مجله جلوه هنر
سال چهاردهم شماره 3 (پاییز 1401)

In Iran, there are more than 290 branches of handicrafts, which according to statistics make Iran the top country in the world in terms of diversity. Artistic and cultural values, along with high added value and high foreign exchange rate, make handicrafts an ideal export commodity. Considering that a large part of the raw materials are domestic, the industry can prevent the export of raw agricultural materials such as cotton, leather, wood and silk and turn them into added value instead. Since the main places of production of handicrafts are the rural areas, export can contribute to the economy of these areas, maintaining the rural population and preventing migration to cities. Strengthening rural household jobs is not only economically important, but also in terms of psychological and sociological, by empowering rural women, their sense of belonging, creativity, importance and usefulness increases.The dollar value of each ton of exported handicraft goods is 27 times the average price of each ton of exported goods in the year of 1400, while such a high added value constitutes only 0.04% of Iran's total non-oil exports in this year.Considering the long history of production, inexpensive human resources, local raw materials, recognition of Iranian handicrafts in the world market such as carpets and other products, what problems does the export of Iranian handicrafts face under the sanctions and what are the solutions to fix and improve these issues?What compelled the researcher to conduct a field study to answer these questions is the difference and variety of opinions in the reasons given by the producers and exporters. Each of them, based on their own experiences, put forward reasons for the small share of handicrafts in Iran's exports and offered some solutions. This low share is rooted in several weaknesses, and this research attempts to draw a general picture of these issues.The method of the present study is descriptive-analytical and practical in terms of purpose. The collection of data has been done through the library method, questionnaires and interviews. The statistical population of the study includes handicraft producers, handicraft exporters, university professors, and cultural heritage experts. According to the data saturation level, 10 of them have been selected via typical case sampling for semi-structured interviews as well as 10 published interviews in newspapers. Thematic analysis was used in 6 steps to analyze and categorize the data. The first step was to familiarize oneself with the data by reading the texts several times. Then, in the generating initial codes step, short meaningful pieces of texts containing the obvious or hidden meaning of the interviews were collected. After the initial coding, searching and recognizing the themes was conducted, the codes were divided into several groups, and the similar groups were put together and formed the primary themes. Consequently the primary themes were recognized, the review and control of the themes was done by extracted codes, and the network of themes was drawn.In the fifth step, theme network analysis, themes were named and defined, and then the theme network was described. In the final step, which was compiling the report, the network of themes was summarized into 4 main categories with a brief description of each one of them interesting examples were presented and important quotes from interviews were extracted , to form the final body and conclusion of the study.According to the findings, the biggest problems of Iran's handicraft exports are summarized in 4 main themes: "Domestic sanctions against handicrafts", " The troubles of foreign sanctions ", " Commerce, the missing link of export" and "The Traditional and modern duality".In the first main theme, i.e. the domestic sanctions against handicrafts, the problems are divided into three sub-groups including legislation as sanctions, poor management and weakness of the administrative organizations. By domestic sanctions, this study means the decisions and resolutions of the government and parliament, and management impediments and incompetence of organizations in charge of handicrafts, and in general, the mismanagement that has been created on the basis of problematic legislations or against the required laws, and lack of any demands for reconsideration from the corresponding administrative organization.The sub-theme of legislation as sanctions consists of 3 main code groups, which include problematic existing laws, lack of required laws, and internal organizational regulations such as the Post Office, transportation, and some solutions are offered. In the sub-theme of poor management, there are sub-categories of goods departure, supply of raw materials, distribution of raw materials, slogan of support and supervision. This theme is more focused on how to implement the existing laws and management, while the previous theme focuses on the laws themselves. It can be said that all the mentioned cases, both in terms of management and laws, can be solved with a strong demanding body. An organization that conducts pathological researches and after identifying the problems and with the support of experienced experts consults with various departments including the Central Bank, Ministry of Industry, Mine and Trade, Post Office, Airlines, Insurances, Transportation, etc. and prioritizes solving the problems of handicraft exporters in all cases.Some suggested solutions according to the mentioned problems and issues are as follows:Solving the conflicts of existing laws, removing problematic laws, strengthening the administrative organization and making demands through it, defining the duties of the bodies and organizations related to handicrafts, synergy between multiple claimant entities, facilitating the departure of handicrafts from the country, providing export incentives, providing funds through private sector, supplying raw materials and distributing them through syndicates.The second main theme, the troubles of foreign sanctions, is divided into two sub-themes, sanctions glass half empty and sanctions glass half full. The half-empty glass of sanctions includes the effect of sanctions on raw materials, money transfer, exchange rate and high prices, tourism, the internet, and the export of handwoven carpets. In the solutions section, cases such as the cooperation of the producer with export companies and merchants to bypass sanctions, creating virtual tourism infrastructure, using third parties and companies based in other countries for online sales, the use of cryptocurrencies, the transformation of handwoven carpets into global brands and capital goods are suggested.Marketing, branding, export strategy, virtual and real markets, the taste of the audience and many other concepts that are raised in the pathology of export are all small pieces of a bigger puzzle called commerce. One of the problems that can be seen in most of the producers' interviews is that the producer himself exports and sells abroad, and for many reasons, including incognizance of international trade, lack of an export marketing strategy, the necessary resources and communications to move money and products, etc. they experience losses or are not successful in their ventures. There are not enough export companies active in handicrafts, and these few are not even known among the producers. In the third theme, the effects of the lack of specialized merchants in the five sub-themes of merchant, buyer, survival in the market, online sales and neglect of branding and advertising are discussed. In online sales, the problems in 6 groups of online marketing, online shopping platforms, entering the market, human resources, content production and sending export goods have been categorized and analyzed.Among the solutions presented in this section, education and training of brave and active businessmen, separation of production and export, specialization of exports, prevention of excessive import of parallel products from competing countries, correct identification and selection of the target market, can be mentioned.Finally, the fourth theme the personality of the artist and their production, and the struggle between the traditional and the modern, is discussed. Handicraft is an art-industry that comes from tradition and uses tradition in design and production methods and even in human interactions in workshops. The master-student concept that still exists among artists in this field is a clear example of it. Such strong traditional roots can be both strength and weakness at the same time. In the modern world, designing products in a way that preserves its historical and cultural roots while being relatable to the consumers of this day and age, somewhere between traditional and modern, is of great importance. In the solutions section, renewing the old traditional designs, training and facilitating the entry of the new generation of artists into the handicraft production sector, updating the designs and work methods, using new science and technology, and making the goods practical are among the suggestions that have been offered.In the end, it can be said that in order to overcome the current problems of handicrafts, each of the three sectors, the custodian, the merchant, and the artist, need to change and reform. Proper export is possible during the sanctions, provided that we first overcome the internal embargo, the lack of active and expert merchants, the obsolescence of designs and products, and the mental barriers of artists in this field with the help of training adequate human resources in all three aspects and fundamental strengthening of the administrative organization in charge of handicrafts.

Divan-i Hussaini is a collection of poems by Sultan Hussain Bayqara (842-911 AH) in Chagatai  Turkish (Chagatay Turkic or Eastern Turkish), which in addition to their literary and content value, are also remarkable in terms of richness of their book-decoration in handwritten versions of this literary masterpiece. One of its manuscripts is Document No. 12148, which is currently kept in the Department of manuscripts of the national museum of Paris- France. This transcript has been scribed in 890 AH (1485 AD) in 95 pages in the royal palace of Herat (or Dar-al-Saltane of Herat) in Nastaliq script by Sultan [=king] of calligraphers, Sultan 'Ali Mashhadi. And it has been decorated by unknown artists with various book-layout elements, including miniature, gilding, calligraphy, traditional margin-painting, illuminating, etc. Among the decorative features of this Divan, rich and magnificent elements of illumination can be seen in most of the pages, which can certainly be considered as the product of Timurid era artists.Therefore, the technical- artistic analysis of this Divan's illumination motifs is the current study's main purpose. To do so, this paper employed a stylistic approach and a descriptive-analytical method by referring to library resources and internet websites, which contribute to the conclusion of this research concerning: “What are the visual features of illumination motifs of Divan-i Husaini, and what are the stylistic attributions of this manuscript?”The process will, first introduce the mentioned version of Divan-i Husaini (890 AH), then, the illuminatio motifs will be structurally described, and lastly these depictions will be analyzed separately for the three elements of color, motifs, and composition.Like many other valuable artworks, after leaving the Timurids realms, this piece has traveled through various - either Iranian or foreign - courts; from Afshari and Safavid, to the royal courts of India and Europe. This can be deduced from the study of various royal stamps, annotations, and decorative appendants on different pages of this manuscript. The travels of this manuscript have led to changes and transformations that the most basic intrusion should be the onlaying on the texts and margins of the paper for restoration or beautification. Examining the appendants and adapting them to the book-decoration elements in later periods reinforces the suspicion that this onlaying took place in the Safavid period. So, it is worthwhile to consider calligraphy, illumination, miniatures and the page layout of this manuscript as attributes of the Timurid period and gilding and illumination of Toranjs in the margins as attributes of the Safavid period.Elements of illumination (Timurid period) can be seen in the Sun illustration (Shamse) in the dedication page, inscriptions and margins of the opening pages, the margins of the painted pages, the inscriptions and panels of the middle pages (poetry pages), the tablets and inscriptions of the colophon and Toranj-Lachak of the last page. The Shamse of the dedication page consists of eight tablet inscriptions around a circular axis, that like arms, (Bazubandi) stretch to the wide margins with azure niches (Sharafe) on the outside, and on the inside, have frames decorated with various Eslīmī [=Arabesque] and Khātāī [=Floral] motifs. Opening pages, two opposite pages with symmetrical composition, include two pairs of upper inscriptions, two pairs of lower inscriptions, two side panels, a three-sided ruling and Shafare. The margins of the illustrated pages (miniatures) are exactly the same as the margins of the two opening pages in terms of composition, motifs and color, and they are composed of twisted Arabesque frames and Khātāī flowers. Illumination elements in the middle pages are usually embossed in the margins of the Bazubandi frames of the inscriptions. These inscriptions can be found in all pages of poetry in the same shape and size but with different compositions. (Among the 148 inscriptions, there are 9 unique combinations.) In addition to the inscriptions, panels are drawn between or around the lines of the poem, which are seen in the chalipā (cruciform) arrangement of the page in a Lachaki (triangular) form, and in the columnar arrangement in the form of two symmetrical pairs. In the colophon, only two illuminated Lachaki are located on either side of the text and two illuminated panels, one at the bottom of the scribe and the other on both sides of the inscription. On the final page, a combination of Toranj and Lachak can be seen, which the composition is based on the symmetrical repetition of Arabesque frames and Khātāī stems. All these decorations are separated from each other and from the whole page, by various border lines and ruling. The grids in this Divan include: Muthanna rule (in the margins of the inscriptions), the three-side line rule (in Kamands [=the three-side grids] and the margins of the pages (annexed)), the Murassaˈ rule (in the margins of the poems (annexed) and the innermost margins of the opening pages) and the Muharrar rule (between lines of poems).In an overview of this Divan, it can be said that Arabesque motifs have played a greater role in the decoration of the pages, which in a way shows the influence and the style of the Timurid artists to far eastern decorations (Chinese decorations). Arabesque Vagīreh (repeating a fundamental and borrowed regional pattern) provide a space for the circulation of Khātāīs, and this space is completed with floral spirals. In fact, arabesque types such as simple two-branch arabesque [=Eslīmī-ye do-shakhe-ye sāde], snake arabesque [=Eslīmī-ye māri] and Dragon-mouthed arabesque [=Eslīmī-ye dahān-aždarī] have been used in the structure of frames, borders and Nishans (marks) on the Lachaki tablets and Bazubandi inscriptions. And Khātāīs, including buds [=qoncheh], multi-feathered flowers [=gol-e chand-par], cotton flowers [=gol-e panbe-i], and Shah Abbasi, have been used to decorate them. To dye these motifs, in the first rank, two colors of gold and azure, and in the second station, white, red, pink, orange, green, blue, and black colors have been used. (The features of the illuminated pages of this Divan can be seen in the tables below.)in conclusion, it must be acknowledged that the stylistic features of the illumination motifs of Divan-i Husaini manuscript correspond to the illumination features of other exquisite manuscripts of the Timurid period. Some of these features include: the predominance of golden and azure colors in the whole work, the variety and richness of the decorations, especially in the inscriptions, the application of a naturalistic approach in the use of Khātāī motifs (tendency to use floral patterns with the arabesques), the tendency to apply Chinese motifs in presentation of arabesques, and complex and harmonious compositions.

In Alain Badiou's opinion, "truth" does not originate from philosophy, but emerges in the four fields we have known so far: science, politics, art, and love, which are the conditions of philosophy. He refers to the "status" in the four fields, and in his opinion, the "void" in the current status, and consequently, the occurrence of the "event" leads to the creation of truth. According to him, "subjects" in each of the fields complement the event with "fidelity" to it. In relation to each of the four fields mentioned, Badiou gives examples of cases of occurring events and provides examples of subjectivity in each of them. For example, in connection with art, he speaks of theatre, poetry, painting, cinema, dance, novel, music, sculpture, and the occurrence of events in them. According to him, when a text is staged by actors and directed by a person, an event is formed at the same moment, but if the viewer decides to react positively to the new event and accept it, they actually become the subject. Then the truth occurs and the event relates to the world around it through the viewer.
But what is the status of these interdisciplinary fields of art? Do Badiou's definitions of truth, subject, and event apply in the field of media, especially in modern advertising? In this article, we intend to deal with an aspect of environmental advertising that needs to be performed by the audience through the interaction or participation of the audience to complete and convey the message, and therefore parallels Badiou's subjectivity of truth. The subject is very important in Badiou's intellectual system; because in all fields that can originate the truth (science, politics, art and love), the subjects are the factors that ultimately create truth by their actions, through their fidelity to events. The importance of human subjects in the fields of truth creation doubles the importance of modern interactive and participatory media. These modern media, and especially the interactive-participatory advertising, due to involving the audience in the text domain, put the audience into a tow-way communication, and unlike traditional advertising, leave the completion of the advertising message to the audience.
But, is any type of interactive or participatory advertising the scene of occurrence of the event? Does the audience become the subject by their performance, or become the subject when they decide not to participate in completing the advertising message? And how do truths and events become possible in interactive-participatory advertising? These are the questions that we will answer in this research. This study is qualitative and has been done by descriptive content analysis. Study samples have been purposefully selected from commercial and non-commercial environmental advertising according to the characteristics of interactive-participatory advertising. In this research, first, the characteristics of key concepts in Badiou's discourse, including truth, event, and subject, also the truth of art from Badiou's point of view are explained. Then, the characteristics of interactive and participatory advertising are presented, and finally in the main discussion section of the research, the conditions of truth production from Badiou's perspective in interactive-participatory environmental advertising, are examined.
Overall, in the section of explaining key concepts in Badiou's discourse, the characteristics of event, subject and truth are expressed. Characteristics of the event include: 1. Unpredictability 2. Creation of splits in the cognition of the status 3. Existence of actions, rules, and customs outside of the status 4. Creation of new rules and meaning, and 5. A real change. Characteristics of the subject include: 1. Announcing the occurrence of the event 2. Fidelity to the event 3. Exploring the consequences of the event, and 4. Changing the structure of the status in accordance with the laws of the event. The characteristics of the truth include: 1. Novel and innovative and linked to creativity 2. Comprehensiveness 3. The result of the action of the loyal ones, and 4. Having performative feature. In addition, in this study, in the section of interactive-participatory advertising, we distinguished between two types of interactive advertising and participatory advertising according to the factor of using computer-based and digital interfaces or not. Consequently, if a computer-based interface is used in advertising and through it, the audience communicates with the advertisement, it is interactive advertising, and if this communication takes place without the intervention of a computer-based interface, it is participatory advertising.
According to the studies and matching the characteristics of the subject, event and truth with the study samples in the research, it seems that the advertising message in interactive-participatory environmental advertising can have the characteristics of the event as a trace of the event and interactive-participatory environmental advertising can be a new body. It also seems that the acceptance of the advertising message in the interactive-participatory environmental advertising can be a kind of announcement of the event by the audience and fidelity to the event depends on changing the subject's behaviour towards the advertising message. Sometimes the audience, in accordance with the consequences of the event, transcends and changes other aspects of their lifestyle, which translates into the exploration of the consequences of the event. And also the change in the structure of the status in accordance with the rules of the event can be the same behaviour that emerges from the subject after receiving the message; and this behaviour emerges with a different structure from the existing structure and a real change occurs. Ultimately, it seems that what changes the subject's behaviour in this type of advertising actually interrupts the repetition process and creates a new truth. The subject is placed in a position that leads to a change in their behaviour, and this change in behaviour occurs as the result of a change in the usual structure. It should be noted that the truth is comprehensive in this type of advertising and any subject can create it. Because, basically, environmental issues and concerns have a general audience, and as a result, the behaviour of loyal subjects can be achieved by any other subject and create truth.
In addition, the research findings indicate that if interactive-participatory advertising contains messages that the result of holding on to them creates splits in the current status, the event occurs and consequently, if the subjects accept the event and in accordance with the rules of the event, express any behaviour with the purpose of changing the current status, the truth is created. In fact, according to Badiou, it can be concluded that those types of advertising that, in addition to promoting consumerism, break the rules and regulations of governments, are considered real advertising, or advertisements that sometimes encourage the audience not to consume industrial products and consumerism. Hence those types of interactive-participatory advertising that promote cultural concerns that are overlooked by economic policies are real advertising. Unlike the economic policies of governments, Interactive-participatory environmental advertising promotes the culture that encourages the audience not to consume industrial products.
Also, due to the universality of truth in Badiou's thought, the subjects of this type of advertising are also general, and any human in confrontation of the event of advertising, can help spread the truth as much as possible, ‌since environmental issues are related to all parts of a society. While in other types of ads, certain audiences may be targeted for receiving the message. Another important issue in relation to the subjects of interactive-participatory environmental advertising from the perspective of Alain Badiou's discourse is fidelity to the event and faithful actions. In Badiou's thought, the creation of truth depends on the performance of an action by a loyal subject. On the other hand, sometimes in interactive-participatory environmental advertising, the product becomes a medium for advertising, and incidentally, the advertising message encourages the audience not to consume the product. Here the audience is put to the test and is considered a loyal subject only when they refuse to consume the products while having access to them, to protect the environment. This is the only situation where the opportunity to use the product is given to audience for their comfortability, but the advertisements ask them not to do so. In fact, the subjects of environmental advertising are the real subjects who move against the current of consumerism in the contemporary world.

The period of Mughal Emperor Akbar (16th century) is considered one of the most flourishing historical periods of India, which witnessed the creation of numerous literary-historical manuscripts. Court artists created many paintings by adapting Iranian works of art. Among these art works, we can mention two different illustrated versions of Jāmiʿ al-Tawārīkh (Compendium of chronicles), which are the result of this period. One of the illustrated images of these two manuscripts is on the subject of "Birth of Ghazan Khan" and has a pretext from the Timurid period.The purpose of present research is to study the relationship between above art works and the “Ghazan Khan's birth scene” painting (Hypertext) in Paris Jame al-Tawarikh (Timurid period) and tries to find answer to these questions: How is the form of adapting relationships explained in the examined paintings? What changes have been made in the process of adapting these art works from the Paris image?This study is done in descriptive-analytical method and hyper-textual approach. Information has been achieved from textual library sources, specialist articles in credible scientific and information databases, as well as some field resources. The conclusion of this study shows that the relationship between the hypotext and the hypertext is diachronic and cross-cultural, and the later texts, both the Rampur painting and the Worcester Museum version, were created with changes and trans-textuality in the pretext.Gérard Genet's theories have been used to compare the two mentioned images. Both of images were depicted in emperor Akbar’s royal atelier (1004 and 1005AH/ 1596 and 1597 CE). The images are depicted by inspiration and adaptation of the "Birth of Ghazan Khan” painting in the Paris Jami-al-Tawarikh.The common feature of mentioned paintings is the written-verbal pretext of the Jami-al-Tawarikh context as well as the pictorial pretext of the Paris version. In this process, the differences and similarities, the way of interactions and the level of derivation of these two works from the painting "Birth of Ghazan Khan" in the Paris version, have been discussed and the innovations of Mughal artists have been examined and analyzed separately.The current research includes the texts that were created based on the relationship of derivation from other texts. This means that the influence of the type of derivation of one text from another text and not necessarily its presence is investigated. In the topic of Palimpsests, Genette has expressed his opinion that any relationship that connects the second text to the pretext forms a polytextual relationship.In this case, the second text is completely derived from the first text. If the first text does not exist, the existence of the second text becomes impossible. This article studies the intertextual relationships between two "Birth of Ghazan Khan" paintings belonging to the illustrated version of Rampur and "Birth of Ghazan Khan" preserved in the Worcester Museum, which were depicted in the period of emperor Akbar Shah. Also, their creation being inspired by and adapted from a painting with the same theme (depicted in the Ilkhani period) will be analyzed.All three images (hypertexts and pretexts) are depicted based on a historical written text. The Rampur painting was illustrated by an unknown artist, and the Worcester museum painting was illustrated in a group by artists such as Basavan, Bhim Gujarati and Dharmdas.This study's findings reveal that Emperor Akbar’s royal painting workshop artists have created the subjects of this study, according to the written and visual pretext of the painting of the Paris Jami-al-Tawarikh of the Timurid period.This pretext has the aesthetic system and structural features of painting of the Timurid period, which is rooted in Iranian-Islamic culture. Despite the fact that Mughal period was considered an Islamic territory, but due to its different cultural background, it had many cultural differences with Iran in that era. Therefore, Emperor Akbar and his royal atelier painters were interested in Persian painting and literature.Hence, the artist of the Rampur painting (the first hypertext) created his work based on the Paris painting and adapted from it. The importance of this is due to the fact that in the hyper-textual relations and derivation, a kind of cultural and artistic transfer has also taken place, which is from Iran to Mughal territory. Due to the subject of this painting and its narration which is about birth events and the life of Ghazan Khan, aggrandize the importance of its illustration and addressing the scene of his birth has also increased its importance. So it can be considered a reason for derivation from pretext painting.The analysis of hyper-textual relationships presented in this article shows that despite the relationship between diachronic and intercultural perspective, the influence of para-textual factors (differences in the background and cultural context), in the first hyper-textual (Rampur version painting) compared to the second hyper-textual (Worcester Museum painting) has been encountered, with small differences by the way of adaptation and borrowing from the original text (painting of the Paris edition).The reason for this can be found in several factors. It seems that since the Rampur version was taken from Iran to India, the Mughal painters somehow wanted to create harmony with the other images of the Rampur version in the illustration of "Birth of Ghazan Khan". Therefore, they have applied less transformations and changes. But in the second hypertext (Worcester painting) which is illustrated after the Rampur version, Basavan and his fellow artists have preferred to create a completely independent art work of the Rampur painting in a new style and fully compatible with the Mughal culture. Therefore, these changes and transformations, which show the metamorphosis of pretexts, are mostly based on structural features (cultural, narrative, temporal, environmental changes). Also, internal changes include removal, increase and transposition.This has caused both a change in the structure and a stylistic evolution compared to the pretext (Paris painting). In fact, Mughal artists have created art works that transformed the formal structure and written content of the pretexts to a certain extent by creating various variations and changes by changing the style and visual elements. They have been able to create a new art work which represents and reflects the cultural conditions and the art of that era.

Graphics, in its broadest sense, refers to any type of design or visual image creation. On this basis, graphic design is considered as one of the most important and influential arts in the contemporary period. Meanwhile, poster design is one of the branches of this form of art. A poster is a special kind of announcement and display for a graphic design that also has an advertising aspect. Of course, its artistic aspect is also important and it is known as one of the forms of art in the contemporary period. Graphic design and posters are used in different fields. One of the most important areas where poster design is well needed and focused on, is the Cinema. The first encounter of audience with a movie besides the trailer is the movie poster. No matter how much the digital world has revolutionized the world of advertisement, movie posters are still very important. In the beginning, Iranian cinema was a raw and developing industrial experience, but over time, it became one of the important cinematic currents with various factors integral to its formation. Iranian cinema has undergone many changes before and after the Islamic revolution. In such a way that we are facing two very different cinemas in terms of form and content. In recent years, dealing with social themes in Iranian movies after the revolution has become more prominent. Since these films directly or symbolically address the concerns of the audience, they are, in a sense, complemented by their audience. That is, the theme of the film starts from the film, but it does not end in the film and is completed with the mentality of the audience. This results in the audience becoming a more important factor of the social movies compared to other types of movies. The audience's first contact with the film is primarily through the poster and its design. Whether the purpose of creating cinematographic works with a social theme is some kind of plot, pathology or even solving social problems in the society, the communication of the audience with it and the method of this communication must be carefully designed and formulated. In this research, the relativity among the themes of selected films from the works of Fajr Film Festival from 2012 to 2020 is examined. The main question in this research is as followed: How is the graphic representation of social themes in social movie posters? This research is problem-oriented and has no hypothesis, and at the end the research the question is concluded in an answer. The purpose is to examine how far the poster design of social movies in Iranian cinema has provided a correct representation and to what extent the relevant social theme is included in the posters. In this research, after explaining some concepts as theoretical foundations such as representation, graphic representation, film as a thought from, social theme, and social film, the method of analyzing social themes and posters is expressed. After that, the findings of the research are presented. In terms of its nature, this research is classified as applied research. In terms of type, the research is descriptive-analytical. To collect information on theoretical bases, a study of the literature has been conducted, and multiple films and their posters have been studied. The data analysis method is quantitative for statistics and qualitative for analyzing the content of movies and their corresponding posters. Sampling in this research has been done using a selective method. For sampling in this research, films with social themes were selected among the films of Fajr Festival in 2012 to 2020. After that, the ones that had higher quality in terms of poster graphics were selected. The result is 45 films (5 films from each year). Since it is not possible to include 45 posters in the text of the article, the pictures are not included in the text. But in order to be able to cite and review, in the process of research, only the official poster was used on the Cinematic website, which is accessible in this database and does not change over time.The results of this research show that enough attention has not been paid to poster design in social movies of Iranian cinema after the revolution, and even cases can be found in the 45 examined samples that do not meet the minimum standards of an acceptable graphic design. In the selected films, except for one case, all the posters are designed in color format, this can be considered a positive component considering the importance of color psychology, but if we consider that a black and white image implies a sense of ethereal (unreal) the necessity of black and white design for social themes becomes more clear; since the world depicted in these films is not necessarily a factual image of the real world, but is a fictional world that is considered a platform to showcase social issues. In all the posters of the selected movies, the images of the main characters are used. This is not only necessarily positive in terms of graphic design, but it seems that it is only in line with the Cinema Star system dominating the Iranian cinema in order to attract more audience and gross in the box office. Typography is present on all posters, usually a decorative element, and rarely is it tied to the social theme of the film. In terms of color science, in the previous sections, the number and percentage of the use of colors have been stated. This research shows that in some cases, the use of color is directly related to the social theme of the film and in some cases it has only a decorative aspect. The use of text in posters has an informative aspect, and usually due to the font size and layout, this function is also weakened and cannot be used. Perhaps, considering the significant growth in audience using the internet to acquire information, using informative texts on a poster has become redundant. The use of abstract imagery in posters is very limited and insignificant, and there is not even a single case of minimal poster design among the works. Some creative elements have been used in each poster, which, along with other elements, have improved the designs, but it can be said that the posters are not really stellar in this regard either. Also, among the reviewed cases, there is not a single case of horizontal poster, which is common in movie poster design in the world, and is not considered a negative component. Maybe when these posters were mostly used in printed format, vertical design was more necessary. The most important point in reviewing the poster design of selected films is the connection between the design and the social theme of the films. In terms of how the main social themes of the film relate to graphic representation, we are faced with several different situations. Situations in movies are categorized into three formats:Direct communication: It includes cases that directly and explicitly represent all or part of the main social themes of the film in the form of visual elements in the poster.Symbolic communication: includes cases where all or part of the main social themes of the film are represented in an indirect format using symbols or elements.Lack of communication: It includes cases where no part of the main social themes of the movie is represented in the poster format and the design is purely decorative.This research shows that out of all the movies studied in this research, 21 posters (46.6%) are directly related to the theme of the movie, and 22 posters are indirectly and symbolically related (48.8%) to the theme of the movie. It seems that 2 cases (4.4%) are not related to the theme of the movie at all. Based on this, it can be said that, in general, the relation of poster design of social movies in selected works with social theme is not very impressive. It seems that considering all the technical and artistic advancements of Iranian cinema in the studied years, the poster design has not been paid enough attention to, as it should, and their function has remained only for commercial purposes, and the exposure of the audience to the film through the poster and the importance of correctly representing the social theme of the film are not considered in the design process. As the extension of this research, it is suggested to propose a practical and suitable design model for the movies with social themes. Also, a comparative study can be conducted, between Iran's poster design and the posters of foreign well developed Cinema industries which will yield more clarification on the weak points of Iran’s film poster design, and might come up with constructive conclusions to improvement.

yCarpet is a valuable handicraft due to the number and diversity of its designs and drawings, the meticulous principles observed in weaving them, and the technical operations of coloring. The studies conducted in the field point to the high level of skills implemented by artists in creating and weaving carpets. Carpet has a very long history, and the oldest carpets displayed in museums around the world illustrate only a portion of that history. But it also has a vague history, and its process of evolution and development has so far remained unknown. In addition to the carpets or pieces of carpets that have survived to this date, paintings, drawings, and old texts are also remarkable resources in the history of the carpet. Investigating the history of carpet is an important branch of carpet studies and has been carried out by Iranian and foreign researchers for many decades. The historical information on Iranian handwoven carpets begins with the well-known Sheikh Safi Carpet in the 10th century of the Islamic Calendar. However, it is obvious that Iranian carpets date back to more ancient times. The handwoven carpet gradually gets decayed, eroded, and decomposed due to the existence of the protein structures of wool, silk, or cotton. Clear-cut pieces of handwoven carpets are limited to the past few decades. Resources that provide historical information on handwoven carpets before that time include pictorial sources (e.g., drawings) or written sources (e.g., books).Numerous drawings made during the Ilkhanate and Timurid eras, which encompass the period between the 7th and 9th periods of the Islamic Calendar, directly and explicitly illustrate the handwoven carpet. They offer information like the designs, drawings, and colors of the carpets produced during the period. Though many studies have been conducted in this field (miniatures), few studies have investigated the history of carpets in written records. Moreover - although not nearly enough - several studies have been conducted in the field that can be useful and helpful. Even though the present study has similarities to the previous studies in terms of its resources (the history of the old handwoven carpet in written records), it is different in regards to the selected historical period and the implemented written records. The main hypothesis of the study is that while the designs and drawings of carpets attracted the attention of the authors of written resources and prompted them to provide reports on them, the findings of the study would offer something different.The main resources of the present study include old written records. They were books that had no relevance to crafts and arts in terms of their main ideas but somehow illustrated the political, social, and cultural history of their times. However, it should be noted that no book was written on fine arts and art in the investigated period. Thus, ten volumes on three different fields, including itineraries, geography, and history, that were written from the 4th century to the 8th century of the Islamic Calendar were selected using the non-random – judgmental sampling technique. Six books on political history that offered comprehensive materials (e.g., Jami' al‑Tawarikh and Tarikh-i Bayhaqi), three itineraries that were the most well-known itineraries written in Iran from the 4th century to the 8th century of the Islamic Calendar, and a book on geography that introduced professions, crafts, and arts in different regions and realms of Iran. The main questions of the study were as follows: “How was the Iranian carpet described in old written records?” and “What type of information did the books offer on the carpets?”The present study is a historiographic one in terms of its goals and is conducted using the descriptive-analytical methodology. Moreover, the data were collected using library resources. The books investigated in the study, which were ten volumes and had been written during the Buyid Dynasty, Mongol Conquest, Ilkhanate Dynasty, and Timurid Dynasty, could be classified as historiography studies. Four volumes were valuable works written during the Mongol (Ilkhanate) era and had historical significance as they offered precious information on culture and arts of the studied eras. The Mongols linked western and eastern schools of thought due to their extensive political geography that stretched from China to Asia Minor, and this was evident in the surviving historical records of the time. For instance, Mongols converted to religions like Shamanism, Idolatry, Judaism, Christianity, and Islam in various periods and performed the rituals of those religions. This indicates a sort of artistic intermixture during the Ilkhanate era. Indeed, it can be argued that the dominance of Mongols in Iran was a turning point in the art history of this great land. The researchers sought to meticulously investigate the selected books to find phrases and clauses that offered reports of handwoven carpets and rugs. Thus, the books were studied line by line so that any traces of carpets in them could be found and analyzed. Moreover, the reports on carpets by historians who had no professional relation to crafts and arts were also considered and studied. Then, the clauses of the books that offered information about carpets were classified into three sections (determined by the authors in clear-cut thematic areas). Then, the evidence implied by the clauses and reports was analyzed. Undoubtedly, the number of books investigated in the present study was negligible compared to numerous books and old bulky volumes written in or about Iran. Nonetheless, the results of the study could be analyzed in other books as the historical components of the carpet. Investigating the selected books resulted in the collection of a total of 83 reports (containing at least one clause relevant to carpets) as the data of the study. The collected clauses all pointed to three considerations:First, in all reports, carpets were described as valuable and expensive handicrafts. Second, none of the authors in the investigated four centuries made sufficient and convenient reference to the designs and drawings of the carpet and just talked about the colorfulness and, sometimes, the materials used in weaving them. Third, though the authors did not talk about the designs of the carpets, the designs and drawings of the fabrics, curtains, and Diba (a thin carpet made of cloth) were described and paid attention to. Consequently, the following conclusions and theories were obtained: the handwoven carpet was considered a valuable and expensive commodity from the 4th century of the Islamic Calendar onward and contributed to the magnificence and grandeur of the kings’ palaces. Unlike the hypothesis of the study, the authors and historians made no reference to the designs and drawings of the carpets and only described the materials used in weaving the carpets and their colorfulness.The delicacy and beauty of the fabrics described in the investigated written records (in addition to the surviving drawings and pieces of fabric) imply that the drawings of fabrics and the textile had a significant effect on the drawings of handwoven carpets and were considered important sources in that regard. Moreover, the designs of the carpets could not be described due to their geometric repetitive designs, which could be found in the drawings of the period.Any investigation on the history of the carpet by the researchers of visual resources should take into consideration that some carpets described and noted by historians and authors were indeed cloths and dibas. This can be helpful in distinguishing the drawings of a carpet from a diba, particularly when a carpet is drawn on another one. Moreover, the similarity between the drawings of the carpets and cloths used to cover the floor consolidate the hypothesis that the designs, drawings, and delicacy of the cloths influenced the designs, drawings, and texture of the carpets.The ultimate conclusions of the present study were the significant value and cost of the handwoven carpet, the lack of information and reports on the designs and drawings of the carpet, and references to the materials used to weave the carpet. Moreover, the findings probably imply that the designs of the carpets produced during the investigated period were geometrical and repetitive, and the drawings of cloths were a source of inspiration and influence on carpet design in those eras. Historical books and records offer valuable information and data to researchers on the process of the history of art and the history of the handwoven carpet. They can pose numerous questions and offer answers to the studies conducted on Iranian carpets to elucidate the path of the progress and splendor of the Iranian carpet, which was hidden for many centuries, in a better and more comprehensive way.

Jewish rugs were a group of Qajar pictorial carpets that were  created by a combination of Jewish motifs and Persian carpet designs. By using Iconology on structure and content, this research has studied and analyzed one of famous Jewish rugs to find factors affecting the worldview behind its creation. After studying  the history of the subject, and detailed description and analysis of the work, the motifs have been interpreted. Iconology is an important theoretical approach in  arts and methodology that narrates artworks as reflections of political, social and economic contexts, and hails them as evidence of reality of their era. Erwin Panofsky, an art theorist in imagery, has attempted to implement two methods of Iconography and Iconology  in the study of pictorial artworks. This  process starts from description of visual elements of the artwork and concludes with the interpretation and analysis of each element and the work as a whole.This research is qualitative and is based on analytical descriptive methods; and by implementing Panofsky’s approach, attempts to present a novel interpretation of the Jewish pictorial carpet woven in 1890 in Kashan, which is being kept at Beth Tzedek Museum in Toronto.The reasoning behind choosing this particular rug is its uniqueness and presence of symbols and signs of Jewish religion with motifs and design of Qajar era carpets. Jewish rugs are a subgroup of Persian carpets in Qajar era, which showcase the ethnic tastes, wishes and feelings of a people, through the artistic features, motifs and colors .Therefore, in order to understand these icons; we first need to have an understanding of their historical and cultural source. Since the creation and popularity of these works, was due to their cultural and ethnic values, they were created by a combination of religious motifs with designs and motifs of Persian carpets. On the other hand, by emigration of Jews from all over the world to the occupied Palestine, the life experiences of Jews from Iran and other countries famous for their rugs, and Jewish Union Schools, helped the establishment of art workshops that  provided an environment suitable for production of cultural illustration for the new Jewish community.The main focus of this research is to find out how helpful Panofsky’s iconographic approach is in the comprehension of the work; and also to understand the extent to which the Jewish artists, or Jewish patrons of art, have used their religious and ethnic beliefs and  history to create such artworks. And also to ponder on the motivations and concerns of the Jewish people that resulted in the creation of arts that contain Jewish religious and ethnic values, and what could be their purpose. In order to answer these questions, after a thorough study on the historical and social origin of the Jewish Rug of the “Beth Tzedek” Museum, this research has studied the iconography of the rug by relying on description, analysis, and interpretation, to achieve an in depth comprehension of the artwork. This approach, and iconographic study of the subject, provide a binary study – artistic and religious – on similar subjects, and pave the way towards a better understanding of art of carpet in Qajar era.This rug consists of two plans, each part has several images and symbols. In the bottom plan, a three arched scene is shown with two lions at the bases of the central arch. In the left and right arch, two men are depicted, one is holding a tablet in his left hand and his right hand is pointing upwards, and the other man is wearing a special (ceremonial) costume with a Menorah in his background. In the central arch a view of a mountain is shown and at its bottom, there is a tablet with two guardian angels. In the upper part of the rug at the top of the arch, a crown  is depicted and 12 figures are shown around the crown, inside frames, including: Wolf, Gazelle, Lion, Sword, Snake, Grape, Plate, Boat, Branch, Flag, Mule, Trees. A luminous tablet is depicted under the crown. And below a temple is shown with columns and image of two angels (Cherubs) on both sides.The margins of this rug also narrate separate, episodic imagery of religious Jewish stories, which are interrupted by frames of gazelles and hares and trees and structures. Analysis of this rug requires the knowledge of epistemological concepts that are reflected in its imagery. First, this rug reveals holy and religious figures in Judaism: Abraham, Joseph, Elijah, Moses and his brother Aaron etc. Second, it reflects the history and sacred events of Abrahamic religions, especially in the episodic imagery on the margins that narrate the most important stories in Judaism, such as: Abraham getting ready to sacrifice Samuel; Joseph being sold to slavery; Moses in everglade, Elijah and his ascension to heaven; Noah’s Ark landing on top of Ararat; the Victory arc and the twelve tribes.In upper part of the rug, above the arch, a crown is depicted, which is crown of Torah and its manifestation and illumination has appeared in form of RA (Egyptian god of midday sun), which is a direct reference from Kabbalah which teaches that under the illumination of the Torah, three hundred gates appear and the central gate is guarded by two cherubs with a Torah scroll between them, and no one but Messiah can observe this scene. Therefore, all the characters depicted on this rug, in a way, can be different manifestations of Messiah.Iconography in Judaism, whether actually represented in artworks or in form of traditional images, has been observed on the basis of “prohibition of images” in the Old Testament. This prohibition, which has been expressed in various forms in Jewish holy texts, can be understood as follows: 1) Prohibition of any image in religious rites, regardless of its subject. 2) Prohibition on depiction of God and using the imagery in religious ceremonies as an idol. History of Art shows that Imagery has played an integral role in men’s religious life and many studies prove that implementation of illustrations has existed in religious rites. This study concludes that appearance of this rug’s illustrations have been adapted and encoded from Jewish religious texts and beliefs, but adjusted or changed in accordance with standards of Qajar era.Due to explicit prohibition of Iconography in Judaism, there are symbolic hints conveying the history and cultural and structural beliefs of the Jewish people, reflected in the creation of the subject. Icons, like religious texts, convey religious concepts and teachings to the followers of the faith on one hand and on the other, they eternalize the sacred remembrance of the sublime. From this point of view, this rug is an example of a religious icon which, based on iconography of the imagery and the narrative can be a symbolic contribution to Parokhet..