مجله مبانی نظری هنرهای تجسمی
سال ششم شماره 1 (پیاپی 11، بهار و تابستان 1400)

Education has always been one of the main priorities in the sustainable development infrastructure in the world, and the efficiency of educational content in training knowledgeable people from those who are under training is always one of the ultimate goals of any educational system. The current priorities also exist in Iran, which are mentioned in the above documents. One of the important factors that can play a key role in cultural development and its continuity, is research in the field of testing and optimizing education. In today's world, efficient higher education is considered as the most basic and most important pillar of economic, social and cultural development, and no change in society will take place without paying special attention to the role of the education system. With the rapid development of work and life skills in the contemporary conditions, the education system of any society needs to be improved quantitatively and qualitatively.One of the important goals and tasks of the higher education system in any country is to train knowledgeable and efficient manpower that is required by society. Universities today must train graduates with the skills to be able to take important roles in this age of learning. Curriculum design and its revision is a purposeful, progressive, and systematic process for making positive improvements in the higher education system. Accordingly, having a suitable and working curriculum has become a valuable national asset;Curricula, as one of the most important elements of higher education, have a special place in the efficiency and effectiveness of education and, consequently, the development of capable graduates, because it is according to this program that countries can achieve their human assets. As a standard, to optimize the implemented curriculum, it is necessary to go through three coherent steps. The first is the assessment and pathology of the current state of the program. The second stage is to draw the desired situation from a professional perspective, and the final stage is to provide strategic suggestions for strengthening and optimization of the plan and curriculum. In this research, an attempt was made to analyze the status of the bachelor's degree in Islamic art with an emphasis on the entrepreneurial perspective.The components of entrepreneurship education for development are a fundamental issue that has been considered and studied by countries around the world and according to this consideration, it has been revealed that the components of entrepreneurship are often acquired and not hereditary. Entrepreneurial features and characteristics should be used to improve the economic, political and cultural arenas, which provide various factors for this cultural context for individuals. One of the most important aspects of this academic context is close and careful analysis of this curriculum’s efficiency. Evidently this research needs to select one specific field with enough research potential.Islamic art is selected, due to its deep connection with the history, civilization, culture, and identity of Islamic Iran, has a distinct place. Currently, this field is active for both undergraduate and graduate levels. The bachelor's degree in Islamic art has been established since 2005 to educate committed, capable and productive people to enhance the quality and quantity of original Iranian-Islamic art and culture. This field has several potential capacities in line with knowledge, insight, and skills. Consequently, it can be considered as a principal discipline in cultural, economic, and social development. In spite of the countless advantages of this field and regarding the fact that more than a decade has passed since its establishment, less research has been conducted methodically and accurately to assess the effectiveness of the curriculum and the subject of Islamic art and provide an effective model in line with its optimization. Then, it is essential to assess the effectiveness of the curriculum and the subject of this field regarding cultural, economic, and social developments at the national and international levels and to provide scientific and executive solutions. The current study aims to evaluate and optimize a bachelor's degree in Islamic art from an entrepreneurial perspective. The main research question consists of two parts. First, at what level are the four pillars of purpose, content, teaching, and evaluation are assessed in Islamic art with an emphasis on the components of entrepreneurship? Via the capacities in the field of entrepreneurship and interdisciplinary perspective, what is the structure and components of the optimization model of the curriculum and Islamic art?In terms of purpose, the current study is of developmental studies. This means that, with an emphasis on entrepreneurship, the results can be used for the efficient development of higher education in Islamic art.  Methodologically, regarding the interdisciplinary and multidimensional nature of the research, a mixture of descriptive-survey and descriptive-analytical methods have been used to attain the goals and answer the questions. The most significant tool for collecting information in the field was the questionnaire. In this paper, a researcher-made questionnaire has been used to better fit the subject. Construct and content validity of the questionnaire was confirmed by the Delphi method and its reliability was confirmed based on Cronbach's alpha. Questionnaire items were compiled via Delphi method and experts, a meta-analysis of valid researches and qualitative findings as well as analysis of the components of appropriate standard questionnaires. According to the headings, the questionnaire is based on four main sections, including purpose, content, teaching, and evaluation. The research experts’ community includes university professors, experts with a first and second degree in art and other specialists in the field of Islamic art education and higher art education, and the field of educational sciences with a focus on curriculum and entrepreneurship, economics and entrepreneurship education. The leading method of questionnaire results analysis was done using descriptive statistical methods including mean, median, and standard deviation. The findings of the documentary analysis, meta-analysis, and content analysis have been qualitatively analyzed. A summary of the research findings reveals that among the four pillars of purpose, content, teaching, and evaluation, the content dimension with an average of 53 had the lowest score and the teaching dimension with an average of 69 had the highest score compared to other sections. It should be mentioned that according to the standard questionnaire and experts’ opinions, more than 66% of the items in the purpose section, more than 90% of the content items, more than 45% of the teaching items, and finally more than 60% of the evaluation items are evaluated below average (weak). Consequently, while approving the research hypothesis, the findings emphasize the need to optimize the subject of Islamic art with an emphasis on entrepreneurship and interdisciplinary perspective. The suggested optimal model with nine main elements including necessity, purpose, content, comprehensive, learning process, teaching, learning environment, teacher, and evaluation was developed and accepted by experts. The leading features in the development of the components include: increasing interdisciplinary and transdisciplinary viewpoints, developing the entrepreneurial context in Islamic arts, consolidating and improving the university's relationship with other educational centers, using new educational contexts, benefiting from successful domestic and foreign experiences, and other components with an emphasis on the promotion of effectiveness and optimization of the curriculum and the rubric of Islamic art. The stated model, if established and implemented, can be fruitful in optimizing the Islamic art education system based on the continuous evaluation system.

Kurangān relief is the most substantial single-part relief, left from the ancient Elamite. The oldest part dates back to the Sukkalmach dynasty. Despite most of the reliefs that can be seen from a long distance and were carved to present an account of an incident or event, Kurangān relief does not seem to be there for such purpose. Hertzfeld was the first person to talk about this relief; And after him, many people alluded to this relief in their reports. This relief can be divided into three different parts. Each part has been created separately and in a different time. The first and the most ancient design, apparently etched somewhere between the 19th century BC to 17th century BC is placed in the center of the relief. The second part, carved to the left of the main design, probably dates back to the period between the 9th and 8th centuries BC. It depicts some worshipers looking towards the central part standing in a diagonal composition. Finally, there is the 3rd part to the right of the focal part, it was apparently added to the relief later at the end of the Neo-Elamite period. In this severely damaged part, four custodians whose sizes are smaller than the central part, are detectable. The central and the most important part is a five-by-nine rectangle. There are two focal faces with horned hats in the middle section of this part. This can be a sign to recognize their identities as deities in this relief. The prominent deity in the centre of the picture has a long beard, and his braided hair is hanging down his back and front. He is wearing a long article of clothing reaching his ankles, and sitting on a coiled snake. There is a goddess behind him who is possibly his wife; She is also wearing her hair in a braid hanging over her shoulder and chest. It seems that she is wearing a long garment. The prominent deity in this relief is holding the head of the coiled snake on which he has been seated. He also has something in his right hand, from which water is squirting outwards. Many archaeologists, such as Hertzfeld, who first presented a design of this relief, assumed that there is a vase in the deity’s hand out of which the water is squirting outside based on their visual experience. Whereas by looking at the depiction presented by Vanden Berghe, one notices that it is clearly stuff like a rod or ring in the bearded deity’s right hand out of which the water is flowing. The outflow of water from stuff like rod and ring was not very common in Mesopotamia, but some similar designs have been found in the impressions of Elamite stamp seals, and this is the same design depicted here. In addition to the rod and the ring, the coiled snake, and the water flow, there is another thing associated with the bearded deity: an article in front of him. As this part has been structurally damaged, it is not possible to precisely identify it. Hertzfeld, who first documented this relief, believed that it was an altar similar to the one in a relief left from the Hittites in the Ferahetin of Turkey. Despite the group who perceived the carved article as a table or altar, some researchers believed that it was a fireplace before the bearded deity sitting on the coiled snake. But this perception might not be very satisfying as the presence of water flow over a burning fire not only cannot be found in the pictures left from ancient Elam, but there is also nothing corresponding to it in Mesopotamia. The contrast between water and fire is so significant that it seems unlikely to find a deity associated with both of these elements. Furthermore, the area in the centre of the relief where illustrates the bottom of the throne and the deity’s feet are noticeably higher than the lower end of the relief. This shows that there must be another thing beneath the coiled snake and the bearded deity’s feet.Supposing that there is another animal beneath the deity’s feet and coiled snake whose head has risen to the underneath of the deity’s hand can be a reasonable explanation for the thing that many researchers assumed was a flame being actually the head of the animal carrying him. This interpretation of what is beneath the deity’s feet and before him does not only provide a convincing explanation for other visual elements in this relief and their relative size and location, but it is also consistent with ancient traditions presented in other motifs which were common as part of some illustration norms in the Mesopotamian culture. The interpretation of this thing before the deity and beneath his feet being an animal associated with him is in perfect harmony with other elements of the Kurangān relief and solve the problem of contrast between water and fire. Furthermore, this kind of interpretation can give a better explanation for the belief of some researchers who inferred that that thing was flaring flames. Another controversial topic surrounding this relief is the identity of the deity in the centre, sitting on the coiled snake. There are two possible approaches to this end. The first approach is considering the geographical location of the relief and the local deities in this area and others, exploiting the similarities between this relief’s motif and other Elamite motifs of which there is more information. Based on this approach, it can be said that the best choice is Napirisha, as he is the prominent deity of Anshan and the Kurangān relief is located close to this site. On the other hand, Miroschedji, by adopting the second approach, has cast doubt on this hypothesis. A comparison between the Kurangān relief and the upper damaged part of the Untash-Napirisha stela reveals many similarities. So, theories that say the deity locating at the centre of the picture is Napirisha or Inshushinak are not powerfully convincing or perfectly in harmony with all the visual elements in the Kurangān relief. Therefore, it is probable that the depicted deity is a local one, not a supreme deity like Napirisha or Inshushinak. This seems even more plausible because Kurangān was never a politically significant site. So, it seems improbable that the supreme deity’s illustration be depicted in this relief.

Developing the concept of ‘otherness’ is intertwined with the concept of an authorstrated book; an authorstrated book falls into the category of applied art. Concepts are incorporeal, but they emerge in corporeal things; the emergence in authorstrated books takes place through the visual organization and creating semantic layers in a visual frame. What changes into meaning in an authorstrated book happens via created picture or visual organization and the process takes place as following; the illustration operation is performed like a process, but the addressee sees the result in an authorstrated book. As a result, semantic layers are read through the reader’s read in the possible world or in an authorstrated book and every authorstrated book is deemed as a new world which is an open window for the reader. Apart from sense of vision, as authorstrated book is also sensory-perceptual, it can engage other addressee’s senses. We are aimed at knowing the role of visual organization in the interaction process which is subject to sense and perception. Because in every discourse process, sensible factor serves as a go-between for inside and outside. The relation between subjects and interactional objects is a kind in which reception is done through senses, put the object in a situation where the object faces the otherness and put them on the way to meaning-making. In this relation, the modal states of body between subjects and objects are intertwined, via the presence of all senses beside each other and with each other and through this way, the subject’s phenomenological perception of the world is formed. To achieve this goal, we select an authorstrated book ‘The Red Tree’ by Shaun Tan on the grounds that based on of the aforementioned view, the subject in the book constantly faces sensory spaces which makes his perception encounter problems. This picture book includes two visual and written systems and discourse in this book in the visual text which provokes directly the subject’s sensitivity and when picture is accompanied by written form, the way of reading undergoes fluctuation and the reading process undergoes changes which depend on the subject or the addressee of the work. The question of the article is as following: on the basis of the semiotic and sensory-perceptual process, what factors is reading or meaning-making in visual system of an authorstrated book subject to? This article through bibliographical sources, documentary, descriptive and comparative method utilizes semiotic analysis. In this regard, discourse systems are focused especially a sensible discourse system in which the simultaneous presence of subject and object and sensory-perceptual process between them are highly important, for objects are considered physical reality and have the capability to have a meaning because of sensory features which are discovered by subjects. However, subjects are redefined on the basis of their place and ability; in this kind of discourse, we face an interactional system where the presence of each side causes feeling or reaction in both sides. Regardless of dynamic feature, this relation is predicated on interactional encounter, that is, what two sides feel at interaction. The way of presence or act of each side engaged in interaction causes a feeling in the other side leading to the reaction or the act of the actor. Having analyzed the aforementioned book, we realized that interactional or sensible method caused that the historical, mythological, imaginary and philosophical understanding of the addressee which accompany this discourse method and their perception is built on it.
Of which the addressee does not have any idea (the essence of combined and imaginary elements) can be developed as a part of phenomenological understanding through a sensory-perceptual process taking place via turning the pages of the book. The other point is that in the narrative structure of the book, some elements are fixed in all frames by the authorstrator in order for the subject to be able to keep the theme of the narration on the basis of it. For example, both the chief character (the little girl) who or the red leave acted and reacted in terms of the events. Having studied some frames of the book, we found out that this authorstrated book was aimed at revealing conscious processes and the authorstrator’s lived experience and also revealing reader-agent’s unconscious processes and the processes of empowering him; the authorstrator presents a powerful invitation through sensory-perceptual process and even provides an explanation in which the subject is involved in its meaning-making; The authorstrator aims to explain and through this way, he uses a variety of variants for meaning-making to create his own possible world and, in better words, the addressee can find mental signified variants through signs in the authorstrator’s illustration. The authorstrator does illustrate fragments through components such as breaking frames or different frames which create single narrative frames; frames which have the capability for being read in the structure of the book and which also allow the addressee to get started to read the book from each page as he/she wishes.
In fact, in this authorstrated book and based on the view or semiotic method and a sensory-perceptual process, the addressee’s sense is influenced by co-presence with the otherness who makes the addressee’s impression problematic. In the process of our analysis, on the basis of the interactional or emotional structure and regarding the point that authorstrated books are heavily predicated on senses, especially vision, it can be claimed that authorstratingdepends on components including, not thinking one-line, communal individuality, multiculturalism and decentralization. It can be said that: 1. An authorstratoror an illustration philosopher chooses one way from different discourses. He/She finds novel orders via illustrated discourses and discoursal and cultural change. 2. Identity and individuality are the subject’s other poles which discourse situations provide it (the subject) with. Semantic components in authorstrated books show that how the subject was divided into pieces and was decentralized; the subject had a variety of identities depending on discourses which the subject belonged to. The subject is indeterminate. However, there is a likelihood that the subject develops identities in a special situation in which the object cracks and is never completely present. As a result, its identity is fluid. 4. Semantic components showed that in such an illustration, one “ego” developed which was not “ego”-oriented anymore; this novel “ego” can escape the grip of being solely an subject and in doing so, is able to create interaction, and become meaningful by the presence of the other one. 5. The study of the semantic components showed that the subject or the addressee gained a new experience every time he/she read or saw the book and this new experience means new identity development and a new discourse.
In “The Red Tree”, an authorstrated book, surrealistic aspects are seen more than other aspects. Also, a host of techniques in the illustration performance are deconstructive: the existence of these components in illustration or text aesthetics cannot be assessed without taking thought, ideology, and social and cultural issues into consideration and representation in illustration is not an exception and it can be expressed through every style or visual expression, especially Realism, Surrealism and Symbolism. 2. We concluded that the authorstrator’s encounter with authorstrated books as an illustration philosopher in the realm of the illustration language took place with visual sensitivity proving that the authorstrator escaped the flaws rooting from certain isms and in this way, the authorstrator considered no limits to express and utilize methods. 3. We concluded that in the study of an artwork, (authorstrating) there was nothing as a visual text which was absolutely controlled by the authorstrator and his/her govern came to an end somewhere (idea or performance) in the visual text.

Discursive traditionalism in different areas of society has been before the emergence of modern times, which had an experimental and religious foundation by passing the evolutionary process. After the modern era and the rejection of the values of the preponderance and traditions, the discourse of contemporary philosophical traditionalists was created, which, by receding to the principles of tradition, tried to create discourse responsive to the social conditions of the contemporary man in modern art and aesthetics such as the concept of space and its physical aspect specifically in contemporary architecture. Therefore, the relationship between art and Abrahamic religions, which in the words of the traditionalists, is the source of confidence in the emergence of traditions and the aesthetics system in which they are present, has a significant amount of their research.
In the literature section, is expressed the scope of efforts to match the views of the traditionalists with the field of theoretical principles and foundation architecture, especially in Muslim societies, and it is pointed to the important fact that the way of expressing them is not in accordance with the diverse and changing needs of modern humans.
According to the purpose of this study, at first, the common concepts (as factors and concepts of synonyms) between wisdom and tradition were studied. It means the relationship between "Islamic wisdom" and "the perennial philosophy " in spiritual traditionalism was examined and investigated. Then, the introduction of traditionalists and their distinguished measures in the field of answering the contemporary human questions about the content of their traditions and applications in the contemporary era has been discussed. Based on the results of these studies, it was found that there is a significant relationship between the Islamic traditions of the traditionalists and the Islamic wisdom. The selection of Islamic traditions from the traditions of all societies has been because the traditions have a general concept of culture, from cultural and social functions of the past nations to the traditions of prophets, however, wisdom in every category and period of time includes the interpretation, meaning, and particular field. Therefore, it should have been selected a share common point between these two general concepts, that according to  the subject of the article, having the Islamic concept was chosen for selection them.
Next, according to the methodology of the current study, which is a qualitative model (it is based on a background analysis of existing resources and the derivation the of keywords to achieve general votes), the descriptive-analytical method was used to investigate the library resources. The progress of content presentation is as follows: first, the concept system in aesthetics view from the perspective of traditionalists, was presented in three aspects (aesthetics aspect (value system), fullness aspect (spiritual system), objective aspect (system), and it led to creating the formation of a process pattern from this content matching. Then, according to the same model, each part of it was analyzed from the closest views of the Isla mists to Islamic wisdom. Finally, all previous steps about merging, adapting and the content matching between the views of the traditionalists and wisdom in architecture, were presented as a model along with a summary table.
Before reaching the results, adapting aesthetics content in traditionalism and Islamic architecture has been done in conformity with the content. In this way, the perennial philosophy makes sense in three aspects more distinct than in the past. These three aspects are objectivity (manifested in mankind), traditions (by indicators), and religion (invaded in reality).
The key to the term "reality" was selected and introduced as a common method to express the concepts between traditionalists and Islamic architecture wisdom and the needs of the modern architectural society. Because it seems that objection to the concepts of decree and philosophy on relocation will resolve the need of the contemporary architect society to benefit from the theoretical foundations of these two areas. The concept of reality has a major role in modeling and simulation technologies, including building information modeling (BIM) technology. Because all of the theories and methods used in the design process in this software are based on formation and modeling, and that is the fact of architecture. What is currently being sought is that this reality is derived from the real truth and authentic beauty that has divine roots. Meaning that the role of modern technologies is merely a tool to create the above-mentioned reality of divine beauty, reflecting the eternal beauty of the perennial philosophy.
On the other hand, we see a new perspective on the philosophy of science in humanities, including art and architecture, which is based on data theory. Meaning that, we will have a cycle of wisdom, knowledge, information and data in all sciences, in which the methods of production, interpretation and adaptation of science in them are based on two concepts. First, there are different aspects of the reality of the universe, which is a subject of various sciences. And the second is the data and its life cycle in every science. Therefore, having a model to describe and explain the process and cycle of life in any fundamental matter in science is a necessity. Having a real and data-based view means a phenomenological approach.
Therefore, the present study, by understanding the need for a phenomenological view of artistic affairs, has tried to use an ontological framework for the research method. This has led to an increase in the reliability of the research method and a significant increase in the application of the results, especially in the human view of the contemporary scholar, which is considered the traditional society as inefficient and old. As a result, the model about the aesthetics structure at the beginning of the study was completed by a scientific cycle and was presented at the end of it. This complete model is flexible concerning the changes in attitude obtained from acquiring knowledge, and it has determined the place of influence and change in cognitive processes.
In this way, it was tried to facilitate the use of its results in the field of different architecture studies, including in the fields of »design research«, »design process«, »theoretical foundations of architecture« and »evaluation« of elements and architectural contexts according to the Islamic wisdom values. This model can also be viewed as an achievement in other fields of artistic research as it can be used to enter many visible and hidden areas in art research and find the results that are similar in the process of research. It seems that the same method paves the way for achieving common content discourse and content sharing between different fields of art with architecture.
Another important point about this final model is that the process of recognition in it is not linear, and it is not occasional and an immediate matter; while it happens in a gradual evolution. It is also based on logical stages that it is not possible to enter into the next stages or achieve a full understanding of beauty, without paying attention to the results obtained in each sector.

Undoubtedly, iconography of the Prophet (PBUH) and the Saints of the Islam is one of the main challenges in the Islamic art. Various theories on the history of the iconography in Islamic art have been provided. Despite the disagreement among the scholars about the first portraits in Islamic art, the historical evidences reveal that the iconography grew widely in the Iran from the Ilkhanid dynasty period. Before this period, visual depiction of the Islam prophet did not receive great attention by the Muslim painters. On the other hand, many scholars have been concerned with challenges and questions related to the prohibition of iconography in Islamic art. The questions arise as to why did Muslims condemn iconography in the early periods of Islam? How is it about the iconography before the Islamic period? Does the prohibition originate from the fact that Muslims did not really understand iconography? Despite the deliberate eradication of icons, how did early Muslims deal with, preserve, or spread the figurative representations and characteristics of the Islam Prophet (SW) and saints? Did they totally prohibit any types of icons? If not, what is a right form of iconography in Islamic art? Pursuing the answer to the raised questions would lead us to the main question of the research: what is Shamayel-neghasht in Islamic art? Investigating literature and inscriptions of the Islamic era clearly demonstrates a non-figurative type of iconography which no specific studies have been carried out on it. Thus, the present study aims to explore the identity of iconography in Islamic art as well as introducing the new type of inscriptive iconography known as Shamayel-neghasht. Applying a descriptive-analytic study (library-based research method), we try to present a detailed reconsideration of the iconography in Islamic art, its different types, and a comprehensive study of the Shamayel-neghasht in Islamic art. Islam Prophet (SW) and Muslim saints played tremendously important roles in the history of Islam society; however, no serious research has been carried out on the issue of Shamayel -negasht that is originated from the Islamic traditions. It seems that the issue has not been considered significantly in Islamic art research. In this regard and in order to have a full picture of the issue, first, we would define icon and iconography, its historical background, and the related questions. Then we would address the research questions and explain the different types of iconography in Islamic art including Shamayel -negasht. Finally, we would introduce and explain the latter type extensively.
The findings of the research indicate the advent of a non-figurative iconography known as Shamayel-negasht in Islamic art. Based on the presented evidences and documents, the results of this study can be stated as:  In investigations of iconography in Islamic art until now, most of the views and attentions of researchers have been focused on the effects of image iconography. Many scholars have linked iconography in Islamic art to the issue of the prohibition of portraiture in Islam. From this perspective, they have dealt with iconography in Islamic art with two approaches: A) The absence of iconographic works in Islamic art, same as the Christian art in the manner and function, has been related to the prohibition of portraiture in Islam, and B) the existence of works depicting the image of saints, have been considered as an action by Muslim artists to refuse this prohibition and to neglect or struggle this Islamic Sharia issue. According to the studies in the field of image jurisprudence that have been done so far, the issue of the sanctity of portraiture in Islam can be considered as one of the reasons for the tendency towards calligraphy and written iconography, but it is not all or the only reason for this issue.
Christian iconography and written iconography in Islamic art are similar in their use of the spiritual image; but what sets them apart is the difference in the representation of the spiritual image, which differs according to ideological goals, power systems and the different ways in which the power of images is used to evoke emotion, refinement, or imitation. One of the effective factors in the difference between the bibliography of the sacred texts and the iconography of the saints in different religions is the difference in the display of revelation. As a result, a same difference affects the iconographic style of the saints and the manner in which the ritual arts appear and emerge. From another perspective, this difference is a consequence of the time of the emergence of religions and the interaction with the dominant culture of the period. Islam used visual alternatives to the real images to combat idolatry and propagate and teach its religion; however Christianity used popular beliefs of the time, the belief in human gods, to promote and gain acceptance among the Greeks.
On the other hand, by examining the nature and aura of revelation in Islam and the situation of calligraphy and writing the verses of the Qur'an, we can say that: the concept and content of the writing is the basis of Islam. Even if the issue of the prohibition of portraiture and iconography was not raised, it is still impossible to imagine Islam as a religious and cultural system without text, writing and reading. As a result, instead of attributing all the issues in the field of iconography and the reason for the popularity of calligraphy in the Islamic world to the negative claim of the prohibition of Muslims in making images, the Islamic prohibition of iconography could be considered as only one of the reasons for these issues and not all of them. Therefore, it is more appropriate to consider calligraphy as a natural expression of the writing in Islamic culture. In this way, the reason for the iconography of the saints and the tendency towards written iconography in Islamic art can be sought in the nature and aura of revelation in Islam. Accordingly, the difference in the nature and aura of revelation in Islam can be considered as one of the main and important reasons in the tendency to written imagery of Islamic saints and the formation of iconography. As a result, in answer to the main question of the research, it can be said that: written iconography and Shamayel-negasht are word portraits, written portraits and theological images of the Prophet Muhammad and the saints with unique characteristics that distinguish it from other branches of art such as writing, calligraphy, painting and gilding in Islamic art and Christian iconography; so, these works can be considered as another type of specific iconography of Islamic art. The ritualism and rituals of written iconography make it compatible with Christian iconography. The text and content of written iconographic works are taken from the tradition of iconography and biography of saints in the early Islamic centuries, in which the names, titles, signs and external and internal descriptions of the face and character of saints have been written using calligraphy and gilding. In fact, it seems that the written iconography belongs to around the 8th century from the late Timurid period in Herat and Khorasan region in the form of "symbolic and semiotic Shamayel -negasht ", based on mystical beliefs and influenced by the Sufi sects, especially the hurufism, Nuqtavi, Naqshbandi. In Safavid period, due to political and religious developments, it is followed in the form of "Iranian Shamayel -negasht " or “Iranian Hilyah” and with a Shia-mystical approach. Almost at the same time, one of the famous examples of Shamayel-negasht is the Ottoman Hilyat- nigari (inscription of the adornment of Islam prophet) with a sunni-mystical approach which is continued until today. These works have been performed on the basis of insights, beliefs and rituals with various techniques and styles in different periods.

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

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

Creativity, innovation, intuition, inspiration, composition and such terms are widely used in design and art studies, because, in fact, these words deal with the core of the mental process of creation. However, behind each of these words, is a different semantic and cognitive horizon. Different understandings of creativity lead to different understandings of design and art, while the origin of disagreements is not properly understood. Neglecting the differences of the definitions of creativity results in practical and pedagogical implications. The issue becomes more complicated when we consider that Creativity theories have a dialogue with each other, and, these theories depend on the epistemological structures of their time. Therefore, we have two relationships, the transverse relationship between theories and the longitudinal relationship between theories and structures. hence, we can say that creativity is a meta-concept, i.e., a concept that determine and define the other related concepts in design and arts. The key importance of this meta concept requires these questions to be seriously researched: what is creativity? and what are the differences between the theories of creativity? Therefore, the question of this research is: what are the points of similarity and dissimilarity of theories of creativity? The purpose of this study is to explain and describe the points of similarity and dissimilarity of theories of creativity, identifying the criteria for comparing those points, and finally presenting a classification of creatology theories. In terms of method, this research seeks to compare and contrast the theories related to the recognition of creativity, hence it is a meta-analytical research. Meta-analytical research is a comparative (qualitative case) study. To compare two or more theories (on a subject), the concepts and claims of those theories must be extracted, therefore analytical units have been extracted, using a combined method of Content Analysis and Grounded Theory Method (GTM). By this method, the analytical units extracted from the studied texts (sample size) have been coded (open, axial and selected). Finally, the theories are compared and categorized based on the homogeneity and heterogeneity of the categories. Sample size: The subject of creativity is researched and studied in various scientific fields with different discourses, concepts and words (Some domains directly deal with this issue and some indirectly and almost these domains do not reference to each other). As a result of the great diversity of fields and theories, it is very difficult to determine a sample size for a comparative study. Therefore, in this study, no attempt has been made to list all theories and compare and contrast all of them. Instead, (for better research efficiency) the sample size is limited to common theories in scientific and academic societies of design and art in Iran. Each of these theories represents a range of similar theories. These representatives are: theories of mythology, philosophy, Islamic theology, person-centered studies, context-based studies, literary criticism and the psychology of creativity. The domain of comparing for these theories is limited to their concepts about creativity. Steps of research: Six steps have been taken to answer the questions. First, a sample volume of theories related to creativity is prepared. In the second step, this sample has been studied.  In the third step, the analytical units are extracted from the targeted sources and open coding is performed. In the fourth step, axial and selective coding is done. In the fifth step, codes of the same categories (from different theories) are compared and contrasted. And finally, based on these findings, the theoretical farms of theories have been determined. The results of this study show that theories of creativity can be classified into three categories: The category of creativity as inspiration or imitation: The focus of these theories is "inspiration". They consider the source of creativity to be superhuman resources. Therefore, they explain how it works through the mechanism of inspiration or grace. This approach found a philosophical mechanism in the time of Socrates and Plato, and developed around concepts such as idea, imitation, fantasia, and techne. Plato's theories about the imitative arts fall into this category because they also see the source of creativity (the product of imagination) as a superhuman source. The category of creativity as genius or unconsciousness: The framework of these theories is organized around the concepts of unconsciousness and instinct. This category includes two seemingly different tendencies, romanticism and the theories of psychoanalysis. In the romantic view, creativity is something that originates from the rich genius and subconscious of the artist. This happens in a fraction of the time and quite suddenly and involuntarily. These ideas have been prevalent in European culture since the Renaissance. The peak of these ideas was in the early nineteenth century. In the school of Romantic philosophy, an attempt was made to establish acceptable theoretical and philosophical foundations for these theories. This view was quite common in the era of modern art and design. In other words, although modernists rejected the romanticism, they defined the author and the process of creation in the same way. From the late nineteenth century, Freud's theories promoted another definition of creativity, according to which creativity is not the product of genius but the product of frustrated complexities and their sublime process. It seems that This view is fundamentally different from the romantic view, but in fact they are not much different from each other because Both see the source of creativity in the subconscious of the artist and believe that only certain human beings (genius or patient) can perform creative action. The category of creativity as a mental action: In various fields related to the subject of creativity, theories are prevalent that are independent of each other in terms of subject and discourse (Such as the psychology of creativity, the theory of TRIZ, intertextuality, the image family theory, and even cognitive archeology). But they all define creativity with the same approach and framework. They define creativity as a mental and cognitive process. A process that has stages and levels. This theoretical framework shows creativity as a new arrangement of mental precedents, subject to mental functions and external stimuli. These theories consider creativity along previous perceptions (common sense, phenomena, texts, experiences) as well as contextual stimuli (cultural, social, historical, geographical, etc.). The theories of the first group in the form of the school of traditionalism and Islamic art wisdom, the second group in the form of psychoanalytic criticism as well as general notions of romanticism and the third group, more with the theory of intertextuality, are prevalent in Iran. This research shows that some schools have produced theories in more than one paradigm. The main finding of this research is to identify the new paradigm framework that has been formed by various theories. Theories that are often unaware of each other and they use different Terms, but have a similar description of the subject.

Intertextuality is the shaping of a text's meaning by another text. It is the interconnection between similar or related works of literature that reflect and influence an audience's interpretation of the text. Intertextuality is the relation between texts that are inflicted through quotations and allusion, Intertextual. It is a literary device that creates an 'interrelationship between texts' and generates related understanding in separate works. These references are made to influence the reader and add layers of depth to a text, based on the readers' prior knowledge and understanding. The intertextual structure in turn depends on the perceptual structure of the audience. It is also a literary discourse strategy utilized by writers in novels, poetry, theatre and even in non-written texts (such as performances and digital media). Transtextuality is defined as the "textual transcendence of the text". According to Gérard Genette transtextuality is "all that sets the text in a relationship, whether obvious or concealed, with other texts" and it "covers all aspects of a particular text”. Genette described transtextuality as a "more inclusive term" than Intertextuality. The theory of Intertextuality can also be introduced in visual studies. In these cases, the study focuses on identifying the relationships between a visual text and its previous texts. In this study, the texts that have been analyzed are contemporary Iranian typography that has been compared with Islamic typography (Calligraphy) in terms of intertextuality. Calligraphy and inscriptions had a special spiritual status in the Islamic period and became a ground for accepting meaningful symbols and signs. These works include two main components of form and meaning. Symbolic features are part of the meaning of these works that affect the shape and form of the type. The most famous signs and symbols are plant signs. In addition to the plant motifs of the background, the type is full of motifs and symbols.  At the beginning and end of the type, there are plant motifs, the stems are twisted, the weaves and knots of stems can be increased and expanded. Plant symbols that symbolize growth, life was intertwined with types. In general classification of plant symbols, geometric symbols, human and animal symbols can be expressed as the main meaningful elements in association with type or combination with type in Islamic works. In these works, the type is combined with a symbol, such as plant motifs that are added to the end of the type or the design of a bird in the name of God (Morghe Besme Allah), as well as fidelity to the style of Islamic Animalgraphy, which creates a kind of metaphorical relationship in the work. Islamic art includes a set of coherent and diverse written symbols that can be referred to as traditional Persian typography. Islamic calligraphy has undeniable effects on the type design in contemporary Iranian graphics. This study investigates the relationship between symbol and type in the arts of the Islamic period and analyzes the continuity of these correlations in contemporary Iranian logotypes and typography. The aim of this research is expressing the relationship of symbol and type design in modern Iranian typography by emphasizing the Syntagmatic and Paradigmatic relations of symbol and type in the Islamic calligraphy by adopting an intertextual approach. The purpose of this research is to express one of the co-occurring channels of symbol and type in modern Iranian typography with emphasis on the accompaniment and substitution of symbol and writing in Islamic calligraphy by adopting an intertextual approach. The present study seeks to answer the question of how symbolic signs related to type design have appeared in the works of the Islamic period and how the appearance of the symbol in contemporary Iranian typography has to do with its Islamic context. This study is descriptive-analytical in terms of methodology. The data collection method is based on library review (i.e., note-taking and image analysis) and data analysis was done qualitatively. The statistical population is the study of calligraphy and typography of the Islamic period and contemporary logotypes and posters. 13 examples of traditional Islamic calligraphy (in inscriptions, pottery and Islamic calligraphy) are compared with 14 examples of typography in logos and posters in which plant, animal and geometric symbols are combined with the text. The sampling method is selective. The researcher's opinion is influential in the selection of samples. Statistical examples of this population have been purposefully considered with the criterion that the relationship between symbol and text in them are clearly recognizable and comparable. Some cases can be stated as the background of the present research. These cases have studied calligraphy in Iranian art as well as typography independently, but The effect of calligraphy and typography of the Islamic period on contemporary Iranian typography with a focus on the continuity of symbols and their relationship to writing has not been discussed. The relationship between these two areas with the evolutionist and intertextual approach has not been done so far. Comparison of similar typographic forms in the field of graphics with Islamic typography through intertextual relations and the evolution of some symbols in contemporary writing has not been expressed. The emergence of cultural and artistic identity as a message in the semantic layers of logos and posters has not been considered. The results of this study suggest that in the inscription and calligraphy of the Islamic period and contemporary typography, Relation is diachronic, Symbol placed in the background of the text or Continuously with text, which evokes the Syntagmatic relations. In some cases, the symbol is combined with the text, which can be considered a Paradigmatic relation between the symbol and the type. The most famous symbol is the plant motifs, the symbol of life. Then geometric abstract symbols are combined with type that is associated with good concepts. In contemporary Iranian graphics, examples of Persian logotypes and typography evoke the accompaniment of a symbol and a type, like its Islamic prefaces, and show the intertextual relationship of its Pastiche type. In some cases, visual symbols are combined with written signs in contemporary typography, and there is a Paradigmatic relation between the symbol and the type, There is also intertextuality of the pastiche type. In a way that traditional and cultural identity, along with organizational identity and product type, have influenced the form of type. Pastiche means imitation in form and change in content. Similarity to the original preface to the creation of new works through transtextual relations can be seen in this type of intertextuality. This similarity and imitation do not mean that there are exactly two similar works. Therefore, a structural pattern, symbol-type Syntagmatic relations and symbol-type Paradigmatic relations are common in Islamic traditional typography and contemporary typography. Each text has unique visual features and semantic structure. The implicit meaning of originality and identity and reference to the original Iranian Islamic culture is one of the main semantic layers of contemporary Iranian typography in which the pattern of Syntagmatic and Paradigmatic relations of symbol and text can be analyzed. These arrangements in contemporary Iranian typography, in addition to creating a sense of cultural-national identity, bring a sense of nostalgia to the audience. What is certain is that writing is a ground for accepting symbols in the oldest and newest Iranian arts.

Literary devices are widely used in advertisements. Ad designers use schemes to give external beauty to images and words, and use tropes to embellish the meanings and message of a picture or text. Based on the literary definition, tropes are more difficult to comprehend than schemes. Marketing researchers adopt this classification. According to them, tropes will lead to positive results such as ad liking, increased persuasion, and ad memorability, provided that the audience comprehends them successfully. Failure to interpret tropes results in negative attitudes towards the ad. Graphic designers, such as poets and writers who use tropes in their works, provide their audience clues to help them interpret. So, they can benefit from tropes’ positive effects on ad receivers and skip the negative effects of miscomprehension. These clues, called anchors, are classified into two general categories of written and visual without determining their subgroups. Furthermore, anchors have been studied in relation to tropes to assess the target audiences’ response. Whereas, in everyday ads, anchors are not only related to tropes. The unanswered question is, what are the subgroups of written and visual anchors? And to which ad components are they related? This study aims to identify the subgroups of written and visual anchors used in trope print advertisements and specify their relation to other advertisement components. The necessity of this research is to provide a ground for studying anchorage with more precision and attention in print advertisement tropes so that generalization will be limited in the results, and consequently designers can use the results of such research with greater assurance.      In this research, we used content analysis method through a qualitative approach. Sampling was done through a purposive or judgmental technique. The sample size includes 783 Clive Award print ads from 2007-2016, downloaded from the official Clio Award website (http://clios.com/awards). These ads were selected as samples, because participating ads in this award have an acceptable level of creativity and the application of literary devices in ads is one of their common methods. The content analysis method identified tropes of this collection and the methods to reduce their difficulty/complexity (anchors). These anchors, commonly divided into two categories of visual and written anchors, are of seven types: 1. descriptive text, 2. logo, 3. product image, 4. slogan, 5. brand name, 6. descriptive image, and 7. product description. The frequency of each seven types of anchors and the average of both written and visual categories were calculated.      Structurally, four out of the seven identified anchors were written, and three were visual. All anchors were related to the brand except descriptive text and descriptive image (related to trope). The descriptive text had the highest frequency (40.9%). After that, the logo (39.6%) and the product image (16.3%) had the highest frequency. The lowest frequency belonged to brand name (4.5%) and product image (3.3%). The average frequency of visual anchors (20.2%) was higher than that of written anchors (14.3%). The average frequency of ad component related anchors was also calculated. Anchors related to tropes (22.7%) had a higher average frequency than anchors related to the product/brand (14.5%).      To answer the question, what the subcategories of written and visual anchors are, this paper aims to identify subgroups of written and visual anchors and determines their relation to ad components. Results identified four subgroups for written anchors (descriptive text, slogan, brand name, and product description), and three subgroups for visual anchors (logo, product image, and descriptive image). Therefore, there are seven types of anchors. However, the previous research has put them into two generic categories of written and visual, without specifying them, or they only studied one subgroup of written anchors (descriptive text). The average frequency of visual anchors (%20.2) was higher than written ones (%14.3). Although the text can lead the audience to the intended meaning of an ad, ad designers have served this purpose by using visual anchors, perhaps due to their triple advantages of comprehensibility, effectiveness, and imaginativeness.      The other question was, to what ad components these anchors are related? Among all identified anchors, only descriptive text (written) and descriptive image (visual) were related to the product/brand. Although the number of product-related anchors was higher, their average frequency (14.5%) was lower than the trope-related anchors (22.7%). This indicates the designers' emphasis on making the tropes more comprehensible to avoid the adverse effects on the ad's attitudes. These ads were selected as samples, because participating ads in this award have an acceptable level of creativity and the application of literary devices in ads is one of their common methods. The content analysis method identified tropes of this collection and the methods to reduce their difficulty/complexity (anchors). These anchors, commonly divided into two categories of visual and written anchors, are of seven types: 1. descriptive text, 2. logo, 3. product image, 4. slogan, 5. brand name, 6. descriptive image, and 7. product description. The frequency of each seven types of anchors and the average of both written and visual categories were calculated.      Structurally, four out of the seven identified anchors were written, and three were visual. All anchors were related to the brand except descriptive text and descriptive image (related to trope). The descriptive text had the highest frequency (40.9%). After that, the logo (39.6%) and the product image (16.3%) had the highest frequency. The lowest frequency belonged to brand name (4.5%) and product image (3.3%). The average frequency of visual anchors (20.2%) was higher than that of written anchors (14.3%). The average frequency of ad component related anchors was also calculated. Anchors related to tropes (22.7%) had a higher average frequency than anchors related to the product/brand (14.5%).      To answer the question, what the subcategories of written and visual anchors are, this paper aims to identify subgroups of written and visual anchors and determines their relation to ad components. Results identified four subgroups for written anchors (descriptive text, slogan, brand name, and product description), and three subgroups for visual anchors (logo, product image, and descriptive image). Therefore, there are seven types of anchors. However, the previous research has put them into two generic categories of written and visual, without specifying them, or they only studied one subgroup of written anchors (descriptive text). The average frequency of visual anchors (%20.2) was higher than written ones (%14.3). Although the text can lead the audience to the intended meaning of an ad, ad designers have served this purpose by using visual anchors, perhaps due to their triple advantages of comprehensibility, effectiveness, and imaginativeness.      The other question was, to what ad components these anchors are related? Among all identified anchors, only descriptive text (written) and descriptive image (visual) were related to the product/brand. Although the number of product-related anchors was higher, their average frequency (14.5%) was lower than the trope-related anchors (22.7%). This indicates the designers' emphasis on making the tropes more comprehensible to avoid the adverse effects on the ad's attitudes.

Public art in Iran has undergone dramatic changes since the beginning of its development, and especially after the 80s when Social and discourse arts started to give way to decorative, formalist and abstract art. As a result of this process, reconstruction discourse which characterized by its social function and brought about social harmony and solidarity started to fade. So, the development of human and vibrant environments in the densely populated cities of the contemporary age is a need that has obsessed all urban authorities such as designers, planners and policymakers. Thus, taking into account the role of audience in retrieving and utilizing the spaces devoted to art and public art activities and improving the quality of democratic spaces, the researcher made attempts to investigate the contribution of public art components to creation of democratic atmosphere of the 80s in Tehran’s Ab-o-Atash Park. The Embedded Design Mixed Research Method was used to conduct the study. Atlasti and SPSS software were used in the qualitative and quantitative phases of the study, respectively. The results show that the public art components have most significantly contributed to creation of graffiti, structural elements, simultaneous displays, celebrations and lighting (each having a coefficient of determination of 1). Water fountains and elements devoted to celebrities and dignitaries (with coefficient of determination of 0.893) and building structures (with coefficient of determination of 0.846) were ranked second and third, respectively. The results showed that public art components have had the least contribution to creation of stone sculpture (0.427) and the amphitheater (0.362) and the ski resort (0.467) respectively. In the years after Revolution the public art in social discourses affected by three decades' purgation or sublimation discourse in 1960s with a nostalgic and unifying moral function followed a public ethics and sustainability. With the end of the war and beginning of the 70s, the daily life in Iran has been changed a lot and the ethics of here is bravery and errantry of the what time gave way to rationality and computation of the construction period. New generation took a distance from the heroes of 60s to shape his daily life in another way. Therefore, the main confliction is that the heroism life is the dominance of the danger and violence and going to the danger, while the daily life is the dominance of the women and the reproduction and care. Iran had the experience of Revolution and war a head, needed to the features and ethics of heroism in art, not a mediocre ethic that avoids danger. In fact, in the 1370s more common and routine subjects were proceeded the martyr's wall paintings and fronts gave their way gradually to the decorative, formalist and abstract paintings). The lifestyle of the youth and the street wanderings cherry that were considered as a kind of idleness at the beginning of 1380s and were regarded as a fruitless routine in the civility system, became the predominant form of youth life in the 1380s. They gained and uninhibited and free experience in wanderings that has trifled in all of the cultural, educational and political formations. Wandering is described as democratic urban consumer. The loiterer is the hero of the daily life and interested in urban beauties and elegances at best. Wandering is the production of space; wandering is the art of daily life and how to use the space is important by the loiterer. The beautification discourse of 1380s, with the cultural function resulted in the public the esprit, social joy and enthusiasm and beautification discourse. In the meantime, the artistic events undergone some changes. The general art is also changing gradually from the idealistic pictures (Heroes) to the routine and interactive (facilitator) pictures and symbols. The events that can stabilize the discourse space and bring the general esprit, and social joy and enthusiasm and the discourse beautification. Generally, by entering the art to the general arena, the factors affecting the meaning of Art changed under the influence of the cultural, social and political situations and fields, the personal and public audience, the authority powers and artists, all of were effective in creating the meaning of art. This change in relations is somehow a change in the discourse, and this discourse method of the general art is the result of social functions, special time and place. This research has tried to answer below question with the purpose of considering the role of the audience in recapturing and seizing and how to use the space in relation to artistic activities and general art and qualitative improvement of the democratic space supporting those the general art components is effective in the democratic creation and experience of the Water and Fire Park. * How much were effective the elements of the general art in creation and experience of the democratic space in the 80s, in the study sample of Tehran water and Fire Park? The relationship between the art and urban space has been beneficial for both phenomena during the history, but the speed of the developments of the past century has caused challenges in the relationship between the art and urban spaces in our country, so that the applied art in the city has an ordered and attached nature, not popular. With the extraction of general art elements by the deep interviews based on the individual experience of experts in space and its verification by the special audiences, this research tried to answer this important question that: how much does the contribution of each of the general arts presented in the water and Fire Park effects on space production and the democratic experience in the space. During the qualitative section and the deep interviews, it was found that there are most of the activities in the space that should be accomplished to be able to comprehend the general art related to that, therefore, in this research the type of activity is dependent on general art. During the different periods of time the art has taken a void range of different forms and during the historical periods the artists have Sean is strong desire to engage via the physical and mental contexts of society and this issue have successfully gained when the artistic work has been connected with a specific place or event and has created the general art. The general art can be emerged in public spaces in different ways and forms such as the big and small statues, murals, paintings. public space furniture and ...., but in the meantime, along with the created charms by the general art, the social participation based on the cultural aspects of any public space under the influence of the different types of general art can make more people presented. the general art reliance in some way on interaction with the general public based on some common social ideas gives a very suitable opportunity for reviving these ideas and trying to revitalize the community and social relations. The need for human and vibrant environments in today's crowded cities is a need that has occupied the minds of all city officials including the urban designers, programmers and policy makers. The general art which is taken from and describes the historical narratives and holding ceremonies or periodic celebrations, simultaneously with the lighting of the elements in Water and Fire Park, have the greatest contribution in creating a democratic experienced by individuals which can be considered it equal among all kinds of arts in terms of value transmittal, and the simultaneous presence of all the arts is required. The arts mixed with conceptual metaphors and especial meanings are in the next stage and at last they are case arts.

Positive design is one of the latest sub-disciplines of industrial design that was introduced to the design world by Donald Norman. In general, positive design can be considered beyond critical design and functionalist design. Whereas critical design attempts to show social abnormalities and functional design emphasizes preserving social normality, positive design is aimed at the promotion of life and human characteristics from a normal state to an ideal state. According to the studies by Desmet (2012), people can experience different positive emotions facing the products, although some emotions are experienced more frequently (such as joy, satisfaction, and amusement) and some other emotions are less frequently experienced (worship, lust, and dreaminess). His studies indicated that all 25 positive emotions can be experienced. The different sources of emotions provide a wide range of opportunities for the designers. When the purpose of designing a product is provoking a positive emotion, the designer can look at the object and search for an opportunity for creating human-product interaction or human-human activity which is made possible through an object. The positive design has recently found its role in the community and is considered as a factor linking aesthetics and ethics, or in other words, sensational and ethical design. However, its theoretical foundations and functions have not been fully studied yet. Regarding the dilemmas of contemporary societies and their effects on the family environment, it seems the opportunity of interaction and conversation between the family members has been minimized regarding the dilemmas of the contemporary societies and their impacts on the families’ environment. Emotions help us in decision making, and positive emotions. in particular, provoke more creativity and learning in individuals. People who are in a positive emotional state can better handle the problems and find better solutions, as stated by psychologists The aim of the research is to improve family relationships by stimulating positive feelings in users. Hence, according to the purpose of Positive Design and regarding the reduced interactions among family members, meal times could be considered crucial for creating positive emotions in this smallest community while they get together at the table. The main question that needs to be answered is how to evoke positive emotions in the user through design. In this cross-sectional study, observation and data gathering were achieved through field and library research. In the next step, due to the novelty of the issue, a positive design approach and the relevant available examples were extensively dealt with. Furthermore, the study of the product situation, an initial survey of homes, national and global markets were performed using conceptual diagrams. Final investigations and field research were done by collecting the data related to the young couples and their relationship with the products through ethnography, questionnaire, observation, and interview. As a final point, conclusion and selection of the top designs based on the user’s needs, positive design approach, proposing suggestions and research added values were on the agenda.
The initial information about the state of tableware at homes of 20 young couples, residing in Shiraz and Tehran, was gathered through ethnography, observation and interviews. The questions were related to the kinds of dishes existing at homes and the user’s opinions about them. A notable point was realized in the process of studying the users. Many changes have occurred within the concept of family life during recent years, i.e., reduction of size/members, postponed marriages, and increased level of divorce. According to a new model of FLC by Gilly and Enis, the term “young couple” has got a new meaning: a couple within the age of 18-34, who have married recently and don’t have children.
The subject population at the final phase of the research includes young couples from all over Iran. Sampling was done by a purposeful method so that a couple was selected from every city, and other young couples they introduced as their acquaintances, were added as new samples. The sample size contained about 50 couples, among which 13 people were men and 37 were women. According to the definition of a young couple by Samadi (2007), these people were in the range of 18 - 34 years old. A questionnaire including two sections was charted for the research. The overall information about the participants and their relation with the tableware was studied in the first part, and the level of excitement -stimulated by the product- through 25 positive emotions, in the second part. At this stage, the level of provocation of every 25 emotions (stimulated by the tableware) was measured using seven-points Likert scale. Each of the positive emotions provoked by dishes holds different levels of severity. It has been observed that some emotions are experienced more frequently, viz. admiration, satisfaction, relaxation, amusement, euphoria, and joy. Some other emotions are less intense and are experienced less frequently: anticipation, lust and Worship.
It was observed that the emotions of admiration, satisfaction, relaxation, amusement, euphoria, and joy are experienced more frequently than the other emotions. In order to investigate the significant difference between the 10 categories of tableware and the six emotions, the Kruskal-Wallis analysis was employed at this point. The results of the test indicated that there is a significant difference between the tableware and the six selected emotions.There are six emotional resources regarding the human-product interactions that can be defined as the following: Focusing on the object (dish), its high quality should be paid attention to. As a result, porcelain material was selected due to its quality, strength, beauty, elegance, and healthiness in addition to the users’ demands. Focusing on the concept, the pieces of tableware should allow for different layouts on the table, according to the kind of food and family culture. Focusing on interaction, producing different separate pieces facilitates access to different foods. Focusing on activity, different forms of the dishes make them suitable for different purposes, or for being used as a complement for other dinner services. Focusing on ourselves, different harmonized forms, and applying beautiful decorations and garnish can make us feel proud of our table. Focusing on others, tableware layout and decoration should have a positive effect on others. By means of a vase or candle, the described positive effects could increase, and communication would get easier for the individuals. According to the diagrams and the results of the previous sections, it seems the features that provoke each of the six emotions can be defined as the following: Admiration: being good-looking, using specific techniques, harmony between the pieces, having an integral identity Satisfaction: ordered, geometric, and logical layout, convenient access, avoiding complexity
Relaxation: plain and mild forms, using curved forms, avoiding complexity
Amusement: it seems that new and novel forms of tableware and various layouts lead to the provocation of amusement emotion. Old and repeated forms reduce this emotion
Euphoria: using uniform patterns, various layouts, creating different spaces in a dish, avoiding old and repeated forms
Joy: simplicity, integrity, without drawing, creating different spaces in a dish
The results give us considerable evidence that, enriching social/family communications is probable through design. A study on varieties of tableware revealed that form, material, colour, and layout of the dishes affect the interactions between family members during the meals, provoke positive emotions and also may improve their relationship.