patterns of industrial designers, in addition to increasing the tendency to teamwork, the design quality could be more acceptable. The mental patterns and individual thoughts are also considered as effective factors in the formation of teamwork, especially among students. According to the results, academic managers and Teachers can concentrate on the mental models of Unitarianism, Functionalism, and Stable-oriented. This will increase collaboration between industrial design students and leads to an increase in professional industrial designers’ co-creation and their willingness to teamwork.

In the works of the Photorealist artist Dan Eddie, objects such as shop windows are an attempt to fade and vulgar reality. In these works, the lack of attention to human presence and human concepts was raised more than any other viewpoint. Marx had previously shown that relation between objects obscure relations between humans; commodity economics, social relations, necessarily form objects, and cannot be expressed except through objects. According to the theory of idolatry, the structure of commodity economics makes, objects a very special social role. The theme of the showcases as a fascinating subject was given to the attention of Edwardian photorealist artist. The objects behind the showcases stared at every visitor with the utmost precision, along with detailing with inexhaustible technique and skill. Glamorous objects can represent the presence of consumer-oriented man and machine and industrial life. Donald Eddie's desire or unwillingness to depict the socioeconomic relations of production relations and their produced objects, and only the aspect of their consumption can be seen at first glance, while beyond this value, the hidden aspect of the goods cannot be seen as these people beside And socializing, have ignored their time and time in producing such goods. As we have said before, in the capitalist society, the produced value of human value is destroyed and the process of exchange in the economy of goods also emerge where humans communicate with one another. It is here that trading begins and disintegrates, and all human relationships become object-oriented. The activity and work of human beings are placed against him, and he dominated it that this realm occurs both in the realm of the realm and in the mental arena. Relationships between objects ignore relations between humans and in the commodity economy, social relations are necessarily the form of an object and cannot be expressed except through the object; in the capitalist world, what is called the laws of the market has caused this illusion between The economists belong to the bourgeois class are created when the value of goods inherently belong to the goods themselves, and thus capital goods become spells that, as if they, themselves can have value independent of social and economic relations, and this is capitalism and industry. Every day, it adds up to our object and drowns the development of society, culture and religion, which originates from the capitalist society and the industry, is aimed at investigating the object in the works of the photorealist painter. How has the showcase shown in Dan Eddie's works? What is the relation between urban, industrial and object life in the works of Photorealism with which visual elements? The results show that there is an object in the works of the photorealist painter who is in the hidden layers of capitalism and industry, which shows us as an object. The result of capitalism is based on the intrinsic nature of the worker with industrial equipment and products. The research methodology is descriptive, analytical and data collection as documentary, library and digital.

Comparative art studies are a popular research subject among students and researchers of different fields of arts and encompass the majority of articles, books, theses and surveys done in this field. The amount of interest in this research field calls for a closer inspection of the nature of comparative studies and its theoretical framework. After explaining postcolonialism and its properties and conditions in this paper, we will discuss its utility as a theoretical framework for comparative art studies. Edward Said, an American-Palestinian professor and founder of postcolonial studies, expanded the use of “orientalism” in western literary works to show their role in strengthening the dominance-based political structure and the culture of colonization in the west. This orientalist point of view can also be seen in western criticism and art theoretical studies, which reinforce the need to utilize postcolonialism in comparative art studies to bypass the limited boundaries of orientalism in cultural studies and art studies to enable a free and equal discussion between different cultures and arts. Compared to other fields of research in art, comparative studies weren’t ever subject to closer inspection and never underwent a deep structural analysis in order to elaborate the theories forming this field of study. Thus, resources and theoretical frameworks from other disciplines in humanities, if compatible, can be used as resources to formulate new theoretical frameworks and methods for comparative art studies. One of the frameworks which was first used for research in humanities field of study and then expanded into art studies is postcolonialism. In this paper we try to extract any material compatible with different fields of art, from different works of postcolonial researchers and intellectuals, that can be used as a theoretical framework for comparative art studies. Edward Said uses the term “orientalism” as a synthesis of two meanings. Firstly, he defines “orientalism” as a kind of mentality that is based on a fundamental epistemological and ontological difference between the east and west. But the second meaning, which is in accordance with a special research process, has emerged from the works of orientalists since the late 18th century, based on an authoritative, structured, imperative, and magisterial attitude toward the east. Edward Said adds that generally, orientalism is a Focultian discourse, namely a system of knowledge which provides the viewpoint of westerners toward the east. The orientalism discourse has set some principals and criteria for representing the east. Fundamentally, these principals differ from the principals and methods of representing the west. And it is the duality of the methods and criteria that if not consciously, but permanently has consolidated the "otherness" of the east. The postcolonial approach is especially useful for non-western comparative art. This critical approach in comparative art studies aims to prevent incorrect assumptions or any misreading of non-western art, and to carefully examine its utility, value, and cultural or social context, which has been sidelined compared to western art. As a qualitative work, this paper is applied-fundamental research and the methodology used was descriptive and analytic. The information was gathered through library research process and analyzed with inductive method.Comparative art studies are a popular research subject among students and researchers of different fields of arts and encompass the majority of articles, books, theses and surveys done in this field. The amount of interest in this research field calls for a closer inspection of the nature of comparative studies and its theoretical framework. After explaining postcolonialism and its properties and conditions in this paper, we will discuss its utility as a theoretical framework for comparative art studies. Edward Said, an American-Palestinian professor and founder of postcolonial studies, expanded the use of “orientalism” in western literary works to show their role in strengthening the dominance-based political structure and the culture of colonization in the west. This orientalist point of view can also be seen in western criticism and art theoretical studies, which reinforce the need to utilize postcolonialism in comparative art studies to bypass the limited boundaries of orientalism in cultural studies and art studies to enable a free and equal discussion between different cultures and arts. Compared to other fields of research in art, comparative studies weren’t ever subject to closer inspection and never underwent a deep structural analysis in order to elaborate the theories forming this field of study. Thus, resources and theoretical frameworks from other disciplines in humanities, if compatible, can be used as resources to formulate new theoretical frameworks and methods for comparative art studies. One of the frameworks which was first used for research in humanities field of study and then expanded into art studies is postcolonialism. In this paper we try to extract any material compatible with different fields of art, from different works of postcolonial researchers and intellectuals, that can be used as a theoretical framework for comparative art studies. Edward Said uses the term “orientalism” as a synthesis of two meanings. Firstly, he defines “orientalism” as a kind of mentality that is based on a fundamental epistemological and ontological difference between the east and west. But the second meaning, which is in accordance with a special research process, has emerged from the works of orientalists since the late 18th century, based on an authoritative, structured, imperative, and magisterial attitude toward the east. Edward Said adds that generally, orientalism is a Focultian discourse, namely a system of knowledge which provides the viewpoint of westerners toward the east. The orientalism discourse has set some principals and criteria for representing the east. Fundamentally, these principals differ from the principals and methods of representing the west. And it is the duality of the methods and criteria that if not consciously, but permanently has consolidated the "otherness" of the east. The postcolonial approach is especially useful for non-western comparative art. This critical approach in comparative art studies aims to prevent incorrect assumptions or any misreading of non-western art, and to carefully examine its utility, value, and cultural or social context, which has been sidelined compared to western art. As a qualitative work, this paper is applied-fundamental research and the methodology used was descriptive and analytic. The information was gathered through library research process and analyzed with inductive method.

The third space in the Homi K. Bahabha thought, one of the present postcolonial thinkers, is the place where the interaction between colonialism and their colonies takes place. In this space, the similarities between phenomena are highlighted and create a new one, called the Hybridity, and coherently incorporate the cultural elements of both of them, which make them mainstream. In fact the concept of hybridity occupies a central place in postcolonial discourse. It is celebrated and privileged as a kind of superior cultural intelligence owing to the advantage of in-betweeness, the straddling of two cultures and the consequent ability to negotiate the difference. Bhabha has developed his concept of hybridity to describe the construction of culture and identity within conditions of colonial antagonism and inequity. For Bhabha, hybridity is the process by which the colonial governing authority undertakes to translate the identity of the colonized within singular universal framework, but then fails producing something familiar but new. This new hybrid identity or subject-position emerges from the interweaving of elements of the coloniser and colonised challenging the validity and authenticity of any essentialist cultural identity. Given the important role and place of art in the transmission of cultures, The third space and its product appear to be essential in works of art that have been directly or indirectly influenced by non-national art as an element of influence. A space that can be identified as retained the national identity, and it is in line with artistic developments. Expanding of this viewpoint is the subject of this article. The aim of the research is, knowing more the contemporary Iranian and Turkish art in the works of the Saqqakhaneh School of Iran and D Group of Turkey in a descriptive-analytical and comparative approach. Saqqakhaneh, one of Iranian contemporary artistic movement appeared in 1962 with major characteristics include the use of forms taken from traditional architecture and calligraphy, as well as the borrowing of visual aspects of classical Persian painting such as the interpretation of natural phenomena, attention to color balance and distribution, the creation of simultaneous dynamism and unity of different areas throughout the two-dimensional space of the painting, and the inclusion of symbolism in both figurative and abstract forms. The “Group D” artists of Turkey continued in many respects to dominate painting in the Republic in the decades after World War II, many other, smaller groups and movements of artists in all media, but especially painters, began to reflect the increasing pluralism in Turkish culture and society, and an increasing sense of belonging to, rather than simply following, international artistic Movements. Anatolianist tradition and Group D artists and their students and followers had as of that time continued to dominate contemporary art in Turkey. This research seeks to answer this question whether in the contemporary art movements in these two countries, the third space of Homi Bhabha has been formed? From the results of this study we can point out that both schools have access to the third space with a little difference.

Title and Persian Paintings; An Iconographical Reading of The Two young Lovers and Coiffeuse Abstract: It has been extensively argued that the title of an art-work plays a key role in beholders’ reception of the work. In the absence of institutions for the documentation of objects of art in Iran before the turn of the twentieth century, the title of art-works remained unregistered and existed in oral culture, relying on collective memory. As the result, since the original title was rarely registered, some of the current titles were assigned to paintings in a context other than the context of production, sometimes centuries later and by people who had barely any idea about the context of production or what the painting actually depicted. Therefore, there is always the possibility that a given title is simply based on a specific understanding or interpretation of the painting. With such premises, the associated title to one of Sani’ ol-Molk’s paintings is investigated in this article. The painting is archived as The Two Young Lovers and a Coiffeuse at Golestan Palace Museum in Tehran. It portrays a love scene between a young lady standing in the center of the visual text and a young man to her right. In addition to the couple, an old woman is standing on the right side of the painting. The costume and jewelries of the young lady signal her wealth and high social status. Just like the young lady’s clothes, every single piece of the young man’s dress mark him as a gentleman of wealth and affluence. The old woman, who is holding rosary beads in her left hand, has a lower social status; this could suggest to viewers that she is serving the wealthy young couple. The current title proposes the old lady as a coiffeuse, a person who would customarily prepare and make up a bride for her wedding; consequently, the young lady would be the bride and the young man the groom. But the roles of the old woman with a long scarf and prayer beads in hand, the young lady in read qamis as, respectively, a coiffeuse and a bride seem problematic. This is highlighted by looking at other works of Sani’ ol-Molk: in his depiction of the occupation of figures, he resorts to the suggestiveness of tools or manners that are commonly attributed to those professions. Therefore, a coiffeuse is not the proper occupation for the old woman nor can the young lady be a bride. In this paper I argue that the old woman is most probably a nanny who acted as an intermediary agent to help lovers communicate and bring them together. The choice of nanny as an alternative to coiffeuse is further supported by the fact that nannies in their intermediary role are also present in other paintings by Sani’ ol-Molk. Therefore, based on conventional visual icons used in Sani’ ol-Molk’s paintings, the old woman can be recognized as a nanny.

The geographical limits of Iran’s historical land along with the changes in the past couple of centuries have created a segment of Iranian civilization and works of architecture that is outside of the current political geography in Iran. Iraq is one of these segments of land where Iranian artists have been visiting and creating works of art. Therefore, today a major portion of the Iranian artists’ works of art is located in a number of Iraqi cities, particularly in Atabat Hazrat where religious cities and buildings are located. The artworks found in Iraqi religious cities and shrines of Shiite Imams represent many centuries of Iranian art and decorations. The luster glaze Mehrab is one the most exquisite works of art from the Mongol dynasty and can be found on the western side wall. This amazing piece of art, unfortunately, sustained damage over the past few years where the porch was destroyed. The remaining remnants and pieces of art have been taken out and transported to the Haram store. The remaining tiles from the altar of Najaf are, of course, Central pentagon tiles The rectangular tile of the lower part of the altar with the role of the lamp And the number of broken and tiled tiles related to different parts of the altarThis alter from the luster glaze Mehrab in the Mongol period, has not been well understood and there isn't much evidence of its existence or even any pictures of it. As a result, this research is being done to uncover genuine historical documents that represent the artistic history as well as the artists of the Mehrab. This study compared these Mehrab tiles with those of other Mongolian luster glaze Mehrab. The study also involved reading altar inscriptions texts and ultimately getting the altar's original dimensions and shape. The study discovered that there were many similarities between the Mehrab of Imamzadeh Yahya Varamin and the Mehrab of Najaf. The similarities were seen in how the edge of the tiles was decorated around the altar. The dimensions of both altars were very similar. From these kinds of similar characteristics, along with the adaptation of Abakakhan's developing history in Iraq and Najaf, dating back to around 663 AH, one can conclude that Najaf's alter was also made by Ali ibn Muhammad ibn Abi Tahir around the year 663 A.H. He is a part of the Abay Taher Kashani family. This date is around the same time Ata Malik Jouini rules in Iraq during the time of the kingdom of Abkhaz Khan. The study revealed that the altar was installed in the al-Rasa mosque.In some sources; the name of this mosque is called Ilkhani Mosque.The mosque of Jama'ali al-Rasa close to Imam Ali's shrine was the original installation site of this Mehrab. This mosque has been repaired once upon orders of the Nadir Shah's wife and once during the Safavid kings. In the repairs of the 2005 tomb of Imam Ali, the mosque was destroyed and the remaining some tiles of the Mehrab were transferred to the shrine reservoir.

Along with the social changes of the twentieth century, a new critical trend has emerged in social and artistic fields . Graphic design, as well as other fields of visual communication, has been influenced by these developments and developed new functions and approaches. Typography has undergone many changes as one of the most important issues and has not only been transformed by getting out of the traditional form, but has found special functions in social and social communication, which has become today one of the most important areas of visual communication.the relationship between graphic design with different fields such as cinema and digital art is becoming more and more elaborate. At the same time, by considering different aspects such as time, motion, and complementary non-visual elements like music to typography, its same to assume that were on the verge of acquiring a strong tool which can be manifested through kinetic typography. The increasing popularity of animated typography with a variety of critical themes in recent decades raises the important question of what are the most important visual measures used in the design of animated typography and what strategies do they use to induce meaning? This study aims to study the most important visual animation strategies for expressing critical meanings in animated typography to study the visual elements in animated typography. And then, by analyzing examples of critical animated typography, he explores the visual capacities and capabilities of animated typography in expressing concepts and especially critical themes. The sample community is works of animated typography with critical themes obtained by purposeful searches on video upload websites. The results show that kinetic typography has a great capacity to express critical narrations through society, culture, politics, and even auditory channels. Kinetic typography is an interdisciplinary process that can communicate between literary texts, poetry, music, cinema, and etc. Kinetic typography has a special communication language which can facilitate the understandings of the audiences by adopting a critical, neutral, or placid tone. And there is a special communication language that confronts the actor, the audience and the community. It also shows how choosing a typeface, thickness, distance, type of direction, type of movement, speed change, composition, color, frame, etc. can make sense of the meaning of an audience by creating a promising, indifferent, slow, or rogue tone. An animated text, acting through narration and storytelling, acts more efficiently than a static text, and facilitates the trust of the audience by facilitating the transmission of information by visual appeal and evasion of uniformity. It can be a louder voice for screams and critiques of the designer by acoustic elements, in completing text and visual elements Also the results of sample analysis show that the most important features of Critical kinetic Typography works are: use of expressive letters, synchronization of the letter form with the content and message content, inconsistency in the size, style and weight of letters in message text, message readability in short time And limited, limited use of the figurative image, and limited color variation in each sample.

Understanding the relation between sign and concept is an important factor in an artistic encounter, that always revealed a significant contrast in the process of transition from cognition to recognition and two different roles can be understood. As in creating a graphic work, Designer as the primary target audience, after the transition, it tries to understand its dimensions and the creation of the work, who view the viewer as a secondary audience, to guide the cognitive experience in the observation stage. Recognition is an opportunity for the token to be represented in a position and it evokes new concepts for the audience. In other words, the designer has transformed the subjective semiotic dimensions and viewer of discovery fields and recognizes it based on the principles of associative experience. Here, by association, is a visual process in which the person, Relate words and concepts that can recall each other. The importance of this issue also comes from that, In order to receive the message, from the initial theme to its transmission through artistic solutions the path and goals of cognition have been constantly changing through creative transformations. So we can associate a different truth in harmony and in the path of creative thinking. The Purpose of this study is to introduce different types of recognition in relation to the associative principle in order to transform the two levels of sign and concept. So how is it possible to contrast the audience's perception of artwork with discovery and transformation in relation to the association principle and the structure of the sign? This descriptive-analytical study using qualitative written sources and visual documents shows that the designer, In order to understand the subject, he has transformed the system of signs in terms of their shape, position and function, and The laws of association based on similarity, proximity and contrast also guide the viewer to discover and recognize the message. The answer to this question will come true when the designer has come to a complete knowledge of the subject after encountering the original, and then, through the transformation of the sign system based on deformation, position, or function, it represents a different aspect of sign and concept in the viewer's mind. The viewer has also stepped into the stage of recognizing sign and concept, relying on the rules of association based on similarity, recall and analogy of elements. With these interpretations, though, until now, the subject of the audience and its relation to the process of sign and concept perception have been examined from distinct perspectives, The approach of the present study is based on the centrality of the audience and its perception process in both the role of the designer and the viewer of the work. Also, due to the importance of the distinct role of both types of audiences in the relation between discovery and transformation with the association principle and the sign system, they have studied their cognitive and cognitive processes, especially in the field of graphics. For this purpose the images,

The question of research is what the essence of life is and how life manifests in art. This article addresses the arguments of Michel Henry, a 20th century phenomenologist. The concept of life is very important to Henry because life is a spontaneous manifestation, as a phenomenological life itself, which constantly presents itself as what Henry calls Pathos. He seeks to restore the true meaning of life, which is invisible and internalized in a forgotten modern worldview. Because modern worldview has reduced the value of life to the outer world by oblivion of all realities. Art plays a central role in Henry's phenomenology. He was interested in art before the eighteenth century as well as in the abstract art of the twentieth century. He has written a book on this subject, Seeing the Invisible (1988) and draws on Kandinsky's work in this work. Henry's explicit purpose in writing this book is to clarify the importance of discovering Kandinsky's abstract painting. In Kandinsky's writings, Henry discovers a kind of material phenomenology, for he believe’s that he [Kandinsky] has made a phenomenological reduction in the representation of the visible world, which reduces us to a mere conception of the elements of painting. Henry admires abstract art, wich art that seeks to fundamentally guide the artist and audience. He argues here that after Kandinsky, art no longer seeks to represent the world and its objects, and thus ceases its focus on the visible, and instead focuses on the invisible concept, or what Kandinsky and Henry call "inner", it changes. Thus, Henry is one of the phenomenologists who advocate the possibility of invisible experience with more attention to visual elements such as dots, lines, surfaces, shapes and colors. Henry's phenomenology of abstract painting, therefore, takes us one step further from Husserl and Merleau-Ponty. Henry's purpose in all his writings was to separate the inside from the outside. For him, painting is important because it can reveal the essence of life. According to Henry, Kandinsky's paintings express the phenomenological essence of life. What really stands out is not what we see in paintings, but what we feel. He sees the primary purpose of the art of painting as the expression of "invisible" forces, not the "irony of the visible world." Also his main idea is that in Kandinsky abstraction is more than a specific movement in painting, and Kandinsky shows the profound truth of all art, that all art is "abstract". In addition, an interview has been published entitled "The Art and Phenomenology of Life" (1996), which illustrates Henry's view of the aesthetics and philosophy of art. Our aim in this article is to show from Henry's perspective - how art can be the most appropriate place in the modern world for the manifestation of aesthetic values; how abstract painting leads us to all paintings; In short, how life manifests in art. In this short article, we will deal with these issues and the importance of painting from Henry's perspective in a descriptive and analytical way.

Contemporary aesthetic after the Brillo Soap Pads Box created by Andy Warhol based on the “Applied Ontology” Theory Abstract The present paper was written based on the theory of Roger Pouivet, contemporary French philosopher, that is “Applied Ontology”. The foundation of theory implied that when confronting a work of art, it must be kept in mind as it is, and almost all the aesthetic theories in the philosophy of art that define an object as an artwork must be ignored as well. The theory also rests on the indefinable ontology of art, the identity of the work itself, the atmosphere of the art world, the realization of the work as a personal or collective symbol besides the way a contemporary audience receipt it. Therefore, the audience's major role in understanding the concept of artwork is undeniable and art may not exist unless constituted by the mind (audience) which receives it, only when the artwork acquires its particular characters in the process of reception. We, additionally, studied the aesthetical effect of Brillo Soap Pads Box created by Andy Warhol. This paper is of importance because it studied the work, Brillo Soap Box, which was a real challenge at the time of exhibition due to it failed to achieve the consensus in the art world to be accepted as an artwork. Almost all philosophical studies have had ontological approach to the aesthetics of art in order to distinguish artistic identity from non-artistic one in hand-made works. This has seriously involved philosophers and different theories and attitudes have been proposed in this respect. However, there is no ultimate answer to the question of “What can be taken into account as artwork?” In this respect two major research questions shaped that are: 1. In the contemporary era, what aesthetic criteria introduce a hand-made work as an artwork? 2. According to Pouivet's theory of “Applied Ontology”, based on what approaches a contemporary artwork regarded as the artist's personal symbolism and how the work is received aesthetically by the audience? The paper also scrutinized the ways an audience understands the meaning of the artwork. The findings of the study indicate that reception of contemporary aesthetics as a recognition of personal and collective symbol offers a new and unique experience. The hypothesis of the paper emphasizes the point that an artwork, in any style, presents symbolism in form and content. Basically in the contemporary period, artist's personal symbols mixed with pre-recognized collective symbols of a culture have fundamental role in creation an artwork. In conclusion, in contemporary aesthetics, a work is known as an art when there are discussions and conversations about it without the need for achieving the experts’ consensus. The Methodology of Research is qualitative analysis that attempts to investigate the answer of research questions and to prove the proposed hypothesis. The information of the research collected from reputed websites and library sources. Since the “Applied Ontology” of the contemporary French philosopher Roger Pouivet is basis of the paper, references are often from French articles, books and sources.

Ilam Carpet is a collection of rural carpets in Iran which has influenced by the different factors in its evolution during the time that causes the integration and development of this carpet. This integration in the design and role of the Ilam carpet is because of a permanent authority that, despite the continuous changes of this carpet during the time, always remained unchanged and there is a possibility which is one of the involved factors in the creation of this carpet. Therefore, this research was going to consider the process of understanding the Ilam carpet through its environment, geography and its culture. The main purpose of this study is to understand the way and the type of relation between the texts which create the meaning of Ilam Carpet. In the encounter with artistic work, if a vast collection of literary and artistic texts is recognizable, it is possible to obtain the hidden meaning of the work through reading and understanding of the very collection and the relationships among its members. The combination of a set of texts and the achievement of an integrated text is a process which is always carried out by the human mind to create new texts. One of the greatest theoreticians who bring up a complete method for analyzing such a thing is Gerard Genette, who offered a new way for understanding the relationship between the text with his Hypertextuality method. The research is descriptive and analytical and provides information in a library-based manner. the Analysis of the Information in This research was done based on the theory of hypertextuality of Gerard Genette, and the procedure was recognizing the component of the artwork and then determining their influences on forming the final text. The result of this study shows that the carpets which have studied in this research are samples of culture and the art of Ilam region which in their process of evolution, a set of text with different ideologic roots were to create a unified system which has a semantic cohesion and esoteric cohesion despite its Formal plurality. Ilam carpets using different texts with pre-Zoroastrian (Mithraic), Zoroastrian and postZoroastrian (Islamic) foundations, and jointing them through the different ways were up to create a text which is meaningful for a Muslim person with Iranian heritage. During this research, it was found that one of the most important properties of this carpet is its Mithraic foundation which has preserved its meaning during the time and in the other ideologic systems. this condition, which gives rise to "textual continuity," is to guarantee the survival of an artist by loading time as well as by modifying proposed systems. Textual consistency is a special situation in which the textual elements are interconnected. Demanding the relevance of the carpet of this rug and the way it is formed in this testimony is based on a robust reforming system that has evolved over different periods through the convergence of Islamic and Iranian textures.

Joel-peter witkin is an American contemporary staged photographer whose photographs of dead or deformed bodies, androgynous people and other controversial subjects in addition to strange stories about his life usually draw analyzers attention to his personal life and they have written psychoanalytic texts about his works based on Freudian method of psychoanalyzing. But in this paper the purpose is to overrule this kind of analyzes and based on Jungian method of psychoanalyzing this study is to experiment this hypothesis that: the reason of repeating some motifs in witkin's photographs has a root in collective unconscious mind not personal unconscious mind and childhood memories or complexes. Myths are the most important representations of collective unconsciousness so if the hypothesis is true there should be similarity and relation between witkin's repetitive motifs and a mythic creation, story or theme. In this paper at first repetitive motifs in his photographs has been realized and their connotative or metaphorical meaning has been studied and considering other artists works and the other external circumstacens the motifs which are coming from his unconscious mind not under the influence of circumstances have been identified. study showed that motifs which are unconsciously repeating in wiitkin's photos are: binary contrast of live-death , male-female, unraveling of unknowns(breaking the taboo) and sadomasochistic acts(enjoying pain). then the myths which are represented obviously in witkin's photos has been analyzed to find out what is the relation between them and repetitive motifs. study showed that witkin selected some myths to take photos which are completely aligned with repetitive motifs and in some cases he wasn’t careful to represent them in their correct mythical theme he changed anything to make his own interpretation of them. At last based on discovered information and by putting repetitive motifs together a mythic story has been found. Putting repetitive motifs together a network of mythic creatures has been represented: Hermes; a mythical androgynous creature who guide souls to the underground world(death world) and is also prophet and transfer messages between gods, and Hermes son; Pan, which is a mythical creature who enjoy sadistic sexual behavior and intimidating people, and Hades; the god of the underground world who is in relation with hermes and they meet each other. so In conclusion not only the hypothesis has confirmed but also by comparing some Freudian psychoanalytic interpretations of repetitive motifs in witkin's works and mythical interpretations of them a new point of view presented. For instance fragmented bodies in his photographs were interpreted by Freudian analyzer related to his childhood memory of an accident in which he witnessed the cut off head of a little girl. But this study showed that dead bodies in pieces are always represent with fruits and herbs so the motif changed to binary contrast of live and death which is similar to Hades; mythical creature which is the god of the death world but at the same time it is the god of harvest and its sign is a horn of fruits and herbs.