پژوهشنامه گرافیک و نقاشی
پیاپی 10 (بهار و تابستان 1402)

The environment has been endangered and subjected to destruction in the modern life for various reasons, including the creation of industrial factories and its consequent air pollution, the increased amount of plastic and destructive waste, the felling of trees, the pollution of wetlands with chemical waste from factories and many events that have incredibly resulted from urban civilization. Obviously, destruction of the environment results in the destruction of all living things on Earth, including human beings. For this reason, there is an urgent need to raise people’s awareness about environmental protection through various methods and ideas along with the modern society development. In this regard, recycled art has presented its projects throughout the world from the beginning with the aim of environmental protection with a variety of disposable materials. Considering the importance of environmental goals and based on the responsibility they felt to protect the environment, contemporary artists presented works to the society that were gradually introduced to the world as recycled art. This art, which creates its works from waste and disposable materials, has pursues such a goal, and it is related to both environmental protection and the category of art and works of art. As an art mainly concerned about environmental protection, it has introduced itself to the society during and before the contemporary era. Recycled art is a reminder to humans, especially the producers of industries that disposed materials can be returned to the cycle of nature, and it is emphasized that recycling art in typography works remind the unfavourable environmental condition and prevent some overconsumption in the daily life of humans. This requires human’s knowledge about environmental protection more than ever before. The long history of recycling art indicates the importance of protecting the environment at different stages of human life throughout history, and raising public’s awareness of the history of recycling art can help them to understand these works and their environmental goals, better; and more importantly shows the originality of this art and its environmental goals. In this regard, artists and even humans who subconsciously spent their daily lives passing on the use of recyclable and disposable materials to future generations have a share in this great mission. Therefore, recycling art plays an influential role in society and the contribution of this art to the design and implementation of typographic works with the aim of protecting the environment is the focus of this study. This study provides a comprehensive definition of recycling art and describes the background of this art in ancient societies and times as well as the use of it during different years in different styles and its combination with artistic techniques, with a focus on the goal of environmental protection. This study defines typography as one of the graphic design-related arts used in various works of art and graphic design, both for advertising purpose and as a purely artistic painting in front of the audience. It also mentions the background of typography and describes its role in cultural and artistic projects in experiences with these works in various sections of graphic design, including posters, book covers, environmental graphic design, billboards, etc. The purpose of this study is to investigate the relation between recycling art and typography as an independent work in line with environmental goals. The question it seeks to answer is: "What is the relation between recycling art and typography in environmental protection?" It used a descriptive-analytical research method and collected its required data through literature review and the Internet.Based on to the purpose of the research, it examines a number of typographic works of recycled and disposable materials in the world which, in addition to a high advertising effect on the audience, remind the audience of an environmental message any way. The results of the research indicate that works can be created by combining the recycling art and typography, from disposable materials with a thought-out composition in accordance with the visual principles of graphics to advance the advertising goals. This study examines the implementation of disposable materials in typographic works in order to emphasize the objectives of the research to preserve the environment and to reduce the production of destructive waste and return it to the life cycle. It is hoped that seeing these works and understanding their resemblance to waste and the reuse of disposable materials in a new way by the audience will change the lifestyle of human beings in order to protect the environment more. To use waste in typographic works, we should focus on choosing the material type of the disposable materials as much as we focus on the design of letters. In graphic design, disposable materials are used in typographic works taking into account readability, which is an important principle in relation to the audience, the arrangement of letters and the type of material used, as well as the effort made to maintain the readability of words and have the same type of disposable material to avoid disorder and coordinate with the client’s advertising product. An identical material can contribute to readability, as one of the major goals of the typographic work in front of the audience. However, different disposable materials can sometimes be used together depending on the subject and type of advertising product. It depends entirely on the graphic designer’s thought as to the selection of the type of material to create a work with an appropriate and harmonious composition in accordance with the goals of the client and to attract the audience. To examine the recycling typography works, we need to consider the role of letter grading. The arrangement of letters according to a regular grading makes it easier to use different materials and provide a better result from the composition of letters. Typographic works made of disposable materials can also be attractive to the audience as they convey the intended purpose of the client to the audience. Investigations into typographic works involve examining disposable and recyclable materials such as fabrics, cardboard, disposable glasses and various types of plastic materials (bottles, plastic bags, plastic bubble wrap, etc.) in the creation of typographic design works. For example, plastic bottles are reused in the design and implementation of decoration, environmental graphic design, painting and sculpture with the goal of environmental protection. This study also deals with the use of these disposable materials in typographic works. Collecting and sorting waste lead to the creation of letters with different disposable materials in static or horizontal shapes, depending on the state or subject of each typographic work. Paying attention to specific colour variations or colour combinations in this type of recycling typography works is also important. Typography with waste and disposable materials as recycling art includes not only fabrics, plastics, etc., but also wasted materials in nature, such as leaves. Leaves in a new composition can create different typographic works. Disposable materials are also used in typographic works with large dimensions in an environmental layout in environmental graphics, an example of which is examined in this study. In general, as shown by the  studied works of art, waste and recycled materials can be used in combination with letters and words in a typographic way in each part of graphic design works such as the design of magazine or book cover, posters and environmental graphic design. It is also possible to think of waste even in making animated graphics and design and present it to the audience using different visual techniques and methods. Recycled materials in typographic works are waste materials that we see during the day without taking notice of them. Reusing them in typographic works is a new and different perspective that will contribute a lot to building the culture of environmental protection in the community. In general, these works, while attractive, encourage people to reuse disposable materials and provide the cultural ground for environmental protection, thereby raise people’s level of environmental knowledge and creating an interest and sense of responsibility to preserve their environment and greater participation in environmental protection.

Postmodern art is characterized by several distinctive features, one of which is appropriation. This concept is closely intertwined with intersexuality, establishment of intertextual relationships, negation of authenticity, and decentering of meanings. Numerous artists, among them Glenn Brown, find inspiration in historical epochs like the Baroque and Renaissance periods, infusing these influences into their own artistic creations. This study embarks on an exploration of notion of appropriation in Glenn Brown's portraiture. To achieve this goal, we will commence by offering definitions of postmodernism and appropriation, followed by a thorough analysis of five portrait paintings by Brown through lens of this perspective. This research adopts a descriptive-analytical approach and leverages digital versions of internet articles, along with the original digital copies of the artworks for image compilation. From Glenn Brown's extensive body of work, we have handpicked five appropriated portrait paintings for in-depth examination. The concept of appropriation emerges as pivotal postmodernist approach in realm of art. This concept entails artists borrowing, altering, and reshaping elements from pre-existing sources. During this creative process, artists draw upon elements from historical and contemporary texts, popular culture, advertisements, mass media, and even works of fellow artists, integrating and transforming these elements within their own creations. These transformations can encompass altering original meanings or engendering striking collisions of ideas.In addition to being evident in all forms of visual art, spirit and philosophy of postmodernity have introduced new materials and tools, alongside technology, into many works of visual art. Postmodernism in visual art not only manifests itself in artworks but also introduces new materials and tools, frequently reshaping landscape of modern painting. In postmodern painting, influence of past modernist movements is discernible, and conceptualism is acknowledged as significant characteristic. Postmodern painters reevaluate artistic values of the past and present textual content in their works to audience anew. This form of painting is a result of neo-expressionism, conceptualism, and pop art, but it offers a new artistic experience with an emphasis on viewer participation, structural disruption, and semantic complexity.The portrait genre has manifested in various ways throughout history of visual arts, at times within realm of two-dimensional art such as drawing and painting, and at other times by delving into three-dimensional space and sculptural expression. "Portraits serve diverse functions and are presented through various media. Painting is the most prevalent medium for representation of portraits.In the United States and Europe, the creation of portraits declined during the years between 1940 and 1950 due to greater focus on abstract and non-figurative art. However, with advent of postmodern art after the modern era, portraits lost some of their traditional functions and underwent transformations in style and media. The years between 1960 and 1970 marked a revival of portrait art, with artists like Lucian Freud and Francis Bacon creating significant paintings. Many contemporary artists, such as Andy Warhol, Alex Katz, and Chuck Close, shifted their attention to portrayal of faces. Glenn Brown is another contemporary artist who has displayed a unique perspective in the realm of painting and portraiture.Glenn Brown, a contemporary English artist, has been actively engaged in realms of painting, design, and sculpture, and has been subject of individual exhibitions at prestigious institutions. As a multi-disciplinary artist, Glenn Brown draws inspiration from a diverse array of artistic sources, encompassing painting, film, literature, and music, which he seamlessly incorporates into his paintings. His body of work can be broadly categorized into three primary groups: paintings rooted in appropriation of famous artworks and historical painting techniques, scientific-imaginary paintings, and sculptures. In context of this article, our focus will be directed towards providing an overview of Brown's works that fall within the ambit of the first group.In Rembrandt's portrait, which is created in the Baroque style, the color palette prominently showcases earthy tones of brown and ochre, leaning towards a sense of warmth. The subject's face is gently bathed in soft, warm light, crafting a subtle contrast. In contrast, the lower portions of the canvas, including the subject's attire and the background, are rendered in deeper shades, thereby emphasizing a sense of darkness. However, in Glenn Brown's artwork, the portrait exhibits characteristics that diverge from Rembrandt's work.ConclusionThe emergence and evolution of postmodern art have been shaped by numerous factors, with its origins often traced back to the late tendencies of modern art. Among the postmodern artists who have harnessed the revolutionary and transformative aspects of new painting styles during this era, Glenn Brown stands out. Through the adept utilization of appropriation as a tool, he engages in satire and mockery of the formalism and structuralism prevalent in pre-postmodern and pre-post-postmodern art. By combining, altering, and amalgamating elements within his works, he fundamentally reconfigures the structure, which is subject to adaptation. In doing so, he highlights issue of negating artistic authenticity in a novel and thought-provoking manner.

The Qajar Dynasty is very important in the architectural art history, because in this period, western architectural techniques entered the architectural styles and decorations with their numerous features for the first time. The obvious manifestations of this, are the changes in Tehran's garden houses styles, which have different architectural styles and spaces, despite belonging to the same historical period. Masoudieh Garden House is a historical mansion which is in a better condition than other garden houses, and contains more comprehensive historical documents. Masoudieh garden was built in Baharestan Square (Tehran), by Mass'oud Mirza Zell-e Soltan’s order, and is decorated with brickwork, plasterwork, tiling, mirror work, sculpture, decorations. The research’s aim is to answer the question: What is the form and pattern used in the historical architectural decorates of Masoudieh Mansion in Tehran and what are the influential factors in its formation? The general approach in this research is qualitative, is applied in terms of purpose, and descriptive-analytical and historical based on nature, which used the iconology approach in the analysis, and the documentary collecting method was library and field information. In the analysis of the architectural decorations in MasoudiehMasoudieh Mansion, three important principles have been examined: the influence of Farang on Qajar art, nationalism, and Iranian-Islamic national arts. The indicators’ influential level on formation and performance of each decoration is expressed. The architectural decorations used in the old buildings are often combined with western designs and motifs that are inspired by nature and combined with Iranian-Islamic techniques. In the tiling decorations of the mentioned group, traditional motifs (Slimi motifs and Khatai flowers and leaves) can be seen, which are often combined with western motifs used in form of decorative unit frames or above the windows in the building’s basements. Another type of motifs used in the tiling, are the human figure designs such as princes, slaves and servants ready to serve, which are taken from western postcard motifs, in the single vertical frames. Wall decorations and plaster decorative frames, small and large vases decorated with different plants motifs can be seen, in addition to bands, buds, flowers, small and large leaves of Khatai and Farangi. These are imported from western motifs, which have been used and considered. plaster columns have been performed in the main front porches of Moshirolmolk The dining room and the eastern porch of the mansion, as well as the second floor balcony. Another type of plaster is the naked winged angels in human figures, which were generally seen in a similar and completely prominent form, at a very high height of some of the buildings. Regarding nationalism, it is worth mentioning that the first court architecture of Qajar era is a manifestation of the ancient history heritage. In Qajar era, a kind of reconstruction of the royal majesty and the power appeared in ancient Iran imitation. For this purpose, inspiration from ancient Iran during the Achaemenid and Sasanian Empires was taken into consideration. Ancient Iranian motifs have been used in most of the architectural decorations used in Masoudieh garden house to a significant extent, and they are often performed with Iranian-Islamic methods and techniques. The tiling decorations have been used with ancient Iranian forms and motifs. The double and triple stone columns in Divan-khane mansion’s main entrance, are a symbol of the stone columns in Persepolis’s central palace. What can be seen as Iranian-Islamic national art in Masoudieh garden house decorations, is in the form of brickwork, tilework, plastering, woodwork, sculpting and metalwork, which are often performed with traditional motifs (Khatai and Slimi), geometric motifs, human motifs, Nastaliq calligraphy and ancient Iranian motifs in the mansion’s old buildings.The mentioned decorations are generally different in type and usage in various parts of the old buildings, and each has been made with a special technique and method in Qajar Dynasty. All the forms and motifs are in different and regular frames except the inscriptions. They have balance and has been performed with 1/2 relation. The main colours, yellow, red, blue and complementary colours (yellow and purple), (red and green) and (blue and orange) as well as black, white and grey are used in various decorations of mansion. The social, cultural, and political conditions in Qajar era, relationship with Europe and western countries, and the remarkable interest of Qajar kings in European culture and art caused a very significant influence in national art and culture. In addition to the European neoclassical patterns, Islamic patterns and also some ancient Iranian motifs have been used in Masoudieh historical buildings’ decoration.

The Safavid Era is one of the most significant periods in the promotion of Iranian art, especially in the design and production of carpets. During this Era, carpet weaving flourished and attention to the structure, size and composition of carpet designs caused a unique diversity in the design and motif of Iranian carpets, the effects of which continue to this day. One of the common types of carpets in the Safavid period is Medallion carpet, which is a function of the 1/4 method in terms of map structure. The structure of carpet maps and their design methods form the main shape of the carpet and other stages of carpet production are based on the map. The carpet map specifies where to place what pattern and what color this pattern should have and in what order its knots should be tied. However, the structural part of carpet maps has not been paid enough attention in recent years and more attention has been paid to the symbolic features of patterns in carpet maps, which is of course a proper and appropriate thing to do, but it should not lead to neglecting the principles governing the design of the map. Because this will cause irreparable damage to the structure of carpet designs over time. One of the important periods in the elevation of carpet maps in Iran is the Safavid period. In this period, the government's attention to carpet weaving led to the prosperity and expansion of this art in such a way that the carpets produced in the mentioned period are now the adornment of most museums in Iran and the world, and by referring to them, the map principles and the designs and motifs of Iran's carpets during the Safavid era can be understood and extracted, so they can be employed in the design of new maps. Medallion maps are one of the types of carpet maps in the Safavid period, which created a wide range of different compositions based on the decorations made in their context. In terms of the structure of the design and composition, these maps have five main parts of medallion, inscription, cartouche, field and border, which are divided into different types according to the characteristics of medallion and decorations used in the carpet field. In the initial survey and cursory look, the maps of Safavid era, in terms of the structure of the map and the design method, appear to be ¼, but with a closer look, it is clear that it is contrary to what is currently common, these maps have subtleties in design and composition that make their design method out of the ¼ structure. A medallion carpet known as Anhalt, which was produced in the early Safavid period, has a medallion design and the general structure of the map is 1/4. Considering that, this carpet has remained intact so far, it can convey useful information about the design method of Safavid carpets. This research has been done with the aim of explaining the structure and design method of Anhalt Medallion Carpet and seeks to reveal the hidden layers in the composition of the design of this carpet. The  research questions are: 1. What is the structure of Anhalt medallion carpet map? 2. How is the map of this carpet designed? The current research is a type of developmental research that was carried out using a descriptive-analytical method. The method of collecting information is literature review . The statistical population is the medallion carpets of the Safavid period in Iran, among which three items that are more similar in terms of external structure have been selected in a purposeful way, and after a brief review, a medallion carpet known as Anhalt is used as an example, has been further analyzed. The analysis of the research data was done qualitatively using the carpet map structure analysis method. In this method, first, the structure and various components of the carpet map are specified and each of these components is described. Then, the design method of each of these parts has been analyzed separately and the different layers of the design have been revealed.The concept of structure in Medallion carpetsThe term structure in the current research refers to the arrangement and arrangement of the elements in the carpet. Structure analysis in this research is examined from two perspectives. The first concept refers to the external structure of the work and means the format and the general body of the design. From this point of view, the studied carpets are placed in the group of medallion carpets of the Safavid period. In the second concept, the internal structure is intended and it examines and analyzes the placement and arrangement of elements and micro-motifs. In the definition of structure, Jean Piaget said: "Structure is the expression of a whole, that is, its parts have internal coordination and correlation". The structure of medallion carpets is also like a text, which its motifs and visual elements have a coherent system and internal correlation. The samples studied in this research are three of the medallion carpets woven during the Safavid period in Iran, which are currently kept in the Metropolitan Museum in New York. The external structure of these carpets is similar to each other and consists of border, field, medallion, inscription, and, cartouche, so all these carpets can be included in the group of medallion rugs. But they are different in terms of internal structure and other motives. Anhalt Medallion Carpet was woven in the early Safavid period (the first half of the 16th century) and measures 419.1 x 792.5 cm. Its warp and weft are made of cotton and silk, and its pile is made of wool. This carpet is currently kept in the Metropolitan Museum of New York. Before its sale by Joseph Duveen to Samuel Kress, the carpet is reputed to have belonged to the Anhalt princess of Dessau, whose ancestors may have acquired it through military campaigns against the Ottoman Turks in the late seventeenth century. The structure of Safavid period medallion rugs can be examined from two point of view. A: The external structure of the carpet, which includes the overall composition of the design, and based on this, the external structure of these carpets consists of parts such as the border, the field, the border, the inscription, and the cartouche. B: The internal structure of the carpets, which includes other motives that are used to design and decorate the interior of the aforementioned sections, and are made of elements such as flowers, leaves, buds, arabesque, and pictures of birds and animals. The external structure of medallion rugs has a multi-layered composition. In the first layer, the general composition of the map is defined as ¼, and the location of borders, field, inscriptions, and cartouches is determined by using peripheral lines and color separators. In the second layer, the inner space of each component of the map of these carpets is decorated separately. The results of the research showed that the design and production of carpets in the Safavid period received the attention of the government and many carpets in different sizes and designs were produced in this period. One of the factors of diversity in the design and size of carpet maps in the Safavid period, in addition to the patronage of the court, is the collaboration of painters from royal workshops in preparing maps. Currently, most of the carpets related to this period are adorning the great museums of the world, and medallion carpets are one of the prominent examples that are decorated using curved maps and simple motifs. The map structure of medallion carpet, known as Anhalt, like the other two carpets, has a two-layer design. In the first layer, the overall composition of the map is done by ¼ method, and then in the second layer, each component of the carpet map is designed separately with a specific layer structure and is placed in the form of the overall composition of the map. Although the map of this rug looks like ¼ in general, but by analyzing the details of the design, including the medallion, inscriptions, cartouches, the field and the corners of the rug's edge, it was found that the details of each of the elements in the longitudinal direction of the carpet map, there are few differences and this has caused the map to go out of ¼ state and become ½. Therefore, it can be concluded that the weaving of this carpet, like other medallion carpets of the Safavid period, was done by the ½ method.

Based on the achievements of visual narratologists, it is no secret that stories and narratives are not only reserved for time-oriented arts, including literature, but images can also find narrative features. Of course, there are different viewpoints on how to narrate the image or images, all of which go back to the theorists' definitions of the concept of narration. Visual narratologists believe that all arts, including painting, can be narrators. This group of thinkers define visual narrative in the function of the image and in the presentation of the narrative and its various forms of transmission. One of the methods of presenting the narrative is to combine the semiotic resources of language and image in the form of a new artistic text which can create a narrative and in other words a multimodal discourse consisting of language and image in the artwork itself or in its paratextual situation such as the name of the works or the name of the show, and also its statement.The addition of linguistic and narrative elements in postmodern art, where linguistics is placed instead of epistemology, becomes one of its most important features. The fence that was tried to be built between language and image in modern art, destroyed in contemporary art and the interaction of these two has led to the formation of an inter relationship and a multimodal linguistic and visual discourse finally. In other words, modern narrative avoidance or de-narrative gives way to the return of narrative to the field of arts in different forms. Narrative in contemporary visual arts can be defined in different ways: From the incorporation of a recognizable and straightforward subject that modern art was fighting with, to the narrative as material to do the work. Even the act of creating a work of art itself can be a narrative act. In this paper, only one of the types, the use of written language in contemporary art and how it works, is considered.The purpose of the upcoming article is to answer the question, what is the role and function of the narrative element of the linguistic mode in the articulation of the multimodal linguistic/visual discourse of contemporary art, including contemporary Iranian painting? And how is this articulation done? It seems that the use of this method has increased in recent years in Iranian contemporary art.At first, concepts of Laclau and Mouffe's thought that help to answer the question of this article are described. And with a brief mention of how to use the narrative aspect of language in the art of the 40s to the present decade, the targeted sample of the article (That is, solo of painting exhibitions the middle of 1385-1395 in Azad Gallery) is analyzed quantitatively. This gallery is selected because on the one hand, it is one of the effective galleries in shaping and expanding the art flow and on the other hand, it has uploaded a relatively complete archive (including exhibition statements) compared to other websites of galleries with the same lifespan. Iran's contemporary art, which has been devided into official art and approved by the country's cultural and artistic observers and unofficial art, since the 70s, has been looking for new ways of expression and adopting unique views and in many cases critical of current affairs. One of these methods is the use of a language policy that challenges the separation of image and language in various ways.  And it shows this fact even more that image has an inseparable relationship with language and requires multimodal interaction. We see the increasing growth of this policy in language forms in the structure of the work itself or paratext by studying a quantitative research sample. The title of the works and the show and exhibition statements are part of these linguistic paratexts.As mentioned, Form and motif of writing material as one of the signs and discursive dimensions of Saqqakhaneh, was consolidation in its discourse articulation. Since the 70s, different artistic realms other than painting, such as sculpture, handicrafts, jewelry, clothing design, interior design, etc., have tried to stabilize the linguistic floating signifier. In most of these cases, writing has no meaningful function, such as the Saqqakhaneh painting. Therefore, language as symbolic and not aesthetic sign,since language as symbolic and not aesthetic signs was not yet articulated in the discourse of contemporary art, was considered a discourse element. Gradually, by adding the symbolic function of language to it, it was considered a discourse moment.Based on the results obtained from a quantitative study on individual painting exhibitions in Azad art Gallery as a case study, it can be concluded that not only the text connected with the work but also detached from it, has gradually found a dynamic relationship with other painting components as a relatively main component; become one of the nodal points of painting discourse and contemporary painting shows. And it has pushed them from a mono-modal discourse, i.e. image, to a multi-modal discourse (here, both visual and linguistic aspects). The relationship between these two components during contemporary Iranian painting and how they are articulated has also changed and as a result, it has also affected this discourse. As seen, at the beginning of the decade under study, written signs were elements that had not yet been articulated and established in the discourse of painting. But from the middle of this decade, writing became a fundamental dimension of painting discourse as far as we can call it the painting multi-modal discourse.By visual study of works and shows based on language policies, We come to the conclusion that linguistic and written text, rather than following its previous traditions such as new traditionalism, Saqqakhaneh school and new calligraphy, follows the relations of contemporary art. Above and beyond the formal and aesthetic aspect of the writing, its semantic and content aspects are important in harmony with the prevailing atmosphere of the art of this period. Many artists have used language as a symbolic and conceptual thing, in other words, narrative and not aesthetic in their works. Writing elements with a range of approaches are always seen in their work. Part of the creators of the multimodal discourse have preserved the aesthetic quality and the visual aspect of the language in addition to its symbolic aspect, especially in the case of the language connected with the work. Some of these works, like conceptual art, are not only self-referential, but refer to history, culture, politics, gender, etc. and they can find new expressive and significant functions such as parody, satire, irony and humor, etc. In this way, the mono-modal discourse becomes a multimodal discourse - here, image and language and the audience is also facing this discourse, and decoding the works will have no choice but to see or read multimodal interaction.

The Representation of Women and Musical Instruments in the Qajar Period Based on Feminist Reading; The Case Study of Three Works by Abu al-QasimThis research is based on feminist criticism of the representation of women along with musical instruments in three works by Abu al-Qasim, the painter. He was an Iranian painter in the Qajar period and one of the leaders of the style of court portraiture, who mostly depicted women  the musician and dancer of the court of Fath Ali Shah Qajar. The reason for choosing the feminism approach is to study and analyse how women discriminated in the text of the work and in general at the level of societies. In this approach feminist criticism is a suitable method for gender-oriented studies and especially for investigating the position of women in the works of art.  Here the aim of writers is to discover gender meanings hidden in paintings in order to reflect on the position of women in these works and how they are reflected in the paintings. Because, most of the patrons and painters of these paintings were men, musician women has been studied as the subject of the work and the female musician as the artist within the text of the paintings. The main research question about the position of women and how the painter or the audience of the paintings deals with them as the subject of the paintings is stated as follows: What is the role and function of the women who are represented in these examples? Are these women depicted and known as artists and musicians? If so, why there is no name and address of them as artists available? In contrast to if this is not the case, how can you come to a conclusion by studying the paintings, what exactly is the position and role of women in these works? It should be accepted that whatever this possible role is, it is not a representative image of a female as an artist-musician. In order to prove such an idea, the authors have used written sources (historical approach) in addition to reading the images to compensate the information shortcomings . The sources inform about the condition and position (chronological era) of female as musicians at the time of the creation of the paintings, which is Qajar period. Among these sources Sasan Fatemi's detailed studies on Qajar music, including the format of the book “Celebration and Music in Iranian Urban Cultures” (Fatemi, 2013), the study of the status of women in this period by Afsaneh Najmabadi in the form of the book “Mustached Women and Beardless Men” (Najmabadi, 2016) and also an article in The context of women depicted in Qajar paintings with the title of “representation of female musicians in the Qajar painting” (Sadat Kashani, Rahbar and Rizvani, 1400). In the meantime the mentioned works have more authority and proximity to the subject of the present research. The collection of these sources and works shows the mostly inferior position of the female gender in various social and cultural affairs. The conditions in the flow of Qajar art and music are still dominant, except for exceptional cases. Based on this information together and also the icons of the works, such a hypothesis has been formed that women in this paintings Rather than being a representative image of

Iranian painting has had a strong connection with Persian literature for a long time, and the images of fantasy in poetry and painting have been consistent with each other. After the arrival of Islam in Iran, this kinship and connection becomes more apparent and the words of the poet are mixed with various themes and narratives by the painter's line, pattern and color. Over the years, the close relationship between poetry and image develops more and many illustrations come to the fore in the form of Iranian book design art. In the meantime, novel effects of Ferdowsi's Shahnameh appear as the largest national epic poem and a relic of Iranian culture in the field of painting art of this land, and Iranian painters leave various works inspired by Ferdowsi's poems. Many beliefs and convictions recorded in ancient texts are also manifested in the Shahnameh. Ancient Iranians considered useful and beneficial elements that were somehow effective in life as holy and considered God as their guardian. Water is one of the beneficial elements that has been highly praised and prayed for. In the Shahnameh, water is mentioned many times as the most familiar embodiment for the concept of life, and this vital element has many symbolic roles in this system which can be categorized in the following cases: A) Creation: The myth of water in different human cultures has been a symbol of the beginning of the stage of material creation and the movement of the life cycle. This role is reflected in the initial creation of the world from water and the symbolic end of life in it. The myth of water has the most connection with the concept of life. b) Immortality and partial treatment: The water of life or the water of animals is one of the world's mythological essences, and the desire for immortality is one of the long-standing wishes of mankind. The myth of water represents the immortality and continuity of material life. The main source of the legend of immortality, which has appeared in different forms such as the water of life, the tree of life, the fountain of eternal youth, and potion. Another manifestation of life-giving water can be found in the myth of the water healer. c) Baptism and purification: water is a symbol of death and rebirth. An expression of the symbolisation and ritual appearance of water in connection with death and rebirth can be found in the long-standing and mythological ritual of baptism. Immersion in water is considered equal to a storm or the sinking of a continent from the ocean and a sign of the disappearance of the old face in order to give birth to a new face. d) Fertility and abundance: Another role of water in the myth and consequently in the national epic is to fertilise and give abundance to the creators of good forces. This function has existed in all ancient religions and nations, as it has become a ritual and sacred function of water. e) Test and passage: water is a test of matter that must be passed in order to reach the kingdom of meaning, and the test or "passing through water" is a symbol of death and rebirth - dying from the old form and living in a new form which manifests itself in the form of crossing the sea and the river, and a person who passes through this "Khan" steps from a stage of material life to a stage of spiritual life. Passing the water test, as a common theme in the Shahnameh, has not been overlooked by the intelligent Iranian painter. The mythological tradition of crossing water and gaining victory can be seen in the lives of many kings and legendary warriors of the Shahnameh. Fereydun from Arvand and KayKhosrow from Jaihun and Ardashir crossed the sea, and Rostam and EsfaniyarEsfaniyar passed this tough test in Haft Khan. In this essay, we intend to examine the visual reflection of the symbolic tradition of the water test by studying the pages of the Shahnameh produced in the Safavid era. For this purpose, pictures of the story of Fereydun's passage from Arvand, KayKhosrow's passage from Jaihun, and KayKhosrow and the wonders of the Sea of Zere have been selected. In order to avoid delaying the speech, it is sufficient to analyse two examples of images from each story. These pictures are kept in museums and private collections around the world. In the analysis of paintings, it seems necessary to understand the subject matter and the context from which the story originated in order to read the image and understand the work correctly. For this reason, the narrative text is mentioned first then the visual aspects of the elements, especially the element of water, in these paintings are examined. For this reason, the question that can be asked is what is the importance of the place of water in the composition of the water test pictures? And how are the symbolic concepts of water reflected in these pictures? The purpose of this research is visual and symbolic analysis of the element of water in examples of Iranian painting art, in order to reveal the degree of synchronicity of Iranian literature and painting while familiarising with local treasures. In connection with the symbolism of the elements in the Shahnameh, the characters, mythical creatures, the dreams of kings and heroes, the symbolism of water, fire, and steam have been discussed in previous researches, which are mainly based on theoretical literature, and visual examples and visual analyses are in the minority. are located, and no independent research has been found to study water in the images of different Shahnamehs and from the aspect of digging in the visual structure, and the lack of available sources has motivated the writing of this essay. The research method is descriptive and analytical, and the method of collecting library materials is through scanning and image reading. Data analysis is done qualitatively and based on logical reasoning. The statistical population includes 6 examples of paintings that were selected from the three stories of Fereydun's passage from Arvand, KayKhosrow's passage from Jaihun, and Key Khusro and the wonders of the Zere Sea, and all of them were produced in the Safavid era. The method of sampling images is selective. The results of the research showed that in Iranian paintings, form and content are intertwined, but the importance of paintings cannot be seen only in terms of the exact translation of the text into the language of the image, because the painter tried with his utmost skill to create creativity while being faithful to the narratives. Visuals and subtle details can function independently from the text. The painter carefully uses the visual facilities to depict the emotions of the story in the best possible way. In the exciting and roaring test of crossing the water, there are spatial analogies that are included in the structure and composition to provide the dynamics and movement of the story, things like creating movement by breaking the frame of the image and penetrating details to the edge, cutting off limbs and bodies.On the sides of the frame, turning the gaze of the main character of the story, emphasizing all the elements and details to the center of gravity of the image and using rich and exciting colours. In response to the first question of the research, it can be said that due to the key role of water in the story, the highest and most focal place in the composition is assigned to it, that is, all the elements and components of the page are arranged around the axis of the river and the sea, and the composition focus and balance  coordinates with it. The mobility of the elements of the picture are formed in line with the dynamic nature of water waves, as far as the rhythm and balance of color and shapes are established according to the position of this element in the composition. The occupation of the largest possible space in the picture frame by the river or the sea, indicates the importance of water in the picture. To answer the second question of the research, we can talk about silver colour, because the use of silver metal in colouring water is done with the aim of inducing brilliance, light reflection, purity and spirituality of this element in a symbolic gesture with the spirit of narration. It should be consistent because if the hero of the story wins this difficult test and passes through the raging waters, he will be separated from the pollution of the material world and reach the Kingdom. The presence of animals such as fish and aquatic birds as a symbol of the abundance of water and creatures such as mermaids, dragons, eagles, cows and mixed monsters both strengthen the symbolic nature of water and are closely linked with the text. The role of most of these creatures has made the characteristics of filth and evil clear and they have found an appearance in the form of a symbol of the difficulty of the test.

Throughout history, humans have faced the phenomenon of war in their lives, and war is also a set of social issues that are included in the category of anomalies in human life, as well as damage and consequences. It brings with itself destruction, anxiety, chaos, and death. Naturally, due to the mentioned reasons, the artists of the societies react to this issue and are influenced by it. Artists, as leaders of art and culture, have different approaches to war based on the time and place conditions, the aesthetic standards of their era, as well as their expertise in different artistic fields. The effects of historical wars, both big and small, can be seen in different ways in the cinematographic, visual, literary and musical Artworks. In Artworks related to war, artists represent narratives and individual and collective feelings. These concepts make the survivors and the new generation understand the events and disasters that sometimes bring a sense of shame and sometimes a sense of collective pride. Artists throughout history, inspired by some common cultural, political, and social conditions, record narratives or embody their personal view of events, among which some retell the war with a heroic perspective, and some also depict catastrophes and destructions. These cases are sometimes evident in the world of anime and animation. Anime and animation, due to their features, i.e., conveying feelings with the help of images and movement, the freedom of the artist in designing characters and using visual elements and qualities, makes it possible to create a deeper connection between the artist and the audience. Many artists around the world have recounted the tragedies and consequences of war by relying on this field of art. For example, Japanese anime artists such as Miyazaki and Takahata have started creating works of art in line with the Second World War, which had engulfed Japanese society at times. The swing is considered to be the work of Isao Takahata. It should be noted that animes, which are animation products specific to Japan, include a collection of several artistic fields, including drawing, painting, acting, dancing, sculpture, photography, and music, and in this, it can be said: Anime art is included in the category of visual arts, in such a way that aesthetics, the effect of its elements and its visual quality require a general understanding of the principles and basics of the aforementioned arts, as well as having visual literacy, because having a coherent artwork comes from the basic combination of qualities and visual elements that some of these qualities and visual elements are changed in line with the theme of the anime. It seems that the focus of the war on some elements and visual qualities was not unaffected in the anime "Grave of the Fireflies". From this point of view, the question raised for the researcher is: What effect did the centrality of war have on some visual elements in the pictures of the Japanese anime, Isao Takahata's Grave of the Fireflies? And the purpose of this research is to study the effects of the focus of the war on the visual elements in the pictures of the Japanese anime, Grave of the Fireflies, by Isao Takahata. This article has been done in a descriptive-analytical way, and the information contained in it has been obtained through the use of some library and internet sources, as well as observation and study of Isao Takahata's Grave of the Fireflies anime have been collected. In this way, some of the visual elements and qualities present in the considered sample pictures have been investigated based on the effects of war on them. The findings of this research show that: the lines that in some way lead to the formation of the texture as well as the rhythm, in the example of this research, have the task of showing the facial scars, scratches, and characters having mud on their  bodies. In this anime, the intensity and weakness of the lines in some scenes intensify and induce the sense of isolation, loneliness, and suffering caused by war. If we pay attention to the design of the two characters Sita and Setsuko during the anime, we will find that the closer we get from the beginning of the work to the end, the more lines appear on their faces, bodies, and clothes, The multiplicity of these lines and the textures formed through them in the pictures of the artwork can express the helplessness, fatigue, endurance of many hardships and the physical damage caused by the war to Sita and Setsuko, which, of course, in this anime is similar to the rest of Takahata's works. The peripheral lines of the elements and characters are also preserved, of course, these types of peripheral lines are a signature of the director. In animes such as Grave of the Fireflies, which follows the theme of war, in the scene after the air strike on Kobe city in this anime, when Sita looks at the cityscape from a distance, the  ruins look like they are covered with a layer of grey colour. For example, the greenness of the plains has been replaced by dull green colour and the blue colour of the sky has been mixed with grey as if they carry a layer of dust and sadness with them. Of course, it should be noted that the game with the element of colour and its saturation is also used as a tool for emphasis in the pictures of the work, such as when the people of the city start collecting debris and destroyed household items. They say that Sita and Setsuko appear in the centre of the frame with a bright and clear colour and the rest of the people who are struggling in the background are depicted with high colour saturation, thus emphasizing the main characters of the story. The presence of contrast both in the content and visual layers of the work shows the contrast between a peaceful life and a life full of anxiety and pain caused by the war. In the content part of the work, we can mention the cherry blossoms. In Japan, every year during the blooming of the cherry blossoms, a ceremony is held along with an excursion in nature. These blossoms do not survive more than a few days and soon They are lost. The depiction of the family of four, Sita and Setsuko, in the middle of a bunch of cherry blossoms, can be a sign of the short life of this war-torn family, because in the rest of the scenes of this anime, each of these characters painfully lose their lives. It is clear that the desired visual elements do not create a sequence by themselves or by chance, but it is the director who arranges the characters and other elements according to the centrality of the work and the content in it. In the anime "Grave of the Fireflies," it seems that the composition has been done carefully and based on the principles following visual arts and cinema. For example, the opening images of the movie Sita's Half-life at the train station, show the use of golden proportions in the composition of the desired anime image. The correct use of elements made this work known as the best anti-war anime. The images in this anime are like paintings that have preserved their beauty despite portraying a bitter and dark story. In the image of the escape sequence of Sita and Setsuko, the composition of the page is such that the two characters are surrounded by circles. The placement of two figures from the back view in the middle of the circular frames, which themselves induce a magnifying glass-like look, evokes a sense of pursuit in the audience, these views, through the correct composition design, even the moods, the spirit of the characters has also been well conveyed to the audience. Movement, as a visual element in anime, sometimes carries with it a sense of enchantment and magic, in the anime "The Bury of the Glow Worms", the movement and vibrancy of the worms give the audience a magical and enchanted feeling. Because, when the characters of the work are disappointed, fireflies appear, in the middle of the rice fields in the dark of night when Sita and Setsuko talk about family and parents, the sky is full of worms. It becomes a nightshade. And when the candy can of Setsuko is thrown out of the station as garbage by the train station attendant, the fireflies start moving again in the form of luminous and magical points.

Claude Monet is known as the pioneer of the first completely modern movement in painting by presenting a different painting. In this work, instead of a completely naturalistic description of a sunrise scene, he records the immediate impact of the landscape on the eye by focusing on the transformations of light and color. In this way, nature in Claude Monet's works is more than the subject, it is an excuse for experiments that make him to leave the workshop and bring him a scientific and new vision to light and colour in contrast to the typical workshop painting style.In sunrise scene, Claude Monet shows a way of perception and vision that critics use the word "impression" to describe it. In his impressionist paintings, he is searching for a way to record the immediate visual perception of the subject, which in this regard changes the previous fixed principles in the field of painting and in general the thinking of the audience of the work. So that it provides a new description and interpretation of the usual and familiar category of nature.The nature in Monet's paintings shows that the painter is more concerned with describing nature than trying to find a way to record the immediate visual perception of the subject. Monet's special way of seeing nature makes it dependent on the individual experience of the artist from an independent and unchanging presence.His emphasis on visibility shows that the nature of the subject depends on the fleeting light conditions and that the subject of the painting is not visible to everyone in the same way. In this regard, by using the new theories of the emergence of colour and following the previous achievements of Barbizon painters, he turns nature from a completely naturalistic treatment into an excuse for another way of seeing and representing nature. By focusing on the change that governs nature and also human perception, Monet diminishes objective reality in contrast to sensory perception. Focusing on the transitory and fleeting states of nature, he reveals an invisible and absolutely necessary field to make nature visible.  The idea of series paintings by prioritizing the atmospheric conditions, for the first time diminishes the importance of the subject of the painting and encourages the painter's eye to push back the main subject and focus more on the invisible field, which makes the subject visible.At this time, the visible subject finds the rule of a reflecting mirror, which records the invisible conditions of every variable in a random state. With this preparation, Monet reveals the issue of how the subject of the painting has an existential cause related to an invisible realm. Based on this, Monet changes the framework of attention from the visible subject to the realm of invisibility, which, above all, requires the use of a method different from the common method.Unlike the previous painter, Monet is much less concerned with the description of the subject, beyond that, he is trying to achieve a pure visual-pictorial expression and to induce a sense of the subject to the audience. In This kind of painting, subject turns from a stable presence based on the pure principles of design into forms resulting from the capture of a moment, which their display requires concentration, speed and a special attitude of the painter. In this definition, the sense of the subject is more real than its solid shell, and in this way, the constructionist of nature is discarded and the solid structure of the form transformed in the rapid effects of light and colour.The difference that Monet creates in the history of painting is that this time he gives priority to the background environment. By changing the frame of attention from the main subject of the painting to the surrounding environment, Monet transforms the interaction between nature and the environment.Also, by using visual methods, he looks at a place in the image space that has been considered an unimportant background until now. In this regard, the paintings of Monet's collection realize the visualization of the invisible conditions of visible elements. This collection shows the constantly changing level of the interaction of elements and the surrounding environment, and more than the subject, it tries to capture an invisible position. Monet solves this issue in his painting by recording momentary perceptions, immediacy in execution, focusing on transitory and accidental states, and constructing the structure of objects and analyzing shapes in favour of representing the transformations of light. The broken colour technique, by ignoring the consistent linear format of the shapes, turns the canvas in to a field of continuous colour vibration and colour effects.Therefore, Monet's painting is the field of showing the simultaneous possibilities of visible and invisible, continuity and discontinuity. The elements of nature appear in Monet's painting through an invisible frame, and then, drowning in the distant dimension, they always stay back and remain invisible. Monet captures the visual effect of light without paying attention to the subject and presents relationships in the painting that until then had an unclear and dumb understanding.By introducing a new kind of perception and vision, Monet shows that; Rather than describing nature, the painter is trying to find a way to record the immediate visual perception of the subject. Monet's special way of seeing nature turns nature from an independent and static presence to the individual experience of the artist and his emphasis on his way of seeing and perceiving the moment and the transitory and dynamic conditions of light and atmosphere. This nature is the nature that the painter's eyes see. A method arising from the transformation of the painter's way of seeing, which leads to the transformation of the objective reality and negation of the validity of the subject. Therefore, Monet's paintings show the process of transformation of his look. So that the painting canvas is the field of emergence of the painter's perception in the face of the universe.  .

Gods are very important in ancient Egyptian civilization and art. Egyptian gods, like the god Ra (god of the sun) and the god Horus (god of the sky), were sources from nature. Symbols have been used a lot in Egyptian art. Egyptian art is symbolic and symbolic art, and Egyptian artists have used these symbols in their works of art. The colours used by them were also symbolic and had meaning. According to the position of each deity, Egyptian artists have used different colours, animals and shapes in the appearance of these deities. Artists have used a human body, animal head and face (falcon) in the representation of god Ra and god Horus. The statistical population of this research is the Egyptian works of art in which the gods Ra and Horus are depicted; such as: mural, relief and stelae or inscribed stones in temples and tombs. The author tries to answer the question of this research with the descriptive-analytical research method and by collecting information with a library method, which is the relationship between the symbolic concept of the colours and forms of the gods Ra and Horus in Egyptian paintings and reliefs with their characteristics and positions. What is the mythology of the mentioned gods? The purpose of this research is to study the appearance of Ra and Horus in Egyptian works of art.Egyptian art is a symbolic art that is a combination of eternalism, religion, immortality and belief in the afterlife. Egyptian artists always reflected the good aspects of life in their works and used colour to bring the figures to life. The remains of this civilization date back to 5000 BC. until 3000 BC. Egyptian civilization in the transition period (from hunting to agriculture) like other civilizations that were formed by the big rivers, It was created by the Nile River. Nature is very important for Egyptians and their gods originated from nature. The gods of the sun have special importance in different tribes and nations such as Egypt. In the Egyptian civilization, there have been many gods, each of which had a place; Like: god Ra (god of the sun), Anubis (god of death, dead and burial), Horus (god of the sky), Osiris (god of the underworld), Bes (god of marriage), Khepri (god of life changes), Set, also known as Seth and Suetekh, (god of chaos) and, etc. . Egyptian artists have used different and diverse colours, animals and shapes in depicting the gods, according to their positions. These colours, animals and shapes each have a symbol in Egyptian culture. Animals have been symbolic figures in Egyptian art. The images of these gods are used in architecture, ornaments, sculptures, murals, reliefs, inscribed stones, etc. The statistical population of this research is murals and reliefs in tombs, catacombs, temples and stelae. Egyptian artists used six colours, green, blue, red, yellow, white and black. According to the statistical population, the main question and the purpose of the current research; in this research, blue, yellow, red and white colours have been investigated more. In addition, it has investigated the symbolic concepts of animals, nature and shapes. The present research tries to answer the question and purpose of this research with the descriptive-analytical method and collecting information in a library method, so that by examining the statistical population of this research, the apparent, conceptual and symbolic similarities and differences of these two deities can be determined. The data of this research is qualitative. The statistical population of this research is Egyptian works of art (murals, reliefs and stone inscriptions). The sampling of this research is purposeful and by selecting the works in which there is a colour depiction of the gods Ra and Horus. First, with the descriptive method; It defines the myth, Egyptian civilization, Egyptian art and symbolic concepts, and then analyses the symbolic concepts of colours and shapes used in the depiction of God Ra and Horus in Egyptian works of art. In every culture and civilization, colours, shapes, nature, animals. have symbols that are rooted in the past of that civilization. In Egyptian art and motifs, every sign and pattern has a symbolic meaning and religious beliefs. The combination of these motifs together is a religious story and a religious epic, for example, the eagle is a symbol of royalty and ambition, the circle is the symbol of the sun god, the scepter is the symbol of royalty, the key is the symbol of life, the lion is the symbol of power, and the snake is the symbol of Pharaoh's supreme law.According to the agreement of most authors, the beginning of symbolic thought goes back to prehistory or the last part of the Paleolithic era. Another manifestation of mythology is its pictorial form; Myths are not always in the form of stories and narratives, but can be transformed into carvings. Pictorial expression is symbolic expression. In order to understand it, the depicted symbols must be translated into words so that they can be digested, but the mythological man did not need to translate these meanings and codes because he had learned the mystery of these mythological images from his ancestors. Mythological images were shown in rituals, and customs. Since ancient times, colours have always been around humans and had an impact on humans. Colour is one of the most important tools and means of expression in works of art. People in every culture and often regardless of their culture, react sensitively to colours. In history, colour has been associated with gods. Egyptian life is full of colourful symbols. In the Egyptian culture, the symbolic value of colours entered into their works of art. The Egyptians used 6 main colours (red, yellow, blue, green, black and white). By overlapping these colours, various shades of colour are created. Egyptians believed that colour is used not only for the beauty of the work but also for its perceived meaning. Also, they believed that some colours are not only symbolic, but have special powers or characteristics that relate to different gods. In order to understand these symbols, one must understand their meaning in every culture and civilization. Egyptian art and culture also have symbols. By examining the appearance characteristics of the gods Ra and Horus, the present research has achieved the connection between the symbolic concept of the colours and shapes of these gods in Egyptian paintings and reliefs with the characteristics and mythological status of them. Colours and shapes with special meanings have been used in visual depiction of god Ra, the sun god. His circular crown is a symbol of the sun and its red colour is a symbol of power. On this crown, there is a yellow snake, which is a symbol of power and the yellow colour is a symbol of the sun, immortality. In Egyptian reliefs and murals, two colours are used for the body colour of this god; Sometimes blue is a symbol of the sky and its place, and sometimes red is a symbol of victory and power. The head and face of this god is in the form of a falcon, which is a symbol of power, sky and sun. In Egyptian civilization, Horus is considered the god of the sky. The colours and shapes used in the appearance of this deity express a special meaning. His crown represents his kingdom over all of Upper Egypt and Lower Egypt, which has a hybrid shape. The main body of this crown is white, which is a symbol of renewed life; The downward triangle of the crown means water and its red colour is a symbol of victory and power; The spiral shape above the crown symbolizes powerful forces in red. This god with a red body is a symbol of power and victory. The head and face of Horus, the god of the whole sky, is in the form of a falcon. This bird has a meaning of power and sky.

Iran has a long tradition of publishing books and gilding manuscripts that dates back to the Sassanid era. The Manichaeans were masters of book design in Iran during this time, when they coexisted with Islam. Iranians paid attention to their techniques for gilding and book-making and were also familiar with the Manichaean way of book-making. The majority of the arts were affected by the Quran upon the entrance of Islam, which led to an increase in the popularity of gilding and book design. As a result, artists created more exquisite manuscripts as a result of the miracle of the Quran and its sanctity. Early on, in the history of Islam, calligraphy was frequently combined with gilding, which was hardly ever employed alone. )Afshar Mohajer, 2001: 18). When Islam arrived in Iran, the Seljuk government was created. Between the fourth and sixth centuries, Iran had its first monarchy and art school. According to Rouyin Pakbaz in his book, The Evolution of Painting in Iran, decorative patterns were utilized in book illustrations instead of geometric patterns during the Seljuk period. (Pakbaz. 1986: 401) Gilding deteriorated from the time the Mongol monarchs converted to Islam until the end of the Ilkhanids; but it underwent progressive transition once the Mongols invaded Iran until the end of the 7th century. From this perspective one of the significant aspects of manuscript gilding during this time, which is discussed in the book, is that the initial pages of the of the Quran are gilded and divided in a geometrical form, and Islamic motifs are used in them. The gilding was made more beautiful by using different and contrasting colours in the background. In the gilding in the Mongolian style, which was called naturalism, plant and animal figures were used more, and this naturalistic style continued in the gildings of the Timurid period. (Ettinghausen, 2008: 1378) In the Timurid period, it became common to draw plants, flowers, and natural landscapes, and the margins of books were illustrated with them. In this period, different colours were used, and blue and gold colours were used more. According to the proposition that in written Qurans, the beginnings and the space between the verses were first gilded, in this research, The key query is: What modifications did the Quranic chapters in Iranian manuscripts endure. throughout the early Islamic centuries, and how were these chapters gilded throughout Iran’s Islamic history up until the end of the Timurid era? The investigation goal is to learn more about the Quranic passages in manuscripts in the early Islamic centuries in Iran and what the gilding of these manuscripts meant. Therefore, firstly, the headings and its characteristics have been explained in the manuscripts, then the Quranic examples have been examined; Finally, the gilding and transformation in the headings in different Islamic eras until the beginning of the Safavid period. At the end, after drawing the statistical graph, the result of the research is written. The decoration of the headings of books and Qurans started in the first century of A.H. In the early centuries, these headings were often decorated with palm-shaped patterns, complex designs, or square geometric patterns. These patterns are usually from architectural images, tiles, and fabrics. (Khalili, 2001: 12-13) These decorations started with a narrow decorative strip. A narrow decorative strip is a long rectangle that has the names of the Quran Surahs inside it, and the image of a shamsa is drawn next to it either at the beginning or at the end, making it more beautiful. Narrow decorative strips were drowned until the third century of A.H., and after that, they headings were used instead. The initial headings are usually inserted into the margin from one or two sides, but by drawing the table on the pages, it is drawn with the text in the table. The headings were usually drawn in a wide form without side patterns according to the size of the text. Within the narrow decorative strip, geometric patterns of knots and sometimes flowers and bushes are designed, and the name of the surah is written in the middle of it in Kufic script. From the sixth century of A.H., the pattern of medallion and borders has been drawn inside the heading, and the name of the surah is written in the middle of the central medallion. Medallion is drawn according to the shape of the heading. The main elements of heading had certain characteristics in different eras. The knowledge obtained from the examination of works of art from various historical periods in passages is used to this study. It is therefore historical research, and its goal is crucial. Analytical arguments are used in the historical-descriptive research methodology. Taking samples and gathering samples of gilded works in museums and libraries are the instruments and procedures for gathering information. Due to the vast number of these samples, the statistical population for the historical era covered by this study is the headings of the Quran manuscripts from the beginning of the Islamic period to the beginning of the Safavid period, and the statistical population is the headings of the Quranic manuscripts of this period due to the large number of these samples. The number of 16 Qurans from the 3rd to the 9th centuries of A.H. has been examined, and a table of 21 chapters from these Qurans has been created. The number of four Qurans has been chosen purposefully, as samples, and four headings of these Qurans have been examined due to the similarity of other samples and as the main model in terms of visual characteristics.  For this purpose, the Quranic manuscripts of the early Islamic centuries in Iran have been examined with the aim of visually studying these ornaments in the chapters by presenting images. According to final results, in the early Islamic periods, the gilding ornaments are quite plain and just include the chapter title and verse number, without dots or syntax, which are painted with gold color and drawn with a black pen around them, and headings have been the first place to be decorated and gilded. In the colouring of the Quranic headings, first a single colour of gold is used, then blue colours, then red colours, and finally a variety of colours such as orange, green, yellow, pink, etc. are used, but finally gold and azure colours are used more than other ones. Regarding the gilding of the surahs, first a decorative strip is drawn to separate the surahs, then this strip is completed and becomes a heading. In the evolution of heading, first the palm tree sign is added to it, then the inscription is added to it, and finally, the headers are embellished with plant motifs, including arabesque, flowers, and leaves. The patterns used to create the headings are delicate and drawn using a variety of colours. The Kufic line appears in the headings; initial position, followed by the Thuluth script, and then various other script types, including Naskh, Muhaqqaq, Rayhani, and Reqa' . As patterns, colours, and lines have changed over history, headers have expanded in variety and beauty. The colouring of Quranic gildings, which have been depicted in decorating books for years, is one of the best illustrations of analysis regarding conventional responsibilities. In the evolution of the gilding of Quranic verses in the early centuries of Islam, we see simple and gradually gilded decorative and luxurious gilding until the ninth century A.H. In completing this research, the transformation and change and the symbolic meaning of the use of gilding in Qurans are good topics for further research.