نشریه پژوهش های میان رشته ای هنر
پیاپی 1 (پاییز و زمستان 1402)

 Sefidchah Cemetery, located in Yaneh-Sar, is a part of the Hazarjarib mountain region, which is located in the southeast of Mazandaran province. The date of the oldest tombstone of this cemetery is related to the 9th century AH, which is attributed to the period of Timurid rule in Iran. In this cemetery, each deceased person has two tombstones. A vertical and standing tombstone above the head and a stone below the feet are intended to identify the graves. Usually, designs are carved by the artist on both sides of the stones. This cemetery is considered to be due to the presence of white soil. The name of this cemetery has been attributed to the white soil of Sefidchah village due to the abundance of lime. The tombs of this cemetery are distinguished by the shape and motifs carved on them and the type of grave. The history of the cemetery dates back to the Timurid period. The combination of motifs carved on the graves has given a unique quality to these works.  The patterns carved on the graves and the forms on the raised gravestones have given this cemetery a unified and exciting visual effect. These motifs are closely related to the ancient history and culture of this land and Persian beliefs.
Question: The main problem of the research is to know the symbolic concepts of plant, geometric, and animal motifs carved on the tombstones of Sefidchah Behshahr cemetery, one of the oldest tombs in the north of Iran.

 It has been noted that there are similarities and differences between the symbolic motifs of SefidChah Behshahr tombs with the ancient works of the north and south of Persian and the meaning of these symbols according to Syntagmatic relations of symbols and what is the relationship with the category of death rsiane symbolic motifs of Sefidand they have life. The symbolic aspects of the tombstones of this cemetery and its comparison with the ancient works of the south and north of Iran have been paid less attention so far. In this article, an attempt is made to conduct a comprehensive study in this field and to examine the symbolic concepts of these motifs. The research aims to describe and study the semantics and historiography of the symbolic motifs of Sefidchah Behshahr's tombs. A more accurate reading of motifs based on their similarity with Elamite motifs makes the semantics of symbols easier and more logical.

 Based on the studies conducted, the plant, animal, and geometric motifs of Sefidchah cemetery have yet to be studied. The motifs of Sefidchah graves have not been compared with those of ancient monuments in north and south Iran. The neighborhood of the motifs in question has yet to be mentioned.

Discussion and analysis: 

Sefidchah cemetery contains a treasure of unique motifs. Patterns that are unique in terms of diversity, coexistence, and arrangement. Sefidchah tombstones display a series of interconnected and repeating motifs in special formats and combinations that are still recognizable despite erosion. The art of Iranian stone carving artists has provided the basis for the emergence of local and Iranian symbols. These motifs can be divided into geometric, plant, human, and tool motifs. The results of the research show that, despite the crude hand-painted style of these graves, the motifs are comparable to some Elamite motifs in the south of Iran belonging to the 3rd millennium BC, as well as the examples discovered from the north of Iran belonging to the 2nd millennium BC. Among the motifs carved on the graves, the cypress tree symbolizes eternal life, surrounded by a zigzag line symbolizing life-giving waters. The circle is a celestial symbol that can symbolize the rotation and movement of the era. Water is carved on graves in concentric circles with wavy lines drawn. Water has become a symbol of light and purity with the use of geometric signs on eternal graves. The symbol of the life-giving sun is illustrated as a dotted circle, a multi-pointed star, or a radiant sun, a symbol of rebirth, resurrection, and life-giving power. Flowers are reminiscent of ancient rosettes or lotuses, a sign of living in water and connection with light. The bird symbolizes the soul and the sky; it is seen on the graves. The square and rhombus symbol of the earth are also depicted on the graves. The earth, which, according to ancient beliefs, is the mother of creatures, is illustrated with a rhombus and a square symbol. The motifs are arranged side by side under the coexistence system) Syntagmatic relations( In this coexistence system, each role has an independent identity, and the representation of some of them in the center and larger sizes shows the visual and semantic importance of the symbol more. The collection of geometrical and plant motifs of Sefidchah graves has displayed earthly and heavenly symbols, and trees are depicted as a bridge between the earth and the sky. Surrounding the central motifs with the sign of water in the form of a zigzag line or zigzags that irrigate some points reminds us of the importance of water in burial rituals. Therefore, the set of symbolic motifs engraved on the graves illustrated the belief in life and the resurrection of the dead by associating meanings derived from the critical forces of nature, and these symbolic concepts are in harmony with religious beliefs that consider death as a bridge to eternal life and the afterlife.

 Ana Mendieta (1985-1948) is one of contemporary art history's most influential female artists. Her work encompasses land art, performance art, and body art. Ana Mendieta's art is dynamic and brings significant emotional reactions to the audience because of her unique and sophisticated strategies, such as working in open spaces and unusual places, and her interdisciplinary aspects. This study aims to analyze and examine national identity's representation in this artist's works, emphasizing the piece "Image from Yagul" from the Silueta series. "Image from Yagul, "created in 1973, is considered the first work in the Silueta series. Generally, this collection, created between 1973 and 1981, encompasses over 200 works and is considered this artist's most significant collection. The study's main question is what this artist's attitude and tendency toward the representation of national identity in her works are, specifically in the abovementioned work. The research method is descriptive-analytical, and the method of collecting library data is taking notes and reading images. In addition, the findings were analyzed qualitatively. According to the findings of the study, the piece "Image from Yagul" from the Silueta series represents Mendieta's cultural approaches, ideological principles, and national and sexual pride, clearly revealing to the society "where" and "who" she was. This piece of work, as well as representing the content of gender identity and the metaphor of returning to the earth as a goddess, womb, and mother, reflects different dimensions of national identities, including the historical, geographical, cultural, ethnic, religious, literary and mythological of Cuba. 

Some topics can be mentioned as the current research's background. In terms of foreign studies, the following issues can be noted: (Pavleska, 2021); (Baker, 2016); (Aldegani, 2016); (Alvarado, 2015); (Finkelstein, 2012); (Best, 2007); (Blocker, 1999). Although among internal studies, no independent research has been conducted on Ana Mendieta, there are references to her in the following sources: (Najafi & Shirazi, 2019); (Najafi, 2017); (Arbabzadeh et al., 2017); (Nadaliyan, 2011). Considering the background, independent research on Analyzing the national identity's representation in Ana Mendieta's works by emphasizing the Silueta series and also independent research on the piece "Image from Yagul" from this collection has not been conducted, and the author has not seen any research on this topic.Purpose and question of the research: This study aims to analyze and examine how national identity is reflected in the works of the Cuban-American artist Ana Mendieta by emphasizing the piece "Image from Yagul" from the Silueta series. Moreover, this study intends to address the question of Ana Mendieta's attitude and tendency toward national identity reflection (representation) in her works, particularly the work mentioned in the Silueta series.

This article's research method is descriptive-analytical. The method of collecting library data is through taking notes and reading images. The data analysis method is contentive, qualitative, and based on a sociological approach to reflection (representation). The study samples are Ana Mendieta's works, a Cuban-American female artist, emphasizing the piece "Image from Yagul" from the Silueta series.

 In the short years in which Ana Mendieta was artistically active, she created a unique collection in an uncommon language. When she left her family and country (Cuba) as a teenager, she faced discrimination and felt like an illegitimate person in a racist society in the United States. Due to this issue, she had a complex conflict with the contents of racial and gender differences, which was reflected in his artworks. Mendieta's only remaining painting from her student days, the painting of a portrait of a brown-skinned woman, is a reflection of these cultural and racial conflicts oner. She also showed these feelings and inner manifestations after giving up painting, continuing her interdisciplinary art path, and creating significant pieces, including "Grass on the Woman" and "The Death of a Chicken," considered her first body art and her first performance art pieces, respectively. In the following, she made use of the body explicitly and implicitly as the center of identical aspects, including gender, race, and ethnicity, and along with her previous works, she represented her natural roots and her origin and homeland, Cuba, through the whole Silueta series. Along with representing the content of gender identity and the metaphor of returning to the earth as a goddess, womb, and mother, the Silueta series, which begins with the word "Image from Yagul, "reflects various aspects of the national identity of Cuba. In this work, Mendieta uses identical elements to revive her identity and roots while condemning exploitation and decentralization and rising to resistance and rebellion against foreigners' dominance.

The manifestation of the life-giving element of water in the architecture of Iranian houses often materializes with the body of a pool. During the Qajar era, the change of the ruling circumstances followed by the amplification of Iran's foreign relations with other countries, mainly that Guilan province, based on its location in the north of the country, had played the role of the main link between Iran and European countries, varied the meaning and function of the pool in the houses of this area including the houses of Lahijan city. This research tries to understand how the house is affected by the new conditions of Guilan society and to obtain the altering definition of the material and immaterial function of the pool in the Qajar period. The current research method is interpretive-historical. It was done by resorting to library and field collection methods, and 30 Qajar houses in Lahijan were studied using a snowball sampling method and interviews with their owners. Characteristics like function, shape, position, and dimensions of the pool were determined as desired variables in the advancement of the research. The results show that in these houses, pool-making was often followed by traditional principles and in the shape of a rectangle, with the introduction of new shapes such as oval, star, triangle, or less frequently ones like octagon, the structure of this element underwent alterations. At the end of the Qajar era, the multiplicity of elements such as fountains and added curves to traditional sharp-angled shapes of the pool signifies the preference of the aesthetic aspects in the path of its socio-cultural changes. Also, the geometric complexity and the vastness of some pools are signs of the house owner's social superiority and financial capability.

As a reservoir of water, the pool has many functions. According to the researchers, specific historical periods, especially the Qajar period, have played a role in this variety of use because the architectural elements underwent significant changes (Saremi, 1996, p. 59). Relying on its spiritual and material aspects, the pool was used in fields like washing, irrigation, water storage, ablution, climatic comfort, and decorations, and over time, with the development of housing architecture following the increase of interactions between Iran and European countries, especially in the second half of the Qajar period, the metamaterial function of water element also decreased. Therefore, the pool often played a decorative role or provided daily needs for the residents.

Research Objectives and Questions: 

Understanding the importance of the pool and the transformation of its position, along with the increase of foreign communication of Iranians in the Qajar era Through many trips in the cities of Guilan province, including Lahijan, forms such questions as they are mentioned below:- Have the symbolic values ​​of the pool and its living tradition continued in the houses of Lahijan during the Qajar era?- After the connection between Iran and Europe expanded during the Qajar era, how did social developments affect the pool's traditional place in Lahijan houses?Theories: According to the mentioned questions, the hypotheses can be stated as follows:- The increase in interactions between Iranians and European countries through Guilan has affected changing the view of the people of this region, especially the people of Lahijan, towards the element of water and the pool.- With the establishment of Qajar rule in Iran and due to Guilan's geographical location and economic importance, it was considered a place for kings, merchants, and students to commute, and in this way, the grounds for the formation of transformation in its traditional architectural elements such as the pool occurred.Data Collection: Based on its historical-interpretive nature, the current qualitative research relied on two data collection methods library and field. First, the place of the pool in the traditional architecture of Iran and Guilan was studied by reading the documents, and then with the help of the snowball sampling method, 30 examples of Lahijan's Qajar houses were visited in the field, and their owners were also interviewed.

In order to carry out the present research, Qajar houses in Gabaneh, Khomarkala, Pordesar, Karevansarabar, and Gharibabad neighborhoods in Lahijan were visited and investigated. In the mentioned houses, the pool element is often located in the yard's open space, and the pools' differences can be divided into four axes of function: geometric shape, position, and dimensions. Analyzes from observations and interviews with house owners indicate that the functional aspects of the pool include factors such as beauty, health, performing ceremonies, watering, storing food items, and performing religious duties and beliefs of the residents. In terms of appearance, the pools are geometrically rectangular, with stars, triangles, octagons, and squares as the most frequent shapes. Also, looking at the aerial maps of the Qajar houses of Lahijan in the 1336 solar year, the oval shape can be seen in the pools. Their position varies near the main building of the house and on its axis of symmetry to the middle of the courtyard. The dimensions of the pool element also increase with the expansion of the dimensions of the yards. Among the analyzed pools, the size of the pools and their geometric shape indicate the social and financial status of the original owners of these buildings. Therefore, the construction of the pools, while following the traditional structure, faced the reduction of spiritual dimensions and the expansion of the decorative function. The increase in interactions between Iranians and European countries, especially in the late Qajar period, was influential. Also, due to the female gender of beauty in the mentioned era, it is suggested that future studies be conducted on how the pool is affected as an organ with a possible feminine nature in homes.

Eric Landowski, a social semiologist from France, proposed a flexible generalized lifestyle pattern that presents a central group with a particular criterion based on this pattern. Around it are four lifestyle types: Snob, Dandy, Chameleon and Ours. Each has unique and different features and functions about the central group. This pattern can be an efficient instrument for discourse analysis of subjects in different narratives. The film of Abad- o Yek Rouz, directed and written by Saied Roustaee and produced by Saied Malekan (2015, includes the valuable products of cinema that belonged the time of the Islamic revolution of Iran in which a part of the way of life of a low-level family with its problems is shown. Various characters in this film have sign-whoions sign-updation to the central group called 'family.' These actions, based on Eric Landowki's lifestyle pattern, can present an accurate concept of the lifestyle analysis in this film; because of this, about the four lifestyle patterns of Eric Landowski, the quality of the subject's lifestyle and their approach in this film is studied and presented as an essential question. 

Goals and Research Questions:

 1. About the similarity between the action structure of the subject in Abad- o Yek Rouz's film and the structure of Eric Landowski's lifestyle pattern, do the lifestyle of subjects in this film form in an integrated and homogeneous way or different and heterogeneous? 2. Based on Eric Landowski's lifestyle pattern, what kind of approach, manner, and types do the subjects' lifestyle (s) have in the film Abad-o Yek Rouz?Research Hypothesis: The hypothesis that is presented about mentioned states shows that, most probably, the sign-action structure of subjects in the film Abad- -o Yek Rouz, based on Landowki's pattern, can be analyzed and classified in the form of one central group and four heterogeneous lifestyles: Dandy, Snob, Chameleon and Ours and the approach of lifestyle in this film, more than anything is process and dynamic in which, the subject experience two or three lifestyles in the manner of stepwise. Research Literature: According to lots of studies and research in scientific and research websites and also studying the different articles and researches in this field, no research has been done about the subject's and character's lifestyle in the film Abad-o Yek Rouz based on Eric Landowski's lifestyle pattern, so fare. This article has studied this topic for the first time.  

This research has formed with the descriptive-analytic method. It is based on the lifestyle pattern by Eric Landowski (French social semiologist), in which we try to define and explain the characters' lifestyles based on their sign-actions in the form of Landowki's pattern.

The results of this research indicate that the characters' lifestyles in this film are formed differently; in between central lifestyle and our lifestyle have the most and the minor frequency and respect, and according to the results, the characters' lifestyle in this film in the most cases is process and dynamic; it means that about Landowski's lifestyle pattern, the lifestyle of characters changes during the film and subjects experience two or three lifestyles in the manner of stepwise, of course it is not going to that these changes always and necessarily be conformed with the moving of lifestyles in Eric Landowski's pattern.

 The oldest carpet in the world is the famous Pazyrik carpet, which belongs to the 5th century BC. David Stronach believes that Pazyrik motifs are undoubtedly related to Iran. Rudenko, the carpet explorer, believes that he found details of the carpet motifs similar to Achaemenid jewelry from the 5th to the 4th century BC. For this reason, it is a reflective work of Persian art. Persian researchers such as Ali Hesouri and Siros Parham have proved the Persian origin of this carpet by presenting Persian archaeological evidence, such as carpet weaving tools from the Bronze Age, and examining and matching the carpet motifs with ancient Achaemenid examples. 

Question:

The present text seeks to answer the question of the symbolic meanings of the motifs of the Pazyrik carpet and the similarity of these motifs to the ancient works of Iran. How to analyze Pazyrik carpet motifs based on Kristova's theory of intertextuality has been investigated. 

The square structure of this carpet is a talisman. The symbol of a square shape and repeated squares stuck together in the lines engraved on the seals of Susa around 1700 BC is a sign of the earth and is a symbol of life. The square structure of this carpet is a talisman. The symbol of a square shape and repeated squares stuck together in the lines engraved on the seals of Susa around 1700 BC is a sign of the earth and is a symbol of life. This flower is engraved on a bronze that depicts the mother goddess and her mythical animal protectors, lions, and two-headed animals. Other examples of bronze show a woman giving birth with an eight-petaled flower. The presence of this flower around the head of the goddess shows its connection with the category of life and fertility. Symbolists have considered the eight-flowered flower a solar flower and a sign of life. Another row of Pazyric motifs are winged griffins that protect 12 eight-petaled flowers surrounded by square structures. The griffin is one of the mixed animals seen in the art of Elam, and a work belonging to New Elam shows the griffin as the protector of the Tree of Life. Therefore, this animal is a protective symbol for motifs related to life, and it is represented in the Pazyrik carpet as a protector of eight-petaled flowers placed in square shapes. An example of the exposed tile from Babajani Hill is a square similar to the one that includes the griffins of the Pazyrik carpet. The third row of Pazyrik carpet motifs is a spotted deer with wide horns. The image of the deer in the Pazyrik carpet is similar to the Persian yellow deer. Examples of broad-horned deer can be seen on seals from Susa with a square symbol and an eight-pointed flower. In terms of symbolism, the deer is a symbol of life because of its growing horns. The other border row of the Pazyrik carpet is a repetition of five flowers side by side, and a row of horses and riders surrounds this border. Ancient Persian texts (Avesta) introduce the horse as a wet symbol related to water and rain. The symbol of the horse is the protector of the Tree of Life and the categories related to fertility. In the Pazyrik rug, the horse and its rider protect eight-feathered flowers, a plant symbol of life. From the point of view of iconography, the carpet discoverer Pazyrik Rudenko and Persian researchers have considered the style of hair styling and drawing of the horse's body to be Persian style and similar to the examples in Achaemenid art. It should be noted that this patterning style was not created all at once in the Achaemenid period and has an older history in Persian art. It can be referred to as the historical pictorial precursors of Pazyrik motifs. The symbols used in the Pazyrik carpet, with their referential feature to the natural world, reveal the connection of motifs with plants, animals, and humans as the main elements of the chain of nature. The pictorial signs in the Pazyrik carpet represent plant, animal, and human forms with symbolic meanings, whose root and origin are the popular culture and symbolic conventions of ancient Persian culture. The feature of transformation and abstraction of motifs distinguishes its symbolic aspects from their natural features. For Iranians, some flowers are attributed to Amshaspandan, and visual symbols of deer, griffin, and horse are associated with blessing and fertility. A rule in the Pazyrik carpet dominates the image and is regularly repeated around the center of the square. The repeated layers of symbolic motifs around the center of the square have formed squares that the middle flowers, like mythical protectors, surround all motifs. In the Pazyrik carpet, the griffin is the only motif that corresponds to Kristova's fourth rule of realism. Because this image represents a combination of heavenly elements: a winged eagle and a lion. The absence of imitation of nature makes it different from other visual signs. Kristova's view is that there are five situations in which a text can contact another text to recognize its usefulness. These five situations include the following: 1- Social realities or the real world, 2- Popular culture, 3- The final rules of artistic genres, 4- Taking help and relying on similar texts, 5- A complex combination from within The text, where every text finds another text as its base and beginning. The analyses show that the referential qualities of motifs convey their explicit meaning to nature. Therefore, this quality proves the first principle of the real Christian world as one of the pre-texts. The second principle of truthfulness is referring to popular culture. In Kristova's view, there are five situations in which a text can contact another text to recognize its usefulness. These five situations include the following: 1- Social realities or the real world, 2- Popular culture, 3- The final rules of artistic genres, 4- Taking help and relying on similar texts, 5- A complex combination from within The text, where every text finds another text as its base and beginning. The analyses show that the referential qualities of motifs convey their explicit meaning to nature. Therefore, this quality proves the first principle of reference to the real world as one of the pre-texts. The second principle of truthfulness is referring to popular culture. Pazyrik symbolic motifs are related to popular culture and belief in the concept of fertility in Iran. Based on this principle, Iranian culture is one of the precursors of Pazyrik. The third rule of truthfulness is the final rule of art genres, which is the arrangement of motifs in Pazyrik, per the culture of carving in Iranian works of art, focusing on the symbol of the earth and the protectors of fertility elements. The fourth principle of truthfulness is taking help and relying on similar texts. Based on intertextuality studies, the manifestations of Pazyrik motifs can be examined in the Achaemenid period, the bronzes of Lorestan, and the works of Ilam. Kristova's fifth principle is a complex composition of the text. The hidden structure of the Iranian garden carpet behind the papyri pattern shows that it belongs to the garden structure of Iranian carpet designs.

Ziapour may be influenced by Art's Sake concept, Clive Bell's meaningful form, or even André Lhote's thoughts. However, he attempts to provide solutions for achieving grace in painting by relying on the fundamentals of the visual arts and integrating other media into the art medium. Upon his return to Iran, amidst an increase in social freedoms, he began providing written sources on modern art. He believed modern art was the only proper art form and introduced this concept through his publications (Pakbaz, 2008: 889). Despite his publications, Ziapour's theories played a significant role in establishing the foundations of modern Iranian art. In 1943, he established the Academy of Fine Arts for Boys and Girls, where artists such as Tanavoli, Zenderoudi, Arabshahi, and Pilaram were trained. These artists went on to become the standard bearers of modern Iranian painting. Jalil Ziapour is a significant figure in contemporary Iranian art due to his contributions to theorizing and explaining modern art principles through articles and books and his teaching in educational institutions. In 1949, he presented his artistic statement in Kavir magazine under the label "perfect school." He explained that the foundation of his statement came from the heart of the community, and he did not intend to adhere to orders and theories. However, his statement seems paradoxical because he believes society imposes themes on painters. Nevertheless, he also considers the negation of themes and reliance on aesthetics as a request from society. Therefore, the question arises about the mutual role of artists and society according to Jalil Ziapour's "perfect school" statement and how to resolve this paradox.

The objective of the present qualitative study is fundamental, and descriptive data were collected using content analysis. The statement "perfect school" is analyzed as a case study considered among specific and limited cases to thoroughly comprehend every aspect that can disclose the case studied (Creswell, 2012, p. 101). With an inductive approach, the content analysis method enables the researcher to investigate the content of the selected data objectively and systematically to measure the variables (Rogerdi, 2005: 314). Additionally, it offers a method for reading the text, a correct comprehension of material that appears irrelevant, and a method for qualitative information analysis (Boyatzis, 1998: 4). Therefore, the interactive relationship between the artist and society, as well as the artist's position regarding the function of people in art, were extracted from the present statement and subsequently analyzed. Then, the perspectives of Roger Bastide, Plekhanov, and Collingwood were utilized to resolve the existing paradox.Artist and society's roles in Ziapour's painting and manifesto: Based on the manifesto of the perfect school, Ziapour mentions the role of society, people, and life in art in four cases:a) Themeism in painting is influenced by society and people:In his statement, he discussed how art was liberated from religious themes with the invention of writing (Rafierad and Makinejad, 2022: 30). He believed that even though a painter may try to avoid public themes, it would be impossible because their environment and society influence them. It means that society does not allow the artist to remove the theme from their painting altogether. Instead, by emphasizing their individuality, the painter reflects the specialized aesthetics of the artwork.b) Negation of the representation of life scenes in a painting by Perfect School:"If the purpose of painting in its initial stage is to depict various scenes of life, i.e., to create themes, then this is writing," he says (ibid., p. 3). Therefore, he believes that paintings should not depict scenes from everyday life. Color, design, form, and composition are the only tools a painter can use to attain the essence of painting.c) The perfect school makes artists and people understand the reality of the aesthetic concept of painting:Ziapour states in paragraph (c) of the conclusion that since the writing of the Manifesto, the artist and the people have comprehended their mission to remove natural and near-natural images from paintings. In the future, to learn the beauty of a picture, they will refer directly to the artistic elements and not to the motifs or content of the images. It will be the initial phase in which both the artist and the public realize the actuality of the concept of specialized beauty or specialized aesthetics.d) The perfect school is a requirement of society and the environment:In paragraph (d) of the conclusion, Ziapour argues that this statement does not exist outside of society's requirements and was created within an organization to meet those needs. He states, "No new method is ever created without the need of the environment, and no request can ever be in advance of the request of its time. Because every desire has a cause, the primary cause of each motivated desire exists within the community of desires. Therefore, my theory is not and cannot be outside the present demand" (ibid: 15).

Ziapour's views on Iran's contemporary art are among Iran's most influential cultural and aesthetic philosophy sources. The developments that his publications, articles, and other works have introduced to the history of contemporary art in Iran have significantly impacted the artistic perception and knowledge of society and artists. Ziapour's manifesto, which included innovations such as parasites (mediums other than painting), distant unnatural figures, and the like, was published to establish a solid foundation for painting's aesthetics. On the one hand, this manifesto asserts that thematic painting is influenced by societal demand. In contrast, in the perfect school, the artist negates all themes in the painting and provides the aesthetics of a painting that relies solely on color, line, design, form, and composition, eschewing both natural and unnatural forms. At the same time, this school was established in response to a request from society and the environment and is a response to the requirements of society. These two points of view cannot both be realized simultaneously.Nevertheless, based on the opinions of specific sociologists and art theorists, such as Plekhanov and Collingwood, this paradox can be resolved, as this social influence can be explained by the unique trend of Ziapour's contemporary art. In this way, the artist, with the self-awareness individual that he has created in modern art, negates the theme, causing the society that forced the artist to accept the theme in the painting to look at the actual values of the painting and the limits of the medium of painting to be explained to them. It corresponds to the obligation that Collingwood deems art to have in preventing the disintegration of consciousness in society. However, there will still be many issues, and the answers to each can pave the way for the analysis of the history of contemporary Iranian art and contribute to the expansion of the fundamental concept of Iranian.

The rest is the maker of music next to the sound. Music begins and ends with a long rest. In a piece of music, the rest being placed between sounds connected, makes them sound like a phrase. Also, the form of many musical pieces in its entirety is shaped by the role of rest as a separator of parts and sections. Of course, it seems that until the contemporary period, the importance of rest was not much considered by composers. For example, in the contemporary period, many composers specify the rhythm of rest precisely between the movements of their music so that there is no large break between the movements and the musical flow is not delayed. Contemporary composers have composed music based on the expansion of rest and its various combinations along with sound; That is, instead of the rhythm of different sounds being at the heart of the musical movement, it is the rest with its different rhythms that moves the flow of music as a structural element. On the other hand, in many pieces of contemporary music, rest could always lead the listener to the correct understanding of sound events and be like a platform for them to happen, while it also might be a part of a sound event itself.

Research Questions:

 The diverse function of rest brings to mind an important question about its role from the past to this period: Whether the composers' usage of rest was completely functional like a structural element, or was it of another quality like these examples? Especially, because of the aesthetic process of Western classical music from Baroque to the contemporary period, this question could be considered in a more specific way in these periods, so that we could find out the most important aspects of the function of rest in the music. 

Research Hypothesis:

 Rest could be like music performance, and there is no difference between being written or not in the notation. Such usage of rest is the result of the performer's action to express the music and could not be a sign of the special attention of the composer to use rest in music. In such cases, which include most of the musical repertoire of the periods under discussion, the composer does not use rest as an imposed element on the musical structure; rather, rest lies in the natural flow of the music. In another type of rest, composers, especially in the contemporary period, use it as a fundamental element to shape the structure of music and consider its role as important in the form of music. An interesting type of rest that is in the absence of music or something that could be referred to as composer's rest has a special place in the investigation of the expanded quality of rest in music. The history of Western classical music shows that the flow of composition has gone from rest to excerpts and later to verbosity, to the extent that in long pieces, the listeners in their minds could feel the need for the composer's rest with its philosophical meaning, and even for moments, by not listening to music, they could create rest for themselves.

Research Literature: 

Research resources about rest in music are very limited, and there are only a few materials about the topic. For example, Habibdoost considers the concept of the unconscious idea of rest-sound in his book and defines it in connection with one of the important aspects of rhythm in the scale of a piece, i.e., the rhythm of the changes in appearance and absence of ideas. Also, in his book, Ahmadi has some controversial concepts about rest and considers it not to mean the absence of music, but an essential part of every music. In his opinion, rest finds its true importance in John Cage's music, and his piece, 4' 33" is one of the most important pieces about the philosophy of rest. In this context, Sposobin also has material in his book that shows the relationship between the composer's verbosity and rest, with the lengthening of the musical form. In his review, composers, by using mostly the sonata form for movements from the end of the classical period, gradually used the sections of expression, development, and recapitulation of themes, which required a longer time.

By examining samples of the music repertoire from the Baroque to the contemporary period, various cases of the function of rest are identified, which include the role of rest in the form of a piece, the phrasing of the music, the dialogue between vocal lines and instruments, the expansion of background to foreground, and reducing or increasing tension.

The role of rest in the form of music shows that rest on a large-scale shapes structure in a piece. The lack of it between sound categories or parts of a piece could sometimes lead to the mixing of sound elements and confusion of the musical form. Phrasing shows the clear usage of rest to make musical phrases; so, this is the function of rest, which, like a pause in a spoken word, by being placed correctly between the sounds, could make the music articulation. Placing rest between two or more vocal lines or instruments could show the expressive quality of music in the form of a dialogue between them so that the one-way flow of music from one vocal line or only one instrument in some cases could create fatigue for the listener, which is balanced by this function of rest. The expansion of music using rest is a usage that is more concerning the works of contemporary composers, and it gains meaning by bringing rest into the context of sound. Expanded rest is the exact listening of it in search of sound, which is something that has very little history in the music of previous periods. The reduction and increase of tension points to the narrative and metatextual usage of rest in music. This function creates a dramatic quality in the music and brings a sense of anticipation for the continuation of the sound flow to express the musical narrative.

The purpose of this study was to investigate the relationship between gender and instrument and sound choice in urban music in Iran and a case study of the city of Tehran in 2018, highlighting the role of women. This study was conducted with two groups of students (novice musicians) and professional musicians (professionals). Investigating the ratio between the number of women and men at the beginning of artistic activity and the result of this ratio among professional musicians and teachers, as well as exploring the reasons why men are more present than women in professional activity, are the main issues investigated in this paper. For many years and in different parts of the world, playing and singing certain instruments in certain styles and rituals has been traditional and handed down as a particular responsibility of a certain gender. Although the origins of this monopoly are often not known precisely, in some cases these laws are so well established that breaking them can lead to disqualification and shame for the offender and, in some societies, even more serious consequences.

Among the articles that are somehow related to the topic of this discussion, we can mention historical research. Regarding the role of gender in the selection of instruments and vocals in Iranian urban music based on field data, no independent research has been done so far. In Iran and urban music, unlike in many other societies, there are no customary or legal prohibitions, such as in the case of musical instruments, which are subject to strict gender prohibitions. Although some instruments, such as the harp, were considered reserved for women and others for men, there were serious legal restrictions on women singing in the presence of men.In recent years, social developments and the self-confidence of Iranian women in various fields have led to a sharp increase in women's access to music and singing. The number of women and girls learning to play and sing in institutes is significantly higher among men than among women, although this increase has not yet been reflected in the music profession. In this article, we have sought to answer the following key questions- What is the relationship between gender and musical instrument and song choice among students in Tehran?- What is the relationship between the number of females and males at the beginning of music education and their outcomes?- Why are there currently more men than women in the professional field of urban music?

This research is considered as applied research. The research method used in this article is descriptive-analytical. Data was collected both in the library and the field. The field method used observation, interviews, and questionnaires to collect most of the data. The questionnaire was handwritten and the questions were designed to be both open and closed. The questionnaires and interviews were conducted face-to-face and consisted of an attitude questionnaire. The statistical sample consisted of 50 students from ten music institutes in Tehran and 40 teachers and professional musicians working in institutes and orchestras in Tehran. It should be noted that the survey is limited in time to 2018 and concerns only the city of Tehran. The method of data analysis was quantitative and qualitative.

The main focus of this article was to investigate gender and urban music in Tehran, focusing on women and based on statistical results among students and professional teachers. To answer the first research question, professional musicians were interviewed in addition to the developed questionnaire. The result of the survey was that people working in music do not believe that gender is directly related to the choice of instrument or sound. Although certain physical characteristics, such as the softness of women's hands, go some way toward explaining the extent to which men and women accept different instruments, the results do not fully explain this relationship.Based on a review of existing literary sources and the results of field research, including separate questionnaires to music students and teachers and statistics on the number of male and female students in Tehran's music institutes, the following can be concluded: Although the presence of women in music is limited, the presence of women in our country is legitimate and common because it has existed throughout the history of this border and this region - and, based on the research of non-Persian sources in many parts of the world - and because of the presence of women in our country, as a result of the many changes that have taken place in recent years, which have shaped society's perception of many things, including women's music, women are showing great interest in the field of music, so that even in a category such as women's singing - which is subject to serious legal and juridical obstacles - the number of trained women is higher than that of men.Therefore, the answer to the second research question suggests that there are more female students than male students. To find out why the number of females singing teachers is higher than the number of male teachers, despite legal and religious barriers, several leading figures in women's music in this country were interviewed separately and given a questionnaire in addition to the answers to the questionnaire. In addition to the positive aspects of this presence, which, if properly channeled, can lead to the emergence of leading female artists in our country, the interviews also revealed certain weaknesses. One of the factors mentioned by women activists in the music sector themselves is that the proliferation of social networks in recent years, which has made it possible to publish artistic works without legal procedures and strict official controls, is a factor that encourages more and more women to participate in this field. However, this presence and the large number of women in the works performed, which are mostly weak in terms of musical principles, are mostly due to the spirit of the art, achieved by relying on talent and, after going through difficult learning phases, simply by the desire to be seen and known.This has encouraged many women to take singing lessons without having any singing skills, and in the same way, the number of people interested in taking music lessons seems to be decreasing. In any case, in a vocal performance, the singer is more visible, and the musicians who play the main role in creating the work are less visible to the public. As a result, many young girls begin to learn an instrument, but few continue to play until they reach master level. In the long run, this problem is likely to lead to a shortage of reliable musicians and, on the other hand, we are faced with a large number of singers who, in most cases, do not have sufficient professional skills and can only perform like a mannequin in front of a videographer's camera, making gestures that often have nothing to do with the genre of music. Performing, acting, and acting. Although the above example is not exclusive to women, it can also be observed in male musicians and their transformation into advertising celebrities.  This situation affects the quality of Iranian music and leads to a change in the public perception of women's music and moral abuse by sponsors who do not specialize in music at all and have entered the industry for dubious money.In response to the third question of the survey, although there are more women music teachers, there are fewer women than men in music and vocational institutes. In addition to the restrictions imposed by Sharia law, the masculine climate in music also plays a role. Because men have to earn money with what they learn after studying music, this monopoly is largely maintained, and institutions and orchestras are generally more interested in hiring men than women. In addition to the prevailing patriarchal climate, the social status of men based on the generation of family income, and the withdrawal of women from professional activities after marriage, one of the reasons for the withdrawal of women was a certain degree of sexual abuse towards them.The authors of the study also found that, unlike in many parts of the world where there are long and well-established traditions of segregating musical instruments by gender, there are no such problems in Tehran's urban music, and there are no instruments reserved exclusively for men or women, the learning and playing of which is taboo for the opposite sex. Moreover, in recent years, Iranian women musicians have not been content with learning all kinds of musical idiosyncrasies, and this is a positive and valuable fact that can have a positive impact on Iranian music.

In Islamic civilization, some elements and fields have caused the elevation and progress of Islamic civilization and have influenced the dynamics and progress of those elements in other civilizations and cultures. The field of art is one of these fields that has been less discussed. Especially the fact that some of the manifestations of Islamic art, without any history in other civilizations, are related to high knowledge that does not exist in any religion and civilization, and therefore visual arts have been able to introduce advance, and the development of Islamic civilization an effective application. The art of calligraphy, painting, enameling, carpet weaving, and sculpture are among the effective visual arts that play an effective role in Islamic culture, art, and civilization. Of course, colors, decorations, geometric shapes, visual effects, and even architecture, urban planning, and many other artistic elements are among the visual arts that are usually neglected or sidelined by highlighting other topics. have been driven, in this research, in addition to examining the history and crystallization of visual arts and the application of this type of art in Islamic civilization, it will be answered that even according to Western scholars, Islamic art brought a new and new way of interpretation to its followers and the Muslim artist in all the works he creates, he displays the spirit of the new religion and its civilization. It also created some unique effects that even today, despite its remarkable progress, Western civilization benefits from these artistic fronts.

The purpose of this research is to examine the history and crystallization of visual arts and the application of this type of art. Therefore, in this research, the question is, what is the place of art, especially visual arts, in Islamic civilization? To what extent have visual arts played a role in the development and progress of Islamic civilization? And to what extent have visual arts been influential in other cultures and civilizations?

Many writings and works have been organized in the field of art and its role in Islamic civilization, but there is less writing about the subject of this article.The book "History of Art in Islamic Civilization" written by Hassan Bolkhari Qahi (1388), mentions the brief history of two top Islamic disciplines, namely architecture and music, with philosophical and mystical approaches. This book consists of three parts with the titles of the history of music in Islamic civilization, the history of architecture in Islamic civilization, and the mystical foundations of Islamic art. The third part is a response to one of the professors at Harvard University who criticized the foundations of Islamic art. The book "The Shape of Islamic Art" written by Aleg Grabar (1396) and translated by Mehdi Golchin Arefi in 398 pages was published by Sina Publishing House. Islam's view of art, religious art of Islam, mosque, court art, city art, advanced Islamic decorations, a concept called arabesque, and the formation of Islamic art are the topics of this book. Another article, the article "The Image of Art in Islamic Civilization" written by Abbas Rahbari and Maryam Kalhori (1394), in the Second International Congress of Culture and Religious Thought in 1394, has expressed the concept of art and Islamic civilization and shows that great artists And scientists have made a lot of efforts in the field of art, and Islamic civilization reached its peak in the field of art and artists, and it was displayed in the best way from Bukhara to Córdoba in Spain. The writings that were mentioned, as well as many other writings and articles that are organized with similar titles or exist on the Internet, none of them are related to the subject of art from the perspective of the role of visual arts, which is the subject of this writing. They have not paid.

This research, referring to the manifestations of visual arts, has been carried out by using the opinions of scientists in the two fields of Islam and the West, and with the descriptive-analytical method and the method of collecting its contents based on library studies. The data analysis of this research was done with a qualitative method.

It will be clear that visual arts have a prominent position in various fields of Islamic civilization and it will also be clear that especially visual arts not only by renovating and completing artistic elements cause the dynamism and progress of Islamic civilization in various fields. It became artistic, but at times, it has also influenced the dynamics and progress of art in other civilizations and cultures.

From all the discussions that were raised, the conclusion is that art, especially sublime and sacred art, has been associated with Islam since the beginning of Islam and with the revelation of revelation in the form of words, and later periods due to its importance and prominent position. The one whom Islam and Islamic civilization valued for art, especially visual arts, created special and pure effects in various artistic fields, which in some cases have not been matched until today. The function of art as a pillar of civilization and civility, both caused the dynamism and progress of Islamic civilization and was able to influence other cultures, including Western culture, and created some unique effects that even today Western civilization. The existence of its significant progress benefits from these artistic fronts. This is even though Islamic art has been able to maintain its strength and power with its characteristics and in some cases, influence the art of other cultures. Features such as the centrality of Islamic art on the oneness and oneness of God, avoiding the embodiment and representation of sensations and the desire for abstraction and spirituality, and as a result, providing the basis for the growth of imagination and spiritual inspirations, glorification and expression of indestructibility and inexhaustibility. , great precision and total skill to the point of miracle, looking at art like worship, ambition, creation of the most delicate decorations that are a drawing of infinity with their endless repetitions, the beauty of Arabic calligraphy that amazes the viewer. Slowness, having the right to freedom of expression, and diversity of arts, some of which were discussed in the text of the research, are among the mentioned characteristics.

  Suzqoshmaq is the name of songs that are sung exclusively by women in different situations with improvised words and on a melodic basis. It seems that this method of improvisational reading and expression has a very distant history and we can probably bring it to you as one of the old traditions of the women of this region. The distribution area of this way of singing is the Sarab region and its surrounding villages in East Azerbaijan province in the northwest of Iran. Among the women of this region, it is customary to sing their emotional perception of that situation in individual or collective situations, such as happiness and weddings, mourning, daily work, and special emotional situations, with improvised words and on a simple melodic base. These songs have an almost definite and constant weight and correspond to the syllables of the word. By using three or four notes, the melodic base takes the reading of the word out of a mere narrative mode and turns it into a melodious form. The melody structure here does not go beyond a dong and forms a state between speech and singing. The language of Suzqoshmaq's songs is Turkish, and colloquial words and sentences are used in composing its improvised text. In the form of a group, the women who have gathered together, in order and respect elders, start to sing and one after another sing their emotional and sensory perception of the situation in which they are in an improvised form of poetry. These collective chants can go on for hours. Our main approach in this article, after introducing this novel and unknown genre among women's songs in Iran, is a very thoughtful musical issue. According to the field research and after transcribing about seventy examples of these songs, it was observed that despite the remoteness of the villages and the place where the narrators live, all of them are based on similar and common melodic patterns (11 melodic patterns) and also with pitch located in a wide area. They sing clearly; something that is very unique in oral cultures without having a standard for singing.  In this article, after introducing the performance characteristics of Suzqoshmaq songs, we will examine eleven patterns extracted from transcriptions. These patterns are very simple yet unique. At the same time, the pitch will examine all eleven patterns and samples and show that the range of the beginning and expansion of the songs in the samples collected in distant villages are very close and similar. The question that we will raise here is how this pitch was transferred and shared among distant villages and different generations.  Since the research related to these songs has not been done directly, in the library studies section, we used the opinions of researchers in studies related to women's songs in other regions. The examined samples were also collected from local experts in the geographical area of Sarab during the research trip.  After the introduction, study, and analysis of the patterns as well as various examples, we will see that these people share their identity in a place that can only be seen in music and its characteristics. One of the important approaches and main achievements of musicological studies is to get to know and analyze the lower layers of a society beyond their music. In this example too, by studying women's songs, we reach an understanding of intergenerational communication and see how women compose, preserve, and transfer their senses and emotions to the next generation in the form of improvised music.

Video games are among the widely demanded cultural and artistic products in various human communities. Hence, the development, transfer, and representation of cultural values have directed attention to this industry (Khaniki and Barekat, 2016, 99). Video games encompass traces of a nation’s culture and arts as well, since game developers design games relying on the culture and thoughts of the community they come from, and develop their products accordingly. One could point out several contemporary video games that contain elements and hints of Iranian art as well as traces of Islamic thought. After Islam was introduced to Iran, Islamic culture and thought integrated with the Iranian civilization and culture, bringing about a new era of culture and arts in the country also known as the Iranian-Islamic art. Islamic art is defined as an absolute and abstract form of art whose characterizing features include abstract designs, rich decorations, and the prohibition of illustrating animal and human forms (Enayat, 2008, 33). The Islamic artist seeks to bridge the natural world and existential world, illustrating the invisible universe by transforming the material logic of nature (ibid). This purpose is practiced through symbols and signs in the works of Iranian-Islamic artists that contain symbolic and mystical concepts. Iranian-Islamic art brims with abstract and mystical symbols, the awareness of whose intellectual and spiritual foundations informs the audience of ancient arts (Nazarizadeh and Mashhadi Haji Ali, 2015, 1). This practice is reflected contemporarily in various works of art, especially in restoration practices. For instance, game developers are inspired by Iranian-Islamic works of art, based on which they design the game space and offer valuable works. The reconstruction of the space in contemporary Iranian movies equals relying on the significance and presence of a human as the player in the position of value patterns that appear alongside each other through various characters depending on the game. In the case of the game “The Cat and the Coup,” the two characters of “Cat” and “Dr. Mosaddegh” have been developed in this regard. The significant point regarding the game “The Cat and the Coup” is that the game designer has been inspired by Iranian painting art. Moreover, the game encompasses special symbols and signs that encourage the audience to contemplate. This game starts in the final days of Dr. Mosaddegh’s life in Ahmad Abad, and rewinds to various times in the past, up until the Iranian coup on August 19th, 1953. The games start with the death of Dr. Mosaddegh and delve into his past as his spirit goes through the pages of history. Each segment of the game includes the historical events of its time, and new characters are beautifully introduced into the gameplay. The strength of the fame would be the use of metaphorical images demonstrating the emergence and fall of Mosaddeq in 1953. The main character in this game is Dr. Mosaddegh’s cat, which heavily affects his decisions while going through the stages of the game (URL1). The present article is concerned with an analysis of the various geometrical, composite, and natural symbolic elements used in “The Cat and the Coup” gameplay that facilitate the understanding of the symbols used in the game.

The present work seeks to explore the Iranian-Islamic symbols in the design of “The Cat and the Coup” video game as a means of visual expression in Iranian game development and analyze the concepts incorporated in each of the symbols.Research questions: The present works seek to respond to the questions of what are the symbols used in “The Cat and the Coup” video game. And what concepts does each of the symbols carry?

Given the imagery and contents of “The Cat and the Coup” video game, various symbolic elements such as geometrical, composite, and natural elements go through an evolutionary process while pointing to realities beyond the apparent scope of the game. In this regard, the reflection of emotional expressions in the behavior of the main characters in the game, the induction of the power of animals and humans, the destruction of evil forces, the war between good and evil, and the struggle between darkness and light are among the results unveiled in the present work. Islamic symbols have been incorporated into the geometrical symbols used in the game. These symbols used to be incorporated due to the prohibition of demonstrating animal and human figures, some of which can be found in a segment of “The Cat and the Coup” video game on the oil barrels to decorate them and demonstrate their significance for Dr. Mosaddegh and the Iranian nation. The square is another one of the geometrical symbols used in the game, exuding a sense of death and an opposing circle, which is a symbol of immortality and life. This symbol has been used at the beginning of the game in a square-shaped frame, symbolizing the death of Dr. Mosaddegh. The second set of composite symbols includes the dragon symbol. This element harbors a notion of evil and darkness, destroying things in its path and counting as a threat against the victory of good and the emergence of favorable events, and has been used beside the oil barrels and inside the frame within the space where Dr. Mosaddegh resides. The angel symbol demonstrates the invisible forces sent down from God to protect Dr. Mosaddegh in the court. The symbol of a human with a pig head appears to be inspired by the Animal Farm novel whose main character was a pig bringing misery to other animals. This symbol is depicted on the king’s body and emphasizes the aforementioned notion. The natural symbols include animal and human symbols, the former comprising the cat character that causes several events throughout the game that could the enemy countries complicating Dr. Mosadegh’s works or the country of Iran since Iran’s map resembles a cat. The dark silhouettes of humans in the background also symbolize evil people who put pressure on Dr. Mosaddegh throughout his decision-making, contrasting Mosaddeq himself, who has been illustrated in a white robe signifying his honesty and purity.

 With an analytical approach, this article analyzes one of the contemporary philosophical problems, namely the crisis of representation in the field of modern visual arts, based on more traditional perspectives. The current research method is descriptive-analytical, and this approach allows us to pay attention to various areas related to the main topic in terms of their commonalities and differences. The basis of this research is the thoughts of Plato and Aristotle in dialogues and later works of Plato and Aristotle about art. In the field of modern visual representation, more attention has been paid to some important visual works of the modern period and it has been adjusted with the opinions of the mentioned thinkers. The oldest famous theories about art in Western philosophy were proposed by Plato and Aristotle. One of the most important issues raised by these two thinkers about art is the issue of representation and the relationship between art and it, which can be examined from different angles. Plato and Aristotle spoke more about drama than any other art, but they also mentioned other arts. "Both [Plato and Aristotle] believe that painting is also a kind of imitation (realism) by nature. Plato describes painting as holding a mirror in front of objects. From the Platonic-Aristotelian point of view, what painters try to achieve is the reconstruction (or reproduction) of objects, persons, and events. Their view of painting comes from their culture" (Carroll, 2012, 35). "In the opinion of Plato and Aristotle, being a work of art requires that the piece in question is an imitation or imitation of something. Today, after about a century since the emergence of abstract painting, this theory is false it seems" (Ibid, 36). The relation of representation and its relationship with reality has always been a matter of concern for thinkers who have paid attention to how humans know the world, and in general, after the emergence of metaphysical thinking in Greece and Plato's theory of ideas, the absence of the reality of phenomena in front of humans as a pre- The assumption was considered and representation was considered a necessity.

Research Questions:

 In the current research, three basic questions can be asked: 1- What is the concept of representation from the point of view of Plato and Aristotle, and what are the differences and similarities between the views of these two? 2- What is the concept of representation in the new era and what changes has it made compared to the classical view? 3- What is the ratio of Plato's and Aristotle's opinions with the new representation?
In this context, the hypotheses are as follows: 1- Plato and Aristotle did not consider the arts apart from representation, but Plato had a negative attitude towards it and Aristotle a positive one. It is the classical period and the relationship between the work of art and the real thing has taken other relationships. 3- Although the concept of representation and reality has changed in the new period, in a sense, new representation can be searched for in works of art.

Research Literature:

 In the field of imitation or imitation and representation and ideas of Plato and Aristotle regarding this concept, Mohammad Maddpour in his book Acquaintance with the opinions of thinkers on art (Madaddipour, 2011), about the works of Plato and Aristotle, well explained the opinion of these two thinkers. It explains about representation. Also, in the book Truth and Beauty(Ahmadi, 2010), Babak Ahmadi studied the ideas of these two thinkers in the field of defining art and the place of imitation and representation in it in the topics of beauty and ideas in Plato's dialogues as well as beauty and imitation in Aristotle's book. Babak Ahmadi, in the book Creation and Freedom, (Ahmadi, 2014), has discussed the common definitions regarding the issue of representation. In this context, in the book Philosophy of Art, (Lacoste, 2013), has explored representation in the history of philosophy. Ali Ramin, in his book Philosophical and Sociological Theories in Art, (Ramin, 2013), also stated some things about representation from the point of view of Plato and Aristotle. In his book Introduction to the Philosophy of Art, (Caroll, 2013), Noel Carroll extensively explored the representation in art and reviewed the views of Plato and Aristotle. Carroll then presents an analytical discussion about neo-representation. Mark Rawlins, in an article titled "Image Representation" in the collection of articles Aesthetics Encyclopedia, (Rawlins, 2006), has discussed the category of representation from the perspective of new art and has discussed several pioneering categories in the division of types of representation. Rosalyn Hursthouse in the book Representation and Truth, (Hursthouse, 2009), before presenting representation in the image, first examines this concept in the opinions of Plato and Aristotle and then this concept in the modern era.

 Even though Plato and Aristotle shared the concept of representation in the imitative view of objective reality, and for this reason, neither of their ideas are convincing and include the art of the contemporary period, Aristotle speaks a little more open-minded than Plato. In other words, Aristotle has a more flexible view compared to the authoritarian view of his teacher. Aristotle considers art to be the simulation of mental images resulting from the observation of nature. And unlike Plato, he holds it in high esteem. The same sentence that Aristotle says, "The artist creates reality not as it is, but as it should be", can include a wide range of late artistic styles in the definition of representation in art. For example, a surrealist painter can claim based on Aristotle's definition that he has represented reality in his artwork as it existed in his imagination. Or an abstract expressionist painter can say that his work is a representation of some kind of reality; by mentioning that our definition of reality is of course different from its Aristotelian definition.