مجله جلوه هنر
سال سیزدهم شماره 4 (زمستان 1400)

Service design has been introduced to the field of industrial design for decades and the design of product service systems has been studied and emphasized since the 1990s, due to the importance and benefits of combining products and services in response to the needs and values of users, as well as improving the economic position of companies; since then, numerous studies have been conducted to clarify the relevant concepts and provide the PSS design process. Accordingly, the number of projects and dissertations related to service design and design of product service systems, has been increased in university education; but unfortunately, due to the insufficient information of students about the basics of this field and the appropriate and usable processes, there are many problems in the process and the results of such researches. Therefore, the purpose of this article is to provide basic and practical concepts about the product service system and also to introduce one of the best PSS design processes.To achieve the goals of this research, questions can be asked and examined: What is a product service system? What does service mean and what are its characteristics according to both traditional and developed approaches? What components does the product service system consist of? What are the benefits and challenges of PSS? What are the types of product service system? In the PSS design process, how the two service-design and product-design processes can be integrated? What are the most important processes presented in the field of PSS design and which process has more clarity, accuracy and comprehensiveness and what is its main structure?Recently, companies produced their products and offered them to customers, and in this way, the strategy of companies' success in the field of economy, were identifying customer needs, also designing and producing products which had multiple capabilities, economic value and competitive quality, to meet customer needs. Today, with the economic crisis, increasing competition between manufacturing companies, increasing environmental problems and concerns, and diverse customer demands, "selling products only" is more difficult than ever Therefore, the design, production and supply of industrial products alone are not responsible and companies and organizations must use more successful strategies to attract and retain customers. Providing services with products can be considered as a strategy that improves competition and achieves social, environmental and economic goals, as well as attracting and retaining customers  In other words, given the increasing competition between manufacturing companies and concerns about their stability in the market environment, it is necessary for companies to move away from the traditional approach with a focus on creating value by the product, and choose an approach that focuses on the customer and his values; An approach that provides services alongside products, can provide more innovation and added value and enable longer communication with customers. Accordingly, we see that the importance of designing and providing services along with products is increasing day by day and continuously. Another challenge for the companies is to integrate and interact these two components instead of paying separate attention to products and services so that they can reap the benefits of this integration. Baines et al. (2007) combined the ideas of Manzini and Vezolli (2003) and Tukker (2004) to describe three kinds of PSS. It should be noted that this category is clearly presented for the first time in Tukker article and has been used in numerous studies: Product-oriented PSS: The provider not only sells a product, but also offers services that are needed during the use phase of the product. Services such as maintenance, recycling, refilling, etc. can be classified in this type.Product-oriented PSS types:Product related services: such as maintenance of escalators or elevators or product warranty or supply of consumables.Providing information, training and consulting: such as consulting about the arrangement of a factory's machines or training on working with a CNC machine.Use-oriented PSS: The Company sells the ability to use or make available a product that does not belong to the customer. Leasing or product sharing are examples of this.Use-oriented PSS types:Product lease (personal and exclusive access): such as renting a food or newspaper stall.Product renting / sharing (temporary personal access): such as renting a bicycle or car for a short and specific period of time (shift use and in order).Product pooling (simultaneous use of a product): such as play equipment and sports in parks, simultaneous use of a recreational or sports environment.Result-oriented PSS: The Company sells the result of the use or capacity of a product that does not belong to the customer. For example, a company instead of selling the paint to the customer, can sell the result which is, painting a house.Result-oriented PSS types:Activity management (often, the method and technology of the activity is determined): such as outsourcing food preparation, cleaning and car washing.Pay per service unit (according to the level of access, use and amount of output): such as payment per copy of the page or payment of car fare per kilometer.Functional result (In contrast to the first case, only the result is emphasized, not the technology and the way it is done): such as providing a company's air conditioning, a contract to guarantee the health of farmers' products.It should be noted that in the field of PSS, new trends (such as digital PSS / service or smart PSS) have been proposed and are being developed that addressing their characteristics and applications is beyond the scope of this article. As mentioned, another important issue is the integration of products and services in product-service systems. Integrating products and services and supporting it requires a system consisting of components of product, service, business model, stakeholders and organizational structure, which is called the product service system, and the correct and accurate design of this system is the concern of methodological experts. In academia, Ulrich (2011) has suggested that either a product or a service can be considered as an "artifact" which is designed by a human being with the same process. Aurich et al. (2006), for product and service design, first considered two systematic processes which similarity and coherence between them can be seen. Then, from the combination and integration of the two mentioned processes, they have proposed the integrated design process of PSS, which is the general process of designing product service systems. Sakao (2011), for designing a product service system, has proposed a process called "SPIPS" which has 7 steps. Marques et al. (2013) also proposed an integrated process of designing product service system that includes four phases: organizational preparation, planning, design and post-design. In their research, Tuan and Park, while methodologically examining and analyzing some PSS design methods, have proposed a general and integrated PSS design method, along with examples illustrating its application in the three types of product service systems introduced. The steps are clear and understandable and have more clarity, accuracy and comprehensiveness than other processes presented. This process consists of 7 steps (includes: PSS idea development, PSS planning, requirement analysis, design and integration, test and refinement, implementation, retirement and recycling) and the design actions, communication with the business model as well as the role and participation of all stakeholders in it are clearly defined, and the application of this process in the design of product oriented, use oriented and result oriented PSS is presented with practical examples. Therefore, it can be used more clearly as a product service system design process, along with practical tools by students and designers.

Construction of high and cylindrical minarets has been expanded in Iran from the fifth century. Many of them are symbolic, political, memorial and military. These minarets were a kind of guide or map for caravans in day and night, and along with religious minarets-which are mainly built in mosques-they contain inscriptions and arrays that wish health and stability for travelers. Most of the inscriptions are written in Kufic script, including simple square Kufic, corrugated Kufic, floriated Kufic, etc. which is presented in different dimensions and various proportions of bricks and in combination with geometric or plant motifs. Khorasan, with its long history before and after the advent of Islam, has been one of the important governmental states. This region has protected the guide minarets of Firoozabad, Khosrow Gard Sabzevar, Ayaz and Karat from the ravages of time from the Ghaznavid and Seljuk periods. Geometric letters of Kufic script and its integration with motifs in Ghaznavid and Seljuk periods has left a wide range of arrays on architectural works with the help of Iranian taste. Since there is a direct and coordinated relationship between the location choice for construction of the minaret and the use of the minaret, the reason for construction of this type of monument can be considered its specific function, which is generally divided into two categories: A) The minaret for the call to prayer of the mosque. B) Leader minaret, which has been built next to the main and secondary roads of silk way, old caravanserais and wide plains for tracking and finding the way. Remaining minarets with these two uses include Khosrow Gard Minaret in Sabzevar, Arsalan Jazeb minaret in Sang Bast, Firoozabad Minaret in Bardaskan, Madreseh Minaret in Golshan, Karat Minaret, Semnan Minaret, two minarets of Hazrat Reza (AS), Ghazni Minaret which belong to the reign of Mahmoud Ghaznavi period, the minaret of Sultan Massoud the third in Ghazni, the minaret of Bastam and the minaret of Jam in Afghanistan. The purpose is to re-read the inscriptions and analysis of form and written structure dominating the inscriptions of the minarets Firoozabad, Khosrow Gard, Ayaz and Karat (which is all leading type) remained from the Ghaznavid and Seljuk periods in Great Khorasan region. Therefore, this article seeks to answer the question: What was the concept of Firoozabad, Khosrow Gard, Ayaz and Karat minarets and what were the structural and formal features of them? The research method is descriptive and analytical and data collection is based on library data and especially field surveys. The turning point of the article is recognizing the inscriptions and analyzing their form and structure in mentioned minarets, which have received less attention or some parts of the inscriptions have not been read correctly in the previous sources, which has been taken care of in this essay. The findings show that the inscriptions have a historical content. Kufic script can be well combined with other designs and calligraphic art and connected to the main body of the inscription in terms of structure and design. The Kufic inscriptions of the minarets of Firoozabad Bardaskan, Khosrow Gard, Ayaz and Karat are informative due to the nature of their use. Architects and scribes have used brick materials with similar dimensions of 5*5* 25 plus gypsum mortar, lime and mortar. The location of installation for all four mentioned minarets is the upper half of the minaret. In response to the first question, it can be said that the content of the inscription on the minarets of the Ghaznavid and Seljuk periods in Khorasan should be placed in three categories: historical, founders, architects and builders, and religious. The historical content of the inscriptions is included in mentioning the year of construction of the building, which is generally recorded at the end of the inscription. Supporters, founders, and acquaintances are mentioned in the form of the names of individuals at the beginning of the inscriptions, most likely from court officials and relatives who were able to support such works, or from well-known families or the governor's order. This issue is clearly mentioned in Khosrow Gard minaret that after the name of the person the adjective Wali Amir al-Momenin or Sheikh is added, which indicates the high political and scientific position of that person. Also, the name of the architect and the builders are mentioned in some minarets such as Firoozabad minaret, which shows their high position in the design of the project. The third category is religious themes. This issue has been done on the Firoozabad minaret in the form of repeating the word Muhammad on the whole body of the building in a masterful way, which was achieved for the first time in this monument. Perhaps this was parallel with the policy of the government, which has shown the dominance of Sunni beliefs over such a huge structure. In addition, the inscription of the Ayaz minaret invites Muslims to perform righteous deeds on the people. It should be said that most of the inscriptions contain the names of the founders who reminded their power and politics to the passers-by and caravans. In response to the second question, it should be said that the designers and creators of these inscriptions have tried to preserve the rhythm of the inscription by using various and creative designs of letters, in each minaret. In the writing system of four minarets, only Firoozabad minaret is combined with plant motif in its writing system and Khosrow Gard minaret is combined with brick curved shapes. In implementing the combination of writing system and plant motifs, the scribe has figured out a harmonious and complex structure in Firoozabad minarate. The rhythm in Firoozabad minaret is mainly kept by the system of floral motifs and vertical letters. Single and pair vertical elongated combinations, circular and toothed inscriptions play an important role in the balance and rigidity of the inscription. Proportion of width and length of the inscription in the writing system has shown the two-by-one space next to the system of plant motifs. In Khosrow Gard minaret inscription, the writing system is combined with simple curved shapes and the vertical letters are in charge of keeping the rhythm. The inscription has a straightforward and simple design and alphabets Lam and Alif (letters in Arabic) are used for keeping rhythm. The proportion of the width of the inscription dominates the writing system rather than the curved forms. In contrast to these two, Ayaz inscription does not have a proper uniformity and the inscription is done at the beginning and end with compression, which shows lack of precise design or acceleration in work. This inscription includes only a simple writing system and the curved structure of the letters is also used in the design. In Karat inscription the letters have been executed with more roughness, although the less width of the inscription and the legibility has been involved in this issue. Proportions and composition of letters and words have followed the principle of width equal to the length of a brick. The vertical letters in the four mentioned minarets have created a visual balance with the help of vertical words, Alif, Lam and 'La' (in Arabic) and the use of letters along with creating equal distances in the overall composition as well as the use of Axons. Letters and words in some of them, such as the minaret of Firoozabad, are prolific and elegant, and in the minaret of Ayaz, it is designed with more elegance. The difference between the inscriptions is in using different types of Kufic scripts such as floriated Kufic calligraphy in Khosrow Gard and Firoozabad minarets and simple Kufic calligraphy in Ayaz minaret and Kufic with leaf arrays calligraphy in Karat minaret and shows the principle of diversity in this historical period.

From the perspective of actor-network theory, the world is a system of actors in which artifacts, like humans, have a degree of agency in relation to other actors. The agency of artifacts is the result of the intentions of their creators or designers. These intentions are inscribed in artifacts by action programs called “scripts”. Present study is of descriptive-analytic type and its purpose is to describe and assess the role of scripts in the designer-product-user relationship in order to understand how social norms are induced by artifacts. In terms of purpose, this research is a fundamental-theoretical study with qualitative approach in which library method was applied for data gathering and then analyzed in a descriptive manner.Mediation of action by artifacts can be explained by the concept of "script". Scripts are very important in the world of Design because the process of using design products (regardless of their degree of objectivity and physical properties) depends on them. To create a good understanding of the concept of the script, the actor-network theory and its sub-concepts form the necessary and desirable foundation. Actor-network theory is often referred to with equal treatment of human and non-human actors, and assumes that all entities in a network can and should be described in the same terms. In this approach, it is assumed that individuals (human factors) objects and spaces (non-human factors) participate in the context of multiplication and also that this multiplicity has effects on the reproduction of human and non-human factors. According to the actor-network theory, social life cannot be reduced to purely human or non-human factors, and those sociological theories that seek to provide explanatory models based on one of the human or non-human factors are in fact reductionist. According to this theory “actant” is anything that has an effect on the world and changes it. The network allows actants to determine their nature, intention, and action. In other words, the network forms an actant and transforms it into an “actor”. The actor is an element that changes the space around it to make other elements dependent on it and to translate their will into its own language.This study makes an attempt to answer a particular question: How can we explain the induction of social norms and values from the design perspective? In this regard, the concept of mediation must first be introduced. An intermediary is something that transmits a meaning or force without conversion (to something else) but a mediator changes, translates, distorts, or modifies the meaning or element it carries. Latour argues that when technology mediates, it includes the “translation” of an "action plan". Translation is the process by which the identity of actors, the possibility of interaction, and the scope of action are negotiated and determined. Scripts embedded in artifacts translate designers' intentions based on the goals and needs of users.To design a product, the designer assumes the capabilities and possibilities for specific users and, accordingly, designs the product-user interaction. Therefore, from this point of view, any correspondence between intention and interpretation must be attributed to the effect of mediator artifacts. In order to achieve an efficient and effective relationship between the designer's intentions and the user's interpretations of these intentions, and as a result of matching the features of the product with the user's expectations and needs, different user characteristics and the context of use of the product must be considered in the design process. These include: user personal characteristics, user capabilities, user knowledge of the artifact, and user experience of previous interaction with exposure to the artifact [or similar artifacts], and physical-biological characteristics of the context of use.Norms are patterns that are accepted in interaction with others and can control individual and group behaviors in specific situations. The norm, while having a descriptive dimension, has within it a concept of prescription and has an attitude towards "what should be" and not "what is" and from this perspective has an instructional approach. This is the normative dimension that makes it a good context to apply scripts in Design.Based on the culture, beliefs and social laws of the time, artifacts can be found that certain types of norms (as well as values) are inscribed in them. In the fourth section, in order to understand how these concepts were manifested in the design of Iranian artifacts, three artifacts that contained scripts to induce a certain norm, value or action have been studied. Industrial design in its modern and academic sense and as a position in the cycle of industrial system and mass production has little history in Iran. In order to identify products that inspire a certain type of norms and values based on the cultural characteristics and social characteristics of Iranians, the scope of sampling should be extended to the field of traditional artifacts. To this end, the statistical population of the present study is artifacts that have been produced in Iran based on the individual/social needs of the Iranian people during the last one hundred and fifty years (modern era) which induce not just a specific behavior but a specific individual-social norm or value. According to the purpose of this section, which includes a descriptive analysis of the concept of script in Iranian artifacts, items were selected that are known to the Iranian public and are rooted in their specific life style and cultural characteristics.An interesting example of these artifacts can be found in one of the oldest sport rituals in the world, namely the ancient Iranian sport and its “Zurkhaneh” (The place where this sport is done) doors. These buildings had a short door that people should bend to enter. Two reasons have found accordingly: eliminating the arrogance related behaviors of the athletes and humbleness and respect for sports, athletes and people who are present in Zurkhaneh. Scripts interact with artifact users themselves, not as passive messages or clues from the designer or creator, but as active actors themselves.In the social structure of Iran, especially after Islam and according to Islamic laws and rules, norms were formed for relations between men and women, which impose some restrictions on the social relations between men and women. If someone wanted to knock on the door of a house, he/she had to inform the residents in advance whether he/she was a woman or a man. The task of informing was the responsibility of the “Koobeh”. These artifacts were metal objects (usually made of iron) that can be said to be the ancestors of modern door bells, and their function is to inform the householder about the presence of a person behind the door. There are two kinds of Koobeh: “Darkoo” for men and “Aalke: for women. Here, too, the mediation of action by artifacts can be seen: informing about the person behind the door. This mediation has a clearly visible translation of action in itself; the act of using "Darkoo" translates to "there is a man behind the door".According to traditional customs and beliefs during the Qajar period in Iran, the faces of women should also be hidden from the view of non-Mahrams, and women used white veils on their Chadors in accordance with this belief. These veils were a white cloth that had a mesh texture in the place of eyes, allowing women to see their way. The phrase "see without being seen" is clearly present in this artifact and has made the conditions of use available to users accordingly.Scripts carry the designer's intentions regarding the desired product, user, and context, and therefore affect product-user-context interaction. Accordingly, their capacity can be used to induce social norms and even moral values. The use of prescriptive capabilities of artifacts is not limited to the modern era, and in different eras many artifacts can be found that prescribe certain types of behaviors and interactions between user and product. Most of these prescriptions provided only a specific type of action based on the characteristics of the artifact and the abilities of the target users, and a small number of them had a value or normative load. In this regard, four examples of these artifacts that had a value or normative load in their prescription for users were introduced and the manner of inducing the desired norm in each was investigated. The capabilities of the script along with its related concepts indicate the possibility of explaining the behavioral orientation of users in interaction with different products and services. The results of this study confirm the existence of scripts with the aim of inducing social norms and values in the studied artifacts. Scripts inscribed in artifacts can be analyzed as an objective aspect of the beliefs, principles and laws that govern human society to understand them as accurately as possible.

After the fall of the unified Mongol political system in Iran and China, the establishment of the anti-Islamic Ming dynasty in China and the Timurid Muslim rule in Iran; Interactions between the two lands were interrupted as in the pre-Mongol period. Contemporary, with the rule of Daiming Khan Ming and Shahrukh Teymouri, steps were taken by the two warring governments to establish political relations and to exchange diplomatic missions. Ghiasuddin Mohammad Naghash, one of the members of the embassy sent from Herat court to China in 822 AH. The present study seeks to answer the following question: What was the position of Ghiasuddin Mohammad Naghash in the influence of Iranian painting on Chinese painting? In order to answer to this question, it is assumed that with the presence of Ghias-ud-Din Mohammad, a painter at the Chinese court, and the creation of Ajaib al-Lataif and an illustrated one (the shrines of the Topkapi Museum), the ground for an Iranian painter's acquaintance with Chinese painting was provided and the Chinese pattern was reflected in his works in terms of subject matter.

This research has been done by descriptive-analytical method and relying on library resources. In this research, first historical reports from the Timurid embassy to the Chinese court were extracted from first-hand historical sources and compiled with the contents of the written embassy of Ajab al-Latif Ghias-ud-Din Mohammad Naghash. Reports related to the embassy have been compiled, and finally, by proving the attribution of these works to Ghias-ud-Din Mohammad Naghash, the influence of Iranian painting on Chinese painting has been examined in terms of subject matter in the works.

Relations between the Timurid and Ming dynasties improved during the reigns of Shahrukh Teymouri and Daming Khan Ming. The two sides sent embassy delegations to each other with the aim of normalizing relations. After receiving four delegations from the Chinese embassy and sending two ambassadors to the Ming court, Shahrokh Teymouri sent a high-ranking embassy delegation to the Ming court on behalf of himself and other Timurid princes. Ghiasuddin Mohammad Naghash, one of the prominent artists of Basanqar Mirza Library, was also on the board. During this embassy trip, he has recorded what he has seen and heard in the form of a travelogue. Although the original version of this travelogue is not available, a copy of it has been preserved in the well-known chronicles of Hafiz Abru and the informant Saadin Abdolrazaq Samarkandi. There is also an Ottoman Turkish translation of this work called Ajaib al-Latif. The reports in this travelogue correspond to the references in the Turkish Topkapi Museum with the signature of Professor Mohammad Siah Ghalam. . The most prominent manifestations of the correspondence between the written travelogue of Ghias-ud-Din Mohammad Naghash and the shrines of Master Mohammad Siah Ghalam can be reflected in the images of demons and other mythical creatures of Chinese temples, desert cows, dervishes and Chinese ascetics, chants and horses. In the travelogue, he referred to the mentioned places.

Mohammad Siah Ghalam is the same as Ghias-ud-Din Mohammad Naghash, a member of the delegation of Herat Embassy to China. The painter Ghias-ud-Din Muhammad was faithful to his style of painting in terms of form, but he owed Chinese painting in terms of the subject matter of his works. The Chinese pattern used by Ghias-ud-Din Mohammad Naghash later appeared in the works of Sheikhi or Yaghoubi, a painter at the Tabriz School of Painting in Turkmenistan. Sheikhi owes a lot to Chinese painting from a thematic point of view, and the clothes and decorations in his works have the color and glaze of Chinese paintings by the painter Maab Ghias-ud-Din Mohammad.

In the first step, the myth seems to be a narrative and a story; but myths carry the way and method, thoughts and messages hidden in the margins of the narrative. The truths contained in these narratives in many ways provide a model and method based on our ancient culture for living in today's society. The dominant culture of the West in the world spreads new patterns of love and degrades the status of love to physical pleasure. This has caused a crisis of human relations in society. Therefore, the analysis of love patterns in the past culture seems necessary and inevitable.In the northwest of Iran is a region with a mountainous climate known as Mokrian and the center of Mahabad city. Mokrian Kurdistan is a very large land that is naturally a high mass that leads from the north to the city of Oshnoyeh and Lake Urmia and from the south to the city of Sanandaj and from the west to Iraq and from the east to the city of Maragheh and Tabriz. The people of Mokrian region, like other scattered ethnic groups and civilizations in Iran and the world, have their own unique culture and art. Although due to historical conditions, social spheres, etc., in the distant historical background of this civilization, we do not find a trace of visual art and written literature in the classical European and traditional Iranian way, but many unspoken and cultural components are transmitted and preserved in a traditional way. This has given rise to a special kind of oral literature. One of these cases is the expression of many principles and biological rules of these people, hidden in the heart of stories and legends, which are narrated in the form of heart-to-heart songs and are safe from the bite of history. In the oral culture of the Mokrian people, there are narrative and descriptive systems called verses. These narrations have a word that has mythological, ritual and historical aspects. The verses are narrated by Mokri singers in a cursed form only with singing and without the use of any musical instrument. The narrators of the verse are generally old people who, in their own tone, tell the audience the myths and stories they have inherited from the distant historical past. One of the most famous of them is Bait Khadijeh and Siamand, which tells a love and tragic story between two cousins. In order to study and identify the pattern of love in the ancient culture of the Mokrian people, the method of love between Khadijeh and Siamand was the main subject of this study. This mythical narrative is expressed in most Kurdish regions of the world in different ways and with small changes in the details of the narrative, with great enthusiasm, and in the contemporary period it penetrates and shows itself in other arts. The thoughts and ideas of each civilization are reflected in their works of art. This presence and reflection in music is much more colorful and impressive than other arts. This is important in Kurdish works of art, especially the verses, if these verses, which have been inherited from the distant past, are carefully examined and analyzed as paintings. Many social, cultural, economic and other issues will be revealed in the past. Love as an essential element of human life has always been the focus of researchers in all fields of humanities, but today, due to the crisis of family and social relations, it has become a fundamental necessity. The dominant culture of the West in the modern and contemporary world spreads new patterns of love and with it expands its thinking and degrades the status of love and leads to physical pleasure, and this has caused a crisis in human relations in society. Little research has been done on Kurdish traditional music. Beat and bit-reading, as an essential part of Mokrian Kurdish traditional music, have also received very little attention from researchers. For most readers, stories that analyze personal relationships are more appealing than other stories that tell only a linear narrative. That the protagonist establishes a romantic relationship with another person attracts the peak of the reader's emotions and attention. The character of the lover usually has a significant attraction for the audience and attracts his all-round opinion. The lover decides at the peak of his feelings that they will be together until the last moment of life and even death will not separate them. Bait (Khaj and Siamand) also show this. Khadijeh wants to mix her existence with Siamand like a firm lover, but such an action carries the risk of her death. Narratives in which the lover prefers death to separation speak of the belief that love goes beyond death. The story of Khadijeh and Siamand is of the kind of lovers who prefer death together to living alone. This narration has different themes, some of which are important in relation to love. The manner and manner of love relationship between Siamand and Khadijeh is the main subject of this research and its purpose is to study and identify the pattern of love in the ancient culture of the Mokrian people and present it to young people far from their ancient culture. The most important act of love is fidelity, because true love is a special and exclusive relationship between lover and beloved, a relationship that leads to complete fidelity to the beloved. In fact, loyalty is the most important indicator of love that is, not seeing a friend. Loyal people will easily withstand adversity and adhere to their love. Love in Iranian culture is a moderate love due to its cultural and religious status. The theme of love in art and literature has been more infidelity, because romantic fidelity, especially marital fidelity, is considered normal and necessary, and infidelity has been described more because it is considered unusual. The authors of this study believe that the mythology of love has given us a correct understanding and a new reading of the verse (Khaj and Siamand) in Mokrian and has clarified one of the patterns of love in this culture. This research seeks to answer the question: Does love have a specific structure in the narrative in question? Is there an example of this structure in other myths of Iran and other nations? The result showed that this structure of love in this narrative is purposefully designed and its structure is recognizable. This structure is also found in other myths of other nations. In this narration, several important themes were studied and analyzed, but the main theme of the narrative of loyalty was recognized. Khadijeh's loyalty to love and lover caused her to resist the family's decision in the first stage and even ran away from home with Siamand, and in the last stage the story reveals the culmination of self-sacrifice and loyalty. Khadijeh, when she sees that Siamand loses her gift on the way to preparing a gift for her family, throws herself from the top of the mountain with the intention of compensating for the gift, loyalty to love and the beloved, so that she can be with her lover forever. In this narration, Khadijeh has emerged as a woman as the first character of the story and has played a role as a loving human being, regardless of gender. Finally, at the end of the story, she reaches the final stage of love through sex and physical pleasure and dies until Remain faithful to your love and eventually evolves. In fact, Khadijeh's character in this story represents true love and the true meaning of loyalty. Comparing the narration of the story with other myths, it was found that the structure of the love story presented in this narrative is comparable to the structure of love presented in the myths of other nations and there is a similar example. Therefore, this structure is purposeful and has mythological originality. This research has been done in a descriptive-analytical method, collecting information using library and field resources, as well as the global information network.

Grace is one of the basic issues in the wisdom of Islamic art and thought, about which many interpretations have been written in the contemporary period. Familiarity with Islamic aesthetics is important in this regard because understanding the beauties in this world, which is a manifestation of the essence of truth and makes it manifest, is a matter of understanding the greatness of God, creation and beauty in God's system. Points out that it itself reflects a form of divine ontology. There are many definitions of beauty in the field of aesthetics, each of which deals with a level of ontology, these definitions are sometimes consistent and sometimes unrelated. An important issue in this area is the discussion of calling people to think and reason in the Qur'an and to reflect on the theory of the creation of the universe. The definition of beauty and its conceptual dimensions is one of the philosophical issues in the branch of the glyph of art, which deals with philosophical issues and various interpretations and examples. Grace is a term that has found various meanings in different times, places and cultures. To identify the types of the best reference used to identify and vocabulary related to beauty, we can refer to the Holy Quran, which contains many verses that show that it has provided many interpretations about beauty and commentators have interpreted based on it into categories. The purpose of this study is to study the meaning of beauty in the Qur'an and its types based on this holy book in the great human culture among Muslims based on the Qur'an, which is the largest written pamphlet and the best hadith. The Qur'an is new after centuries in terms of structure and rhythm of words and interpretations of beauty, and offers eye-catching and new interpretations at all times. Since human creation has two spiritual and physical aspects, so the Qur'an, relying on these two aspects of human beings and considering the sensory powers, reminds us of beautiful manifestations and reminds us to know and understand the world, the affairs of creation and the issue of creation. More than 300 verses in the Holy Quran refer to beauty and the reasonable value of expressing levels and types and types of grace. Also, some desirable human traits at the level and human relationships that strengthen society are considered part of grace in Islam, such as beautiful patience or beautiful forgiveness, which is considered a kind of beauty. For the Muslims of the beginning of Islam, these cases have various aspects, such as education. The vocabulary that has been formed in Islam based on beauty is wide and has been repeated such things as Hosn, Jamal, Behjat, Zakhraf and Qadr and Sade. These cases have been mentioned many times with allegories and verses in the Qur'an and have had a reminder and educational aspect. In this regard, the author tries to answer these questions in the research: examples of grace in Islamic culture based on this question, what is the view of the Holy Quran? What are the types of beauty in the Quran? What is the status and examples of each of these types? Vocabulary related to beauty in the Qur'an is mostly focused on which aspects of grace? The method of this research is fundamental and descriptive-analytical. The nature of the information obtained and the analysis is qualitative and the information is collected in a library method. In this research, an attempt is made to use the terminology from the perspective of the Holy Quran. The results of this study show that many concepts along with their Qur'anic examples are collected by looking at the relevant interpretations and narrations in the issue of creation and it is clear that the concept of beauty in the Qur'an is tangible and reasonable - or in the words of some authors, intangible beauty. There is, but the issue of rational beauty is much more addressed and has a wider range of meanings. Quranic words and interpretations also cover the whole universe and are not limited to the material world and the world of sensations. These words and expressions about beauty are very diverse, such as: grace, adornment, ornament and grace, among which grace with 189 repetitions in the divine word, is the most famous and most widely used aesthetic term in the Holy Qur'an. Hosn is mostly used in spiritual and semantic matters or so-called reasonable grace. Reasonable and tangible goodness in the field of philosophy can be followed before the Holy Quran in the opinions of Greek scholars, especially Plotinus. From contemplating, searching and deepening the verses of the Holy Quran, the impression is obtained for the audience of the text that this book has a comprehensive, complete and strong expression in which no weakness is seen and most of its verses are firm and strong and its concepts and instructions it is visible and has clarity and obviousness. However, despite the simple appearance of the verses of the Holy Quran, the depth of its contents is endless and during the last 14 centuries, with the addition of human knowledge and experience, new interpretations and codes and new meanings of Quranic verses different from previous periods have been understood.Therefore, according to the general cases stated, the semantic and close relationship of the verses of the Qur'an with each other and the absence of distortion, contradiction and difference from the Holy Qur'an as a miracle and a complete set, in examining and understanding the concepts in each subject, the whole subject should be And the types of examples presented in that chapter in the Qur'an together and according to the conditions of revelation and the dignity of the verses and most importantly the lexical meaning of each word and related words and how and number and .Its use together to be seen in part From the fact that in that chapter - and not all the material that can be extracted - it was found that the method of interpreting the Qur'an to the Qur'an is based on this approach.In the present study, which sought to express the definition and view of the Qur'an on the category of beauty, according to the above approach, a comprehensive search was made in the verses of the Qur'an and knowledge of words related to the concept of beauty and it was found that in this heavenly book, words and concepts of beauty It has been proposed in a wide field that covers material matters and spiritual phenomena and has different layers and levels with multifaceted goals.There are 18 words related to the category of Grace in the Qur'an, some of which are mentioned in this article. Each of these words has a frequent and special range that has commonalities and semantic differences with each other, for example, the word Hosn and its roots, which has the highest frequency among related words, is repeated 189 times in the Qur'an. In this article, many concepts along with their Quranic examples are given by looking at the relevant interpretations and narrations. The three words of goodness, grace and adornment with the meaning of grace have the most number of uses in the text of the Qur'an. The Holy Quran refers to the degree of beauty in appearance and inwardness. Reasonable beauties are the virtues of the universe and somehow return to the tangible world. According to the Qur'an, there is a relationship and correlation between tangible and sensible grace. In fact, the Qur'an considers material beauties as a bridge to understand and achieve rational beauty and truth. Therefore, the view of the Qur'an, unlike most of the ideas of philosophers and especially the schools of the modern age, whose main intellectual basis is based on individualism and humanism, does not consider a contradiction between tangible and reasonable grace and recognizes both concepts and puts them together.Because the perception of this beauty is beyond the senses and depends on human intellect, it has been given the names of reasonable or intangible grace. The Qur'an refers to the degree of beauty in appearance and inwardness. Reasonable beauties are the virtues of the universe and somehow return to the tangible world. According to the Qur'an, there is a relationship and correlation between tangible and sensible beauty. In fact, the Qur'an considers material beauties as a bridge to understand and achieve rational beauty and the truth of God's essence. Therefore, the view of the Qur'an, contrary to most of the beliefs of philosophers, especially modern schools, whose main intellectual basis is based on individualism and humanism, does not distinguish between tangible and reasonable beauty and recognizes both concepts and uses them together.

Popular belief holds that the sole purpose of all museums is to preserve humanity’s material as well as spiritual heritage and display historical-artistic artifacts. However, some museums today have moved toward fulfilling a new goal, namely improving intercultural competence in the world. To do so, they have implemented a series of practices, as part of their year-round programs, to non-confrontationally guide their visitors toward a peaceful and respectful understanding of other cultures, providing them with an experience through which they can learn how to appreciate those cultures as well as their own. How museum visitors perceive things in such dynamic, multicultural environments is essential, and it inspired this descriptive and analytical research to review the quality and content of intercultural sensitivity museum programs. The study aimed to answer, “How is intercultural perception facilitated by such programs?” and found that: a) because the museums provide information on different cultures through dialogue and impartially, they reduce perceived cultural differences and cultivate curiosity, interest, and visual attraction for the discussed cultures; and b) since their goal is to inform, this research can prove useful to them as it offers strategies such as policymaking, sense-making, and enabling personal discovery of cultural similarities, as well as practices like holding cultural events, training intercultural mediators, providing networked narratives in the museum environment, and creating decors and installations that visually compare cultures. English education researcher Michael Byram and American sociologist Milton Bennett propose skills and steps, respectively that are required for individuals to embrace other cultures. By applying the measures suggested by this study, museums could help visitors acquire those skills and take those steps to visually explore other cultures and achieve an intercultural perception. In the contemporary world, factors such as the speed of development of technology, tendency toward immigration, and the biological diversities that have been emerged, has caused the increasingly clash and diversity of cultures, and formed multicultural societies and various cultural outcomes. Administrators perceive fading the cultures, disappearing cultural borders, vanishing subcultures, decreasing cross-cultural exchanges and susceptibilities, and dominance of some cultures over the other cultures in the light of predominance of cultures and lack of perception and respect for another culture, as factors of segregation of human relations on a global scale.   Nowadays, in order to counteract cultural challenges in multicultural societies, and global problems in the field of intercultural communications, introducing other cultures to people, with the goal of developing their intercultural competence and reducing cultural tensions is regarded as the doctrines of the third millennium from the perspective of UNESCO. Increasing intercultural competence in order to understand, respect, and use the experiences of other cultures, while protecting the culture of insiders is a necessary duty being in charge of cultural institutions such as museums, alongside their previous vocation i.e. protection of financial treasures of culture, history, and masterpieces.   Based on the purpose of the current research, among several museums engaging in the activity, museums having purposeful activity with intercultural approach were looked for regardless of their subjective function, and the timespan of the activity. And first it was determined that the selected European museums in the current research, were present in intercultural projects of European Union in a complementary way and in many cases, especially “Mela (URL15)”, and therefore all of these places were examined in the framework of the indicated project, particularly samples having a series of proceedings, and changes in intercultural context, recently. Alongside these museums, other museums around the world, having intercultural approach, and two of the museums in Iran having selected intercultural experiences or methods of intercultural expressions for themselves, were put in this complex as the selected samples of the country. The fifteen selected museums, i.e. Britain museum (England) (URL5), Metropolitan museum (America) (URL16), Louver museum (France) (URL8), Aga Khan museum (Canada) (URL2), Malek museum (Iran) (URL14), Asian Civilization museum (Singapore) (URL21), Immigration museum (Australia) (URL19), Islamic Art (Melbourne, Australia) (URL11), Louvre museum (United Arabic Emirates) (URL13), Doha museum (Qatar) (URL17), Berlin museum (Germany) (URL20), National Museum of the Islamic Revolution & Holy Defense (Iran), Islamic Art museum (Malaysia) (URL8), The Museum of Modern Art (MOMA) (America) (URL18), and the Mela project of the European Union, proceeded with reconsideration of their plans, and acceptance of novel and innovative patterns based on intercultural approaches for the statistical population in their set of experiences, and are changing their attitudes and policies toward this field. The current research examined a set of executed experiences in a set of museums considering this approach in their schedule in different levels purposefully, with the goal of investigating a set of experiences of various museums in forming a society with a higher intercultural competence and improving people’s cultural competence. This study tried to indicate the role of strategies and their approaches in improving intercultural competence by compiling and organizing the findings, and assessing them based on two theories belonging to Bennet and Byram. In Byram’s point of view, one should plan to interpret and explain the nature of cultures and relating them with their own culture and understand cultural integration of the globe, by obtaining the components like “attitude”, “knowledge”, “skills of interpreting/relating”, “skills of discovery and interaction”, and “critical cultural awareness”. Byram introduced them in his pattern, as practical and functional components that we assume are effective in developing intercultural competence and changing the perception of the audiences of museums. Moreover, according to Bennet’s theory, one should pass the stages of cultural interactions, the first of which is “denial”, the second one being “defense”, the third one being “minimization”, then “acceptance” and finally “integration” with the differences. Compiling the plans as the data of museums and visual documents was done by referring to valid library-electronic resources and observing virtual databases of the selected samples. Then the cases were analyzed by qualitative analysis method, so that their plan and experiences would be interpreted in an orderly and objective way, and the capability of the plan to expand intercultural competence and its scale would be examined based on the recommended pattern of Bennet and Byram. Because museums do not follow any type of intercultural macrostructure, only their plans and experiences in this field are currently available.  Considering the represented strategies and approaches, we can see that contemporary museums mostly intend to realize intercultural sensitivity in their atmosphere. In addition, the future approach of the museums mostly relies on the fact that not only will not they plan a competitive display of artistic-historical masterpieces, but also note they the common heritage of humankind as their goal. As it can be seen, the influence of the intercultural attitude plays an important role in forming policies of new macro-museums. And museums having civilized approach, by trying to localize their civilization in global structure, and previous museums with the goal of improving their plans in this field, which are leading to neglect the preferable thought or exposition of superiority, level the cultures, and set policies for museums based on communications among cultures and implementation of them in all of the activities of the museum, have a very important role in reducing the distinction and accepting other cultures. Sense-making which causes sympathy with other cultures, experiencing repeated familiar feelings in a foreign environment which causes people to have a sense of belonging to their culture, and the foreign audiences’ experiences which goes beyond a cultural surface to a type of experience, can occur through engaging various senses. Moreover, they provide the possibility for the audiences of being encouraged to discover intercultural communications, and compare and explain among cultures. Among other effective strategies for reducing the distinction of the audiences between another cultures in museums, is to give an invitation to their cooperation for “self-discovery”. Audiences’ cooperation in discovering “their own cultural phenomena and other cultures”, locating in the analysis of the common heritage, and discovering the similarities and differences, helps them very much to have an intercultural sensitivity. The results of the research represent that the indicated strategies and approaches like the progression of self-discovery, sense-making, and approaches like implementation of intercultural events, creation of a net intercultural narration and intercultural layout of objects, minimization among cultures, stimulation of sense of curiosity, caused the audiences’ visual affection and joy, by macro policy making of museum. In addition, the audiences achieve intercultural perception, by obtaining the skill in Byram’s point of view, and transitioning the stages of acceptance of cultures in Benet’s perspective. As a result, it can be said that the experiences of various museums, have a long way to go to lead the audiences to the high levels of cultural competence, and by using the results of the current research, the future researchers would be able to schedule plans to improve the experiences of museums.