مجله جلوه هنر
سال پانزدهم شماره 4 (زمستان 1402)

Interactive design means planning and designing the process of two-way communication between the user and the product. If this dual communication is designed appropriately and is fruitful in the process of use, it leads in a greater success for the design and the improvement of the user experience quality. Therefore, it improves the usability of the product (effectiveness, efficiency and satisfaction). Based on this, it can be considered a successful strategy to study and examine the concepts and theories proposed in the field of interactive design and to try to apply them in the design process, in line with the aforementioned goal. The theories of affordance and feedforward have entered the field of interactive design since the 1980s and their application is developing; However, the method of examining, analyzing and applying them in the process of product design is a valuable topic in the field of design methodology, which has received less attention and as a result faces many challenges. Therefore, the research questions are as follows: “How can the concepts of affordance, feedforward and feedback be used in the design process? How can one develop ideas or evaluate the design of a product based on these theories? How can the design of a product be modified and optimized based on the analysis of affordance, feedforward and feedback? Achieving the answers to these questions and providing practical methods can be very valuable in the field of design methodology and be used by students and professionals in the field of industrial design. According to the mentioned materials, the most important goal of the current research is to provide a practical method in the design process, so that one can identify the design problems and needs based on the analysis and evaluation of a product's affordances, feedforwards and feedbacks, and also provide solution or design proposal to modify and optimize the product.In this research, by benefiting from practical concepts in the field of interactive design, a method called "affordance analysis method" has been provided so that it can be used to modify and optimize the design of products. The current research is practical in terms of purpose. The most important concepts and applied information in this research have been collected with library based method and a review of theoretical sources, and the research is descriptive-analytical in terms of implementation method.Before understanding the methodology of interactive components analysis, the audience should be familiar with the theoretical foundations and especially the concepts related to this field. Based on this, firstly, the practical concepts related to affordance, feedforward and feedback and their types are briefly introduced, and then the "Gaver's model" is presented in separating the representative information of the affordance from the possibilities of action, as well as the "Task Analysis Method", so that they can be used as theoretical basis and components of the suggested method.Correct and desirable affordances in products, are the possibilities of actions along with perceptible information which represent these possibilities, so make users understand these possibilities and achieve their goal in communication and interaction with the given product. The correct design of affordances makes the product guide the user during use.Feedforward is the information that is provided to the user before performing the action. In fact, it informs the user about what the purpose and result of his action, so that the user can choose and perform the appropriate action. Affordances provide information to users before performing an action, like feedforwards; But, contrary to feedforwards, affordances do not provide information about the purpose of performing an action, which is considered the main difference between affordances and feedforwards. Feedforwards in expressing the purpose and result of an action are complementary to the affordances and are usually designed and used in accordance with the affordances of the user interface.Feedback informs the user about the action that has been taken, and usually its purpose is to inform the user about the responsiveness of the system to the user's action, to indicate the progress of the work, or to confirm that the product has been directed by the user. Sometimes the failure to provide feedback or its inadequacy causes the user to not be informed about the product's capabilities or functional possibilities or not to achieve functional opportunities in a proper way. In the process of interacting with a product, it is sometimes necessary to provide feedback for each user action, and not providing appropriate feedback means there is a gap or problem in the interaction process with the product, and in other words, it causes problems in the interaction process and the progress of two-way communication between user and product.In this article, the method of analyzing the interactive components of the products is described in three steps with the title "Affordance Analysis Method". In order to ensure the correct transfer of concepts and ease of understanding of the method, a vacuum cleaner was selected as the product under review and the steps of this method are presented in the form of analytical tables by examining the mentioned product.In order to achieve proper interaction with a product and the desired quality of user experience, the interaction process must first be examined in detail in order to provide the possibility of examining the role and impact of interactive components in each stage of user interaction with the product. For this purpose, in the first step, the “Task Analysis Method” can be used and the interaction process with the product can be separated into three main stages (before usage, usage and after usage) with consideration of the details of each stage. Then, the more detailed steps can be defined and drew in the tree diagram and the needs and problems can be identified by examining the details and their connection with the context. The task steps and details are separated to the extent that they require different action possibilities and perceptible information.In designing products, it is expected to provide perceptible affordances. Therefore, in the second step, the most important interactive components (such as affordances, feedforwards and feedbacks) should be analyzed in each part of the user interaction process with the product. For this purpose, theoretical foundations and Gaver's model are used, and problems of the product are specified and introduced by asking about the possibilities of actions, the expected feedbacks and perceptible information representing them in the product.In the third step, it should be determined how the design can respond to the needs or problems raised; Therefore, according to the analysis carried out in the previous stage, the types of affordances, feedforwards and expected feedbacks are determined and solutions or design suggestions can be presented. Then, according to the design suggestions that are introduced in terms of interactive components, the design is carried out and re-evaluated and modified in response to the identified needs.When the three-dimensional and accurate design of the product meets the needs and problems raised in this evaluation and modification cycle, this stage is completed and the other stages of the design process comes forward. But when the design solutions are unsuccessful in response to the needs raised in this process, the designer checks which of the previous steps was not done correctly and by returning and correcting that step, they complete the process, so the user's interaction with the product reaches the desired result. Therefore, this repeatable process can be used to evaluate, optimize and even create detailed ideas in the design process of interactive products. It should be noted that in user-centered and participatory design approaches, the user can be present at various stages of the design process and play a decisive role in their correct execution. This method, which is the result of numerous studies in the field of interactive design, as well as the teaching and executive experience of the authors in this field, can play a valuable role in the design process with the goals of idea generation, evaluation, modification and optimization of the design and can be effectively used by students and designers.

Monotheistic and Abrahamic religions have promised their followers the Day of Resurrection, which is the time of reckoning for all. In the holy books of these religions, there are many verses and propositions about the manner of resurrection and the quality of reward and punishment, as well as the details of the resurrection of humans on the Day of Resurrection. The story of the dead coming back to life, the resurrection, and heaven and hell are among these themes. In the Christian religion, in different eras, this event has been tried to be depicted in different ways based on the religious texts in the Bible and the interpretations of the elders of this religion. However, in the Islamic world, such an approach has been more limited, and only in a few famous paintings resurrection scenes have been depicted following the verses of the Holy Quran and religious traditions. The following article examines and compares two works with the theme of Doomsday. The Mahshar Desert (Doomsday Desert) painting by Tahmasabi's Falnameh is based on Quranic verses and Islamic and Shia traditions and the painting of The Last Judgment by Fra Angelico is based on the themes of the Bible and Christian beliefs. Falnama Tahmasabi's Mahshar desert painting and Fra Angelico's painting of the afterlife judgment are two examples of similarities in terms of the system of visual signs and the history of their creation. The above-mentioned Falnama painting is the only work among Islamic works with resurrection themes, similar to the paintings of the Christian world. On the other hand, each of these works was created based on the religious texts present in their religion, and here, between these texts and visual works, there are hypertextual relationships that can help to investigate the reasons for these similarities.The hypertextuality approach is a part of Gérard Genet's theory of transtextuality, which examines the influence and inspiration between a text and an earlier text. A hypertext is a text created from a previous text (pretext) during a transformative process. According to Gerard Genet's multitextual approach, verses of the Qur'an and Shia traditions, as well as statements from the Testaments about the resurrection and the day of resurrection, are considered as the pretexts and important sources of the mentioned paintings.The Mahshar desert painting is one of the 50 horoscope paintings available in the Dresden library. This work was created in the Qazvin school in the 16th century by the order of Shah Tahmasb Safavid and in the royal workshops. Horoscope books became widespread with the rise of the Safavid dynasty in Iran, especially Shah Tahmasb, along with the expansion of Shiite thought, and several prominent fortune-telling books were also illustrated . In this painting, Prophets and divine saints are drawn at the top of the image, next to the Tuba tree and the water fountain, watching the Day of Judgment and the establishment of justice by God's will and by Prophet Muhammad(PBUH) and Imam Ali (SAW). The close angels are also holding this scene; from the angel carrying the scales and the one playing the trumpet, to the agents of doom. On the left side of the picture, you can see heaven and heavenly homes, and at the bottom of the picture, hell is drawn, and in the middle of the picture, people are waiting for divine judgment with their deeds. This picture is unique because it includes all the parts of the resurrection.The second work is the Last Judgment painting by Fra Angelico, which was created between 1432 and 1435 and is currently kept in the San Marco Museum in Florence, Italy. This painting was created for the Camaldolese Convent Santa Maria del Angeli monastery in Florence. In this painting, the mighty judge invites the believers with his right hand and guides them to heaven, and with his left hand, he rejects the damned and shows them hell. Three rows of angels surround Christ. Below his place, an angel is holding a cross and two other angels are playing trumpets. The Virgin Mary, John, the apostles, and fourteen other saints are placed in two rows on both sides of Christ, like the assessors of the judge. In the lower part of the painting to the left of Christ, the cursed people are driven to the seven pits that correspond to the seven deadly sins. Deep in the abyss, a demon named Lucifer devours three damned souls. All the inhabitants of hell are naked, but the damned who have not yet crossed the threshold of death are clothed. On the right side of Jesus, the redeemed are seen, some kneeling and giving thanks, others being greeted by angels.the research questions of the present study are: 1- What are the similarities and differences between the two paintings mentioned with different pretexts?  2- What role did different pretexts have in creating two paintings with a similar theme? The current research aims to analyze the two mentioned artworks, based on the degree of influence of their pretexts, using the theoretical foundations of Gérard Genet's Hypertextuality. This analysis will lead to a recovery of the scope of the influence of the two Islamic and Christian arts on each other. The lack of attention to the religious concepts in the works of art and the similar themes among the artistic representations of Abrahamic religions indicates the necessity of conducting this research. The current research is descriptive-analytical with a comparative approach and data collection was done through a library.By comparing the textual symbolic system with the visual symbolic system, between the studied paintings and their textual and verbal pretexts, it is obvious that the mentioned paintings, in most parts, follow their pretexts exactly. In a few parts of Falnameh's painting, some text topics have been transferred to the image in a transformed form. In addition, the visual signs of these two works were matched based on the equal verbal signs in the pretexts, as well as equal visual elements. These tables provide the possibility of evaluating the existence of a relationship or the impact of one of these works on the other.The results of the investigations show that despite the existence of many similarities between the mentioned paintings, due to the similarities of their pretexts with each other, it is not possible to issue a definitive verdict about the influence of these two artworks on each other.What shown on the comparative tables illuminates that in each of the two works considered in the current research, the hypertext is relatively consistent with its verbal and cultural pretexts, and both works adhere to their religious foundations to a large extent. On the one hand, there is a lot of correspondence between the visual signs of the Mahshar Falnameh desert and the last judgment of Fra Angelico, based on the verbal signs in the pretexts. On the other hand, the elements and signs in the two works are in complete agreement with each other and there is merely a slight difference between the composition of the two works of art. In addition, the presence of a Tuba tree above the work of the Mahshar desert, and the way the judges, Prophet Muhammad(PBUH) and Ali(SAW), stand in the middle of the painting is different from the painting by Fra Angelico.In the comparative studies that took place in this research between the hypertexts and their pretexts, it was found that despite minor differences, the many similarities between the works show the similarity of the narratives of these two religions about judgment in the afterlife. Paying attention to comparative studies between works of art with common religious themes can be of interest to art scholars in future research. The results of these studies can lead to the discovery of intertextual relationships and artistic influences, in addition to emphasizing equal pretexts.

Although The neurophysiological basis of synthesia is associative connections between different regions of the the functional structor of the brain and synaptic connections form their basis, from the perspective of the neuropsychology of synesthesia, creativity is a sensory stimuli. it reflects the objective realities of the external world in the brain and integrates them with the common senses, moving along the path of interpretation, understanding, and cognition so that phenomena emerge via synesthesia creatively, finding an artistic spirit. Synesthesia is a deliberate attempt to evoke different sensory experiences in the audience through the liaison of music and color. The efforts of Kandinsky, Klee, Enrico Prampolini, and other artists and poets to use other sensory tools for a new understanding of visual elements and qualities and establish connectivity with the sensory perceptions of other artistic mediums such as music or architecture are also associated with synesthesia.Even Wagner believed in synthesizing the mediums of painting, dance, poetry, and music in a complete work of art and the existence of a world of sound alongside the world of light. In Iranian graphics, Ghobad Shiva’s works seem to establish connectivity among sensory perceptions-- the inseparable relationship between painting and graphics in his works is associated with the climax of graphics in the 19th-century West. In this era, the extent of the influence that painters such as Jules Cheret and Toulouse-Lautrec had on the poster design process was so significant that Jules Chéret, nicknamed “the father of the modern poster.” Lautrec is also a painter who created graphic works influenced by Japanese woodblock prints, opening a new path for modern posters. His works seem rooted in the history of Iranian painting because he believes that graphics did not come from outside Iran, contrary to shared ideas. However, instead, its reproduction technology did-- Iranians did not have a museum painting, and such a painting was the source of communication with the West during the Safavid era. He presumed that Iranian painting should be considered modern graphics with a consumption aspect. In creating his works, he paid attention to the main features of the structure of Iranian painting, abstraction, unique and traditional brilliant coloring, and idealistic and unrealistic atmosphere. Above all, he sought Iranian painting abstraction in his posters. However, relying on this abstraction, He achieved a new expression in creating music-themed posters in which visual and auditory sensory perceptions are cmbined. As a result, synesthesia appears in a new way and That is the main issue of this study. The research question is how synesthesia can be analyzed in Ghobad Shiva’s 70s music-themed posters.This qualitative study was done via a descriptive-analytical method,using library and documentary research (internet and archival sources). The study was done based on induction-based analysis by which the researcher achieved an analytical genealogy through data classification, finding patterns in and out of the data, and looking for patterns in the data. The research process was as follows: first, all of Ghobad Shiva’s posters were received from the artist’s catalog. Then, a total of 82 posters, created during 1970-1980 (the 70s) were collected. graphic works in music were numerous due to the many festivals, concerts, and music-related events of that era. Then, thirty-nine music-themed posters were selected via a purposive sampling technique based on the connection of the posters with their music themes. In the analysis stage, the works were classified based on the artist’s techniques in creating the poster, the works employing synesthesia were analyzed.If synesthesia is a neurological phenomenon, then the five senses are entertwined. Synesthesia activates a stimulus received through one sense throughanother, which is used in art to design alternatives to sensory experiences. The human perceptual system creates multi-sensory patterns of physical objects in mind. Perceptual objects are often multi-sensory, containing auditory, visual, tactile, and similar information.The first step in creating multi-sensory perceptual objects is taken as soon as the stimulus is presented to one of the sensory channels. A set of neural processes couple together information received from other sensory aspects. Synesthesia is the experience of two or more emotions where only one is stimulated, and in literature and art, it is used to explain one sense employing another.Equalization of musical steps and skips with colors by Newton; equalization of blue, green, yellow, and red colors with musical notes Do, Re, Mi, and Sol in Kessel’s famous organs; equalization of the sounds of instruments in Rimsky-Korsakov’s Principles of Orchestration; and equalization of the sounds A, E, I, U, and O with black, white, red, green, and blue colors in the works of poets such as Rimbaud in the poem “Voyelles” or “Vowels” (literary synesthesia); Schopenhauer’s seminal statement that the world is all a manifestation of will and music, and all arts have the desire to reach music; or the evidence showing that Franz Liszt and Olivier Messiaen used the synesthesia of colors and musical notes and sounds or musical keyboards (chromesthesia), all inform us about the long history and significance of synesthesia in philosophy, literature, music, and visual arts.The music posters of Shiva’s fifties are generally designed and executed for the chamber orchestra of radio and television. On a functional level, these posters carried the message of concerts and used various elements to convey this message. Shiva’s attention to the difference between the boundaries of painting and graphics made him follow the standards and rules of graphics. However, he did not look away from painting abstraction, and his works speak for themselves. Considering the definition, function, and mission of a poster, Shiva also achieved synesthesia through abstraction. Thus, Shiva’s 70s music-themed posters can be divided into six categories based on his individual graphic techniques:Representating synthesis of real musical objects with abstract formsHuman faceRepresentation of plantsRepresentation of birdsApplication of the Seven Decorative Principles of Iranian ArtApplication of visual elements Table 7 summarizes the poster-creating techniques, dominant elements, and colors used in Shiva’s works.Like Klee, Kandinsky, and many artists, Shiva used such a perceptual process to enrich his works. Generally, from 1970 to 1980, his works were categorized into eight categories based on art-creating techniques and the employed elements: summarized representation of musical objects with visual elements, representation of the human face, representation of plants, representation of birds, Seven Decorative Principles of Iranian Art (Abr Principle), and the application of visual elements. The present study displayed that Ghobad Shiva has succeeded in showing synesthesia in his posters using the visual elements of line, point, color (black, blue, yellow, red, gray, brown), and also the visual elements in the posters of the sixth category. Synesthesia in these works acts as a perceptual-neurological phenomenon which, by stimulating the visual perception (facing poster designing as a field in visual art), produces unusual experiences in another unstimulated sense, i.e., the auditory perception so that the experience of the second sense happens only at the perceptual level, conveying the association of the musical sound to the audience. This perception or association can also happen between sensory dimensions and other cognitive and processing paths.

The methods arising from the tradition of political advisory in Iran, having their roots in ancient times, were continued during the Islamic Middle Ages and made it possible to shape the advisory aspects of Iranian artworks. During the reign of Sultan Hossein Baiqra, due to the political conflicts in the court, the continuity of the government and the establishment of the order of the court was especially accompanied by the necessity of distinguishing friends from enemies in the court. However, according to historical documents, numerous reports of Sultan Hossein Baiqara's negligence in choosing agents and his mistake in distinguishing friends from enemies have been recorded in the form of a risk for the continuation of the government. It seems that Kamal al-Din Behzad, who had a special position in the court of Sultan Hossein Bayqra, using his closeness and influence on the sultan, chose the illustration of Dara and Ramehdar (Herdsman) to admonish the sultan and to correct his mistakes in governance.This miniature, which is a leaf from the copy of Bostan Saadi dated 893 AH, in terms of the topic of the story selected from Saadi and also in terms of the artistic subtleties used by Behzad, teaches the importance of distinguishing friend from enemy in governance. The illustration of this miniature is such that, in contrast to the conventional images of kings, which show their power, fighting, or pleasure-seeking images, it depicts a lonely king among herds and herdsmen in such a way that he is receiving advice from the herdsman. Therefore, according to the fact that Sultan Hossein Baiqara's error in distinguishing friend from enemy is emphasized as a political problem and this phenomenon is taken into account in the subject and the way of illustration of miniature of Dara and Ramehdar, in this research, Dara and Ramehdar as an advisory miniature Has been studied.In this research, the question was raised: in what aspects and parts of this miniature did Kamaluddin Behzad achieve his advisory goals and what was his visual tool? The purpose of this research is to know the visual possibilities of the tradition of political advisory and the methods and visual tools to achieve this goal in the form of Herat school miniature. Therefore, this research is important and necessary to examine Iranian art as a subject with multiple aspects. In this research, on the one hand, it is necessary to examine the political-social aspects of Iranian art, and on the other hand, how to find the relationship between the political-social aspects and aesthetics is important.In this study, the descriptive-analytical and historical research methods and the method of data collection are documentary and library. In this article, the miniature of Dara and Ramehdar is analyzed as a case study. The sample selection method was purposeful and data analysis was done qualitatively. First, based on documents and library sources, the political necessity of the formation of this miniature from the Bostan Saadi version, during the reign of Sultan Hossein Baiqara, was studied. Considering the political necessities identified in this era, and the advisory qualities of Saadi's story, based on the theory of Iranshahri's political thought, the qualitative analysis of this miniature was carried out using the semiotics method of the tradition of political advisory and the concept of justice.The obtained results show that Kamaluddin Behzad, in illustrating the miniature of Dara and Ramehdar, by paying attention to advices Saadi, has embodied an advisory image in the context of the tradition of political advice. This miniature, which was depicted in a version of Bostan Saadi and for Sultan Hossein Baiqra, emphasizes the importance of establishing order in court affairs. On the other hand, Behzad, using various artistic arrangements and portraying Dara in the clothes and headgear of Sultan Hossein Baiqra, has rearranged the advice of Saadi about his contemporary conditions to point out the similarity between the behavior of Dara and Sultan Hossein Bayqra. In this miniature, instructions such as the supervision of subordinates and the importance of distinguishing friends from enemies are given attention, which seems to have been related to the necessity of eliminating the disorder in the court of Sultan Hossein Baiqara.Also, in this miniature, the selection of elements, composition, and quality of illustration is such that Sultan Hossein Baiqara's mistake in distinguishing friend from enemy, which appeared in Qeshlaq Marv, is reminded of him. The depiction of Sultan Hossein in this miniature shows the distinction between his behavior and his royal position as the main person responsible for establishing the overall order of affairs and the highest position in the court and the land. According to Saadi's poem and the behavior of Sultan Hossein Bayqra in the administration of court affairs, the elements of this picture depict the Sultan's presence in the meadow in such a way that he is embodied as the cause of disorder, astonishment, and confusion of his subordinates, in a lower position than his subordinates.

Sultan Ibrahim Mirza’s “Haft Awrang” manuscript, or the “Freer Jami” is the illustrated version of Jami’s “Haft Awrang” book, which is a series of poems about ethical philosophy in the form of allegorical and anecdotal stories. “Jami Freer” describes a period in the history of Iranian illustrations where royal workshops and the printing and publishing culture that arose from them among poets and painters enabled the painters to show their own religious and cultural interpretations of the text through their illustrations. Jami helped the reader understand the text better in addition to promoting morality, wisdom, and his own vision of an ideal society through the use of an Islamic perspective and references to Quranic concepts and by taking advantage of many contradictions and contrasts in his own poems and stories. Sabhat al-abrār (rosary of the pius) is one of the seven parts of Jami’s “Haft Awrang” (seven thrones in English) in the Masnavi form, which describes the central ideas, themes, and moral virtues of Sufism.One of the most important studies in Persian art and literature is the reading of illustrations that have been depicted from Persian literature texts, which on the one hand describe the relationship between the illustration and the text, and on the other, due to their presentation along with other illustrations in a collection commissioned by the royal court, are influenced by their respective governments, which presents an obstacle. Transtextuality is the use of the study of earlier and later texts, historical sources, cultural and historical context, the Quranic verses and their meanings, and understanding the society in which the art was created in analyzing illustrations. These types of textual analysis are themselves transtextuality as parts of hypertextuality, and paratextuality. These hypertextual and paratextual analyses, in addition to the analysis of the different layers of meaning in a text, reveal why the artist chose certain topics or focused on specific themes. This comparative analysis reviews the overlap between the description and the extratextual evidence (two components of transtextuality) and the text’s threshold inf interpretation.In addition, it describes and analyzesdifferent layers of textual meaning emerging from other texts, which in themselves are the basis for the creation of the artwork. “The urban man and the looting of the orchard” illustration as peritext based on the paratext of “Rural man vs. urban man” derived from the themes of Quranic verses about wastefulness also covers themes such as harvest right and guest right. The illustration of the poem has enriched its thematic content here with an intertextuality in its transmutation since the written text has been adapted into visual text. This article shows the influence of the peritext in the depiction of the illustration in question via a multi-textual reading that analyzes the written and visual text, and it also defines the role of Ibrahim Mirza as the patron of the art by examining the paratexts of the illustration.Research question: What is the relationship between the patron of the “Haft Awrang”, and the concept of moderation in the “urban man and the looting of the orchard”’ illustration? The methods employed for analyzing the illustration are paratextuality and peritextuality, which, in Genette’s words, are two aspects of transtextuality. This overview analyzes both the written and visual text in addition to enlisting the descriptive-analytical method. Sultan Ibrahim Mirza’s “Haft Awrang” manuscript, or the “Freer Jami”, is the illustrated version of Jami’s “Haft Awrang” book, which is a book of poems about ethical philosophy in the form of allegorical and anecdotal stories. This illustrated manuscript is an obvious translation of the written text of the original Jami manuscript, and it uses intertextual references. “Jami Freer” describes a period in the history of Iranian illustrations where royal workshops and the printing and publishing culture establishing among poets and painters enabled the painters to remain faithful to the original text while also showcasing their own religious and cultural interpretations through their illustrations. Therefore “The Urban Man and the Looting of the Orchard” is illustrated beyond just the story of the “urban man vs. the rural man who took him to his orchard”.  Meaning the illustration has gone beyond simply depicting the poem. This article aims to reveal the other sources the painter resorted to by means of multi-textual study and employing the descriptive-analytical method to review historical and library sources, and furthermore, to reveal the relationship between the illustration and the text by examining the effect of paratexts and the illustration’s primary sources. Reviewing and studying the text of Jami’s poem and the illustration “The Urban Man and the Looting of the Orchard” to compare and contrast them in order to analyze the impact of the poem’s text on the illustration using peritext revealed that the visual text, in addition to being a faithful adaptation of the poem “Sabhat al-abrār”, has also used Quranic texts and verses. In fact, what inspired the visual depiction of ‘The urban man and the rural man who took him to his orchard’ is some of the Quran’s verses about wastefulness and its teachings about harvest and the harvest right, being  illustrated in “The Urban Man and the Looting of the Orchard”. In the illustration, the Safavid Prince is drawn in the center, who, as the patron of the manuscript, points towards moderation; this depiction of the Prince is an ode to him as the patron. On the other hand, the premature exile of artists from Shah Tahmasp’s court and the simultaneous appearance of the Prince, happening the artwork’s patron, in the illustrations and texts in this version of the manuscript are due to the fact that the painter indirectly wanted to both depict the illustration in tandem with the rest of the illustrations in this collection and declare his loyalty to his patron by showing his virtues and benevolence. According to the historical paratexts (primary sources and reports) and the handwritten texts mentioned in this version, the illustration was meant to show the good qualities of the Prince and the ruler of the time (King Tahmasp) by depicting their sense of justice and fairness. Depicting Sultan Ibrahim Mirza and the group of musicians in the center of the illustration harvesting the orchard whilst avoiding extravagance and indulgence and allocating the right to harvest to the poor and to their guests are signs of the crown’s sense of justice, reflecting that era’s social and political zeitgeist in addition to showcasing Islamic values and the Islamic influences on the illustration.

Since students in various educational levels are among the audience of video games universally in this current era, it can be said that there is a significant capacity to produce works with educational content based on this art industry and digital media. Various researchers have analyzed the effects of using video games as an efficient and innovative tool in the process of teaching the audience, and considering the importance of the category of virtual education in various levels of education. The creators of video games, especially in recent years, have goals beyond entertainment and "game" in their productions in this new and popular art and digital industry and have invited audiences from different walks of life to the beautiful and unique world of these games.  One of these goals has been the production of video games based on education for players, relying on scientific and academic sources. Educational video games are one of the types of serious games. Serious games are games whose main purpose of design is more than mere entertainment; the adjective "serious" refers to the use of these games in areas such as education, scientific research, health, crisis management, urban planning, etc. These games simulate real-world events or processes designed to solve problems. Although these types of games can be fun, their main purpose is not just entertainment. It was in the 1960s that educational games (in a general sense) attracted the attention of researchers, and the value of experimental educational approaches in increasing the motivation and learning of students in educational environments. The first video games with educational purposes were created in the 1970s. In the following decades, video games with educational purposes have continued to be produced. Using educational aspects in a video game while maintaining its entertaining structure is an effective and efficient way to improve the level of education in the audience, especially students, and convey the lesson concepts to them as best as possible. In some countries, the creators of educational video games, as well as the ruling educational system, use other complementary tools such as the use of "virtual reality" technology or the possibility of viewing images in 3D, taking into account the importance of interaction and immersion of users (players) in these games. Also, the importance of virtual distance education in different educational stages, especially in the last few years, has been the focus of the educational system all over the world, and video games can play an effective role as a new tool in this way of education. One of the newest and most successful games created for educational purposes and the introduction of outstanding historical, cultural, and artistic capacities of the world is a collection titled: "Discovery Tour”, three versions of which has been published, i.e. “Discovery Tour: Ancient Egypt" ( 2018), "Discovery Tour: Ancient Greece" (2019), and "Discovery Tour: Viking Age" (2021). The first two games are related to the re-creation and introduction of the historical and artistic capacities of the two great civilizations of Egypt and Ancient Greece, and the last game is to re-create, analyze and teach the historical, cultural and artistic events of the 9th century during the conquests of the Viking tribes in Scandinavia and Anglo-Saxon England. After its global release, the game series received very positive feedback, not only from players and critics of the art industry of video games, but also historians and academic researchers of art disciplines. In addition to opening its way to the educational system in some countries, shortly after release, the game has been used in many historical, cultural and artistic centers such as famous museums in the world. After the release of the Ancient Egypt Discovery Tour game, the British Museum, in collaboration with Ubisoft, made it possible to experience the game in the museum environment, next to the main examples of ancient objects and mummies. Also, Montreal's "Pointe a Collier" museum exhibited images and videos of the exploration tour game in an exhibition in 2018 and in the "Queens of Egypt" section. In addition to these two museums, cultural centers and museums such as "The British Library", "The National Museum of Denmark", "Hampshire Cultural Center", "Preston Park Museum" and "The Union of National Museums of France" are in the stages of construction and development of this collection with the construction group. They have cooperated and introduced this collection to their audience on various occasions. The present research introduces and analyzes the unique and hidden capacities in this video game collection in the first step and then recognizes and emphasizes the structure and innovations used in these games with a focus on history and art education. The main question of this research is as follows: What are the structures and elements of a video game focused on teaching history and art, and what are the unique and distinctive features of such games compared to other common educational methods of history and art? In response to this question, among the statistical population including educational video games, the three mentioned parts of the "Discovery Tour" game series have been selected and analyzed with a purposeful method. The approach used in this research is inductive, and the type of research is descriptive-analytical from the perspective of the applied goal and the research method used. Its data analysis method is also qualitative, and the statistical population includes educational video games and analyzed samples, i.e. three video games named "Discovery tour: Ancient Egypt", "Discovery tour: Ancient Greece" and "Discovery tour: Viking Age" from the "Assassin's Creed" games collection. The method of gathering information is by using library sources and pictures taken from the stream of these three games. According to the research process and the analysis of the main components and parts of the "Discovery Tour" game series, it is possible to realize the existence of a systematic structure and innovative and significant features in a new way of teaching history and art. Innovative features in the technical and structural part of these games are simplicity, dynamism and freedom of action, which increase the possibility of interacting with the game, especially for parents, teachers, professors and any user who is not familiar with these games. The "open world" environment of this collection provides players with the possibility of virtual and free exploration in historical cities. Also lists and an attractive user interface allow the player to track progress and review what he has learned. In the characterization section, the possibility of choosing from both genders and children, people from various jobs, as well as historical figures can lead to an increase in a sense of identity, interaction, and immersion. The use of various audio, text, and video guides, as well as the use of reliable scientific and historical sources enhance audience's information at different levels. Amazing discoveries and new productions based on the data obtained from these games, as well as covering all civilizational and cultural capacities and specifically addressing various historical aspects, including mythological and narrative history, lead to presenting an all-round, documented, and detailed image to the audience. Other features such as the possibility of taking pictures of the game environment, the question and answer system and evaluation at the end of each section, establish a balance between entertainment and education as well as links to the world's leading academic and artistic circles. The aforementioned facilities and features that sometimes distinguish this educational method from other common methods of teaching history and art are also considered. Consequently, by recognizing and reflecting on the structure and elements of this successful game series at the international level, an effective step can be taken in the direction of building Indigenous video games focused on history and art education and thus overcome the challenges in the country's traditional education system. It is also possible to use educational games with an instructive focus on history and art at schools, universities, museums, and cultural centers, alongside with the financial and spiritual support of governmental institutions, the private sector, universities, and academic circles and the connection, companionship, and support between them, regarding video games as newly established influential media.

The horizon line is one of the most important elements in landscape paintings, as it demarcates the sky and the ground, organizing all the visual elements logically within the picture, both the sky and the ground sections. Additionally, the horizon line has the most important roles in the advanced paintings, especially after the Renaissance. This line organizes whole the space-making lines on the specific point or points that called VP (i.e., vanishing point). VP is located on the horizon line and it can be one to three points, in which case it is called a single point to three-point perspective. This function of the horizon line is the most well-known function for the audiences since the Renaissance until today. With this understanding of the efficiency of the horizon line, when the contemporary audiences look at the masterpieces of the Persian paintings, they conclude that the horizon line in these paintings had no importance in creating the space and depth of the scenes. Because Persian paintings lack Renaissance-style perspective.The absence of Renaissance perspective in the Persian paintings on the one hand, and the emphasis of 13th - 17th - century Iranian artists on drawing the horizon line in their paintings on the other hand, raises the question that: if the Persian painters, unlike Renaissance artists, did not use the horizon line for organizing perspective in the same way, why did they draw this line in their paintings? In simpler terms, what was the function of the horizon line in the Persian painting? This article aims to answer this question.An examination and analysis of the most prominent paintings from 13th to 17th - century Persian manuscripts, spanning from the Ilkhanid period in Maragheh and Tabriz cities to the middle of the Safavid era in Qazvin, Shiraz and Mashhad cities, reveal that the horizon line had several important functions:1- Logical Placement of Visual Elements on the Ground: The first and perhaps the oldest function of the horizon line is the logical placement of the visual elements of the painting on the ground. When a line is drawn at the farthest visible part of the earth's surface, this line defines the boundary of the earth as well as its boundary with the sky. Consequently, any visual element positioned between this line and the bottom frame of the painting is considered to be located on the ground.2- Increasing the Depth of the Scene by Creating Open Views: In many paintings of the Ilkhanid period (and after), the horizon line is seen as the boundary between the sky and the ground, as well as the last visible layer on the ground's surface. In addition, in these paintings, because they have drawn the horizon line higher than other parts of the ground's surface and sometimes even placed it in the upper half of the painting, therefore, between the farthest visible layer (i.e., the horizon line) and the closest layer to the viewer (i.e., picture frame at the bottom), a surface is created, the most important function of this surface is to increase the depth of the scene up to the horizon line. In paintings that have this style, the background appears to be pushed back. Therefore, these paintings show more depth.3- Increasing Scene Depth by Emphasizing the Organization of the Visual Levels: If the horizon line is the farthest visible place on the ground's surface, the visual level on this line is the deepest/farthest level of the image. In the same way, the painting frame in the lower part is the closest visible place to the viewer, on which the closest visual level is located. Between the deepest/farthest and the closest levels, there are many geometric places, each of which can accommodate a new visual level. By increasing these intermediate visual levels between the painting frame and the horizon line, the viewer perceives the ground's surface wider and the scene with more depth. Therefore, increasing the number of the visual levels means increasing the depth of the scene.4- Diversity in Organizing Visual Levels and Creating Different Depths in the Persian Paintings: The horizon line, by demarcating the deepest part of the land, created an estimate of the distance between the farthest and closest visual layers. These different layers each have a number of human figures or other visual elements of the scene. In this way, six different types of Persian perspective were created in the paintings of the 13th to 17th centuries. Each of these six types had various uses by creating different depths in painting scenes. Iranian painters were very familiar with each of these types and their uses, and based on the narrative of the manuscript that was illustrated, they used any types or a combination of several types. The six types of Persian perspectives are as follows: Implication of Perspective through Depiction of a Crowd: The first method is the representation of people who are standing behind each other and form a crowd. In this method, bodies of the people in the first row cover a large proportion of those standing in the back rows in a way that only the head and sometimes a part of shoulders of these people are visible. Implication of Perspective through Depiction of a Little Number of People: In this position, figures- or objects- placed in the front row are presented in a way which make seeing a larger proportion of the figures on the back row visible; however, the piece of land between them us still not visible. Implication of Perspective through Depiction of Limited or Close-Up Scenes: This method was used by the painters to present a part of a wide scene for instance a festivity held in a Persian garden. It is true that in the example the original scene reminds the immensity of the nature the artist depicted merely a sector of this space. To paint this position, the painters used to place the figures in a way that made seeing the piece of land between them possible. The ratio between the figures’ heights and the length of the ordered and connected land between them matters a lot in the third method. This ratio is the most important difference between the third and the fourth methods. In the third one, the height of the figure is always more than the length of the connected and ordered land and as a result it is always more than one. Implication of Perspective through Depiction of Vast or Long-Shot Scenes: A fourth method was used whenever the artist was willing to show the immensity of the nature which embraced people; for instance, to depict hordes of people in an army and to show its greatness in an unending desert. This method is very close to what has been explained in the third one. The only difference lies in the ration between the heights of the figures and the length of the ordered and connected land. Here the height of the figure is always less than the length of the piece of land between the figures. Therefore, the number of ratios between these two, unlike the number of the last method, is always less than one. Implication of Perspective through the Depiction of Ordered and Connected Bodies: in the fifth method, the artists could separate some phenomena visually by drawing separating layers such as a hill or a big rock, massive trees lush gardens, to name but a few. Along obeying the rules of optics and particular properties, understanding of the fifth method was also dependent on the narrative available in the book. Implication of Perspective through Depiction of Buildings: In the paintings which use the sixth method, the depth of field can be understood based upon the situation of the figures in relation with an architectural structure such as a palace, a mosque, a castle, a house, and alike. The sixth method are contained two sections: Interior and exterior plans.

The emergence of modern technologies in the past few decades has played a significant role in the way humans interact with the surrounding world. Nowadays, humans perceive and experience the world through tools, machines, and technology, and in this regard, "Don Ihde" has proposed a post-phenomenological approach that categorizes the relations between human and technology in four distinct types, which include embodiment, hermeneutic, alterity, and background. In the meantime, the concept of cyborg has been coined in the philosophy of technology. Cyborg in its original meaning refers to an entity that is a combination of a living creature and a technological tool, but over time the concept is attributed to modern human, who is in close interaction with technology at every moment, both physically and mentally. Thus it is the combined entity of human and technology which is experiencing the world. The emergence of the cyborg concept makes it necessary to review some traditional theories and definitions related to humans, because we are facing a creature that is partly human and partly, non-human.Traditionally, intentionality, a capability exclusively belonging to human beings, was a measure to distinguish humans from non-human creatures. With the emergence of the cyborg concept, "Peter-Paul Verbeek" has revised the issue and proposed different types of intentionality which partially include technology. From Verbeek's point of view, cyborg intentionality can be categorized in three distinct types, known as Mediated, Hybrid, and Composite Intentionality. Mediated intentionality is a generalization of Ihde’s fourfold of human-technology relations, and technology plays the role of a mediator between human and the world, so human perceives and experiences the world through technology intentionality. In technologies such as bionics, which combine humans and technology in such a way that they can no longer be separated from each other and create a new entity, we witness a Hybrid intentionality which is the result of the combination of human and non-human intentionality. In Composite intentionality, the technology experiences the world based on its intentionality and provides the result as a world to be experienced by the humans, which includes two different types. If the experience is a extension of the human senses to perceive the world, it is called Augmented, and if it is a kind of experience that human senses are not capable of perceiving, it is called Constructive.The application of modern technology in the field of art is also showing an increasing trend, and perhaps the most influential artworks can be found in interactive art installations. An interactive installation needs the audience's participation by being present and interacting with different components to complete a process, which brings a lasting experience to him/her, and the peak of this perception can be accompanied by a sense of immersion. Completion of an interactive art installation by the presence of a human shows that the audience becomes a part of this technological structure, which takes over his/her different senses and eventually transforms him/her into a cyborg. The quality of manifestation of cyborg intentionality in interactive installations is an issue that has been neglected in various research, and its analysis can clarify new dimensions for the designers of such installations.This research aims to answer these questions: How was the manifestation of the cyborg in the interactive installation of "Jardin de Lumière" formed and what is its effects on the cyborg-being of human? How can cyborg intentionality be analyzed and adapted in the interactive installation of "Jardin de Lumière" based on Peter-Paul Verbeek's views?To carry out the research, a descriptive-analytical method was adopted, and these criteria were taken into consideration for choosing the case study: the artistic nature of the interactive installation, designed and presented by non-Iranian artists, inspired by Iranian art, up-to-date and the use of modern technologies. To choose the case, the installations that have been presented in exhibitions and festivals during the last four years were examined and only the interactive installation of "Jardin de Lumière" met all the desired criteria. In addition, it is beneficial to form various types of cyborg intentionality.The interactive installation of Jardin de Lumière is designed by the Qatari artist "Ghada Al-Khater" and implemented in collaboration with the French creative studio "Bonjour Interactive Lab" in 2020 in Paris as a part of the France-Qatar cross program Year of Culture with the aim of sharing the culture and art of different nations. The design of the elements and motifs of the installation is inspired by the Persian garden and carpet. The installation is implemented on a relatively large platform and motifs are projected on it by the lighting system from the above. Motifs include static patterns and dynamic patterns while static patterns are inspired by Iranian carpet motifs, and dynamic patterns are inspired by Qatari and Middle Eastern flora and fauna motifs, and dynamic patterns are created according to the movement of the audience. In the center of the platform, there is a cylindrical element inspired by the Iranian garden basin, and its external wall acts as a convex mirror. In addition, a special music inspired by the ancient music of the pearl fishermen of Qatar called "Fajiri" and mixed with natural sounds is played in the environment of the installation as it can also be heard in the distance around it. Along with the music, an aroma derived from traditional Arabic perfumes is also released in the space as it can be smelled all around the installation.Analyses show that when the audience enters the surrounding area of the installation, before stepping on the platform, they begin to interact with the smell of the perfume and the sound of the music. If the audience has a lived experience with each of these elements, a world from the past is reconstructed in his/her mind. Thus a hermeneutic relation is formed and as a result we witness a Mediated intentionality. If there is no lived experience, these two elements only work as a call to the installation. Thus an alterity relation is formed and the intentionality belongs to the audience. When the audience steps on the platform, his visual sense gets involved with the installation and the relation related to the smell of the perfume and the sound of the music will be of the background type and intentionality is of the Mediated type.By stepping on the platform, the visual sense interacts with the three elements of static motifs, dynamic motifs, and convex mirror. The static motifs, which include the perimeter strip, the four triangular corners, and the central pattern, are projected by lighting technology from the above. The absence of technology will result in nothing to be experienced and perceived. Therefore, the world that is made available to the audience for experience is the output of technology and has manifested a Composite intentionality of the Constructive type. Dynamic motifs are also projected by the lighting system from the above, but they are created in real time depending on the location and direction of movement of the audience, under his/her feet, and disappear after he/she passes. These flora motifs look like to be part of human existence, which move with human, and their presence is linked to human presence. Therefore, humans and technology are combined in such a way that they create a new entity and hybrid intentionality. Convex mirror makes it possible for the audience to see their feet while dynamic motifs are created as well as the part of the platform behind them. Therefore, the technology extends the sense of vision, which manifests the Composite intentionality of the Augmented type.The results show that the concept of Cyborg should be understood beyond the integration of the human physical body and technology, and the integration of the human mind with technology can also be considered as the realization of Cyborg, which alters the perception of time and place. On the other hand, the manifestation of Cyborg is possible with the integration of technology and any of the human senses, as the visual, auditory, and olfactory senses all have such capabilities. The comprehensive design of the interactive art installation can manifest all three types of cyborg intentionality, including Mediated, Hybrid, and Composite, and one or more types can appear simultaneously in the successive stages of the experience. In addition, the appropriate design can continuously increase the engagement of the audience with the installation by involving more senses and ultimately by involving audience movements and body, presenting the sense of immersion and shaping a unique experience of hidden dimensions of the world in audience's mind.

Since the ancient times, art has been used as a medium to demonstrate emotions, beliefs and desires. Arts have always revealed various concepts of religion, myth, traditions and magic. Religion and myth have always had a direct relation with art at any time of human life. Thecombination of art and calligraphy, which is the main theme of the present research, is not exclusive to Iran, but it is spread out from Japan and Far Eastern culture to letterism in Central Europe. Trying to create an interaction between calligraphy and painting is always the concern of many visual artists. Such attempts of the foregoing artists have led to creating noticeably paramount and rich concepts, which has introduced a new version of art implied beyond the paintings. In other words, the capacity of Calligraphy could add new elements to paintings, neither of which is capable to convey individually. Artist’s moods, experience and feelings could be manifested through a valve known as the form, through which the viewers can perceive the artists’moods, feelings and experience. Creating such an atmosphere is the exact philosophy and mission of Islamic art.This study have examined four art works of four selected artists, with regard to this hypothesisthat basically the art of calligraphy has originated from Saqakhaneh School, which represents the traditional concepts of myth and religion as well as considering the inter text approach, I. the creation of an art work does not mean that artist has ignored the previous artistic works, but it shows the internalization of such art works in the artist’s mind and their mingling with his /her ideas, which leads to creating a new form of art work. Saqakhaneh School mingles art and painting to create the tradition of calligraphy and modern painting, which in fact the Iranian nationalistic art. As Saqakhaneh artists searched for an approach to combine the historical art of Iran with the world’s contemporary arts, the frequent presence of tradition, religion and myth-oriented paintings can be seen in the works of artists. Morever, as the name of Saqakhaneh indicates, it has been inspired by the school of Ashura and Shiism. Due to this fact, their works can be considered as intertext theme, which is one of the critical approaches in the realm of Art and Literature; therefore, this attitude should be considered more significant.The research question is: what mythological, traditional and religious motifs exist in the calligraphy works of Saqakhane school artists and what are the common and intertextual elements in these works? In the process of studying this research, the characteristics and reason of the formation of this flow, the type of symbols used in these works and their classification have been investigated.The purpose of this research is to identify the common elements and the type of influence and conceptual and intertextual transitions in the works of calligraphers of the Saqakhane school.The second goals of this research is identifying the place of this art and relationship of this art with two independent fields of painting and calligraphy, as well as the diversity of Saqqakhane artists' views on the subject of custom, legend and religious components.Using a descriptive-analytical method and a library collection approach, we have discovered that the examined works exhibit common traditional elements such as "Padlock," "Alam," "Panjeh," Iranian and traditional symbols like "Cypress," "Talismans," "Horses," "Miniatures," "Shekasteh Nastealiq," and mythological symbols such as "Lion" and "Sun." Traditional symbols are the most frequently employed elements in Saqakhane works, rooted in traditional Iranian art. An analysis of these artists' works reveals a close connection between calligraphy and painting, with the skillful integration of Iranian religious and cultural elements, ritual symbols, and traditional icons fostering a deep spiritual connection with the audience. For instance, artists like Zindarudi blend architectural elements and vibrant colors, creating works imbued with prayer hymns. The works of others are filled with profound secrets and wonders. Through a detailed analysis, it becomes apparent that their creative endeavors skillfully combine artistic taste with these elements, resulting in remarkable contributions to Iranian and global art. The artists of the Saqakhane School, driven by their nationalist spirit and a commitment to establishing a new artistic tradition, delved into the art of their ancestors to discover fresh sources of inspiration. Their intentionally created works draw from previous texts, utilizing mythology, legends, and religious and ethnic concepts to shape their artistic creations in an intercultural context. This approach has sparked interest from fellow artists and art enthusiasts. The amalgamation of various components has given the artists of this school a distinctive style, uniting Western artistic elements with the traditional aesthetics of "Ghahveh Khaneh" and transforming them into Islamic calligraphy. The strong intertextual presence in these works, along with the incorporation of past cultures through innovative approaches, can be seen as dynamic forces rejuvenating Islamic Iranian values for future generations.