اشرف سادات موسوی لر

This study has compared Meaning interaction of opposition in Maurits Escher's "Day and Night".oppositions are the dominant principles of the material world and the mankind is also a combination of body and soul.Undoubtedly,the meaning can't be without reflection in human art,The art sometimes reflects the oppositions and picture then in frame of symbols and signs.Oppositions in artistic works don't mean oppositions and in some works can complete each other and can gain meaning alongside. For comparative study of means of opposition with visual arts,it was necessary to choose an indicator artistic work.Hence, this work was selected as the most opposing artistic work of contemporary age by Maurits Escher's.The main objective of this study is to understand the concept of opposition and deriving that in "Day and Night" painting, which shows the artistic functions of the theory in adjustment with visual artistic works.This is because; the form and content of this work has abundant oppositions and is wonderfully full of opposing values in terms of form,expression,structure,color,images and motifs and illustrations.The main research question is the amount of adjustability of the theory of binary opposition of Derrida on visual illustration works and how to analyze its visual functions?The results of this study,which is done using comparative and analytical method,shows that the number of binary opposition in Day and Night Painting reaches to 7 items and includes content and narrative binary opposition and can be adjusted with Derrida's theory in terms of generalization of them to artistic functions of basis of visual arts

In recent decades, the Iranian fashion industry, despite its historical background, has faced particular economic and social considerations that have faced many challenges. Accordingly, social institutions have sought to bring this art-industry into the field of creative industries through commercial, publicity and cultural activities and in turn have created a trend that will be reflected in the economic development of the Iran’s cultural industries. Since exploring value changes in society is one of the key elements in the cultural system of any society, the main issue of the present research is to focus on cultural industries and accept the transformation in the value system of Iranian society to gain an understanding of the economic value of art-fashion industry and its dimensions and weaknesses, strengths and intensifiers. This has helped to organize the concept and position of the creative economy in this area through oversea interactions and the cultural process.

The present article seeks to achieve a value-based process in intervening contextual factors and explaining the selective strategies of developing the cultural economy of Iranian fashion industry and answering the fundamental questions. What role can the fashion industry play in realizing the prospect of a Iran’s cultural economy? How can the economic growth of art that is produced be shaped by changes in value systems?

This research is qualitative, descriptive-analytical and data gathering is done through documentary sources and field findings were based on discourse analysis.

The results suggest that combining art with creativity, knowledge management, up-to-date technology and business process reengineering will boost Iran’s economic growth by inserting the moral economy into the fashion industry.

The Josef and Zuleika painting is of the most beautiful and mystical paintings of Iranian paintings, painted by Kamal Al-din Behzad, which has been studied In postmodern’s world. The researches of this painting have also affected some of the artists to do adaptations, as the three Iranian and European contemporary artists, Habibullah Sadeqi, Abdul Hamid Qadiriyan and Claudia Palmarocci created paintings by adaptation of that. The four texts of Behzad and the three contemporary adaptations of that, reproduce a discourses. So between the painting of Behzad and the adaptations of that a linkages of Interdiscourse, is created. The aim of this study is to re-study interdiscourse relations between the four mentioned texts with a discoursal due to the adaptation position in postmodernist attitude, and answers these questions: what discourse each of these texts reproduce? what is the relationship between their discourses? Also, how does each of these interdiscourse relations affect the retrieval of Iranian cultural-artistic identity? This research is by method of analytical and comparative method and interdiscourse approach. The metatext and discoursal perusal showed that painting of Behzad reproduces the Islamic-mystic discourse of Naqshbandiyed in Timurid period, two works of Sadeqi and Qadiriyan reproduce contemporary Iranian-Islamic of art academy and Palmarocci’s painting reproduces a cultural and contemporary discourse on the concept of "house" in Italy. Also, background and context of cultural and art tradition play an important role in the type of interface between these discourses and how to the retrieval of Iranian cultural-artistic identity in postmodern period.

Medium as an interface to convey thoughts and information is a broad concept that has been changed along with the evolutions of each period; therefore, it is difficult to have a comprehensive definition of it. The passage of time and recent developments in art history has transformed the meaning of media. In contemporary art, media have been merged, their borders have been faded, and new forms have been emerged. The question is how the audience communicates with the new types of art, and how the perception of the artwork becomes possible? This paper aimed to explain the developments of art perception in new artistic media with the phenomenological approach of Merleau-Ponty. It tries to examine the meaning and the position of the medium in art and show how dominant art movements in each period have affected the boundaries of media in art. This research represents a descriptive-analytical study of the texts and data about the evolution of art perception in new art media. Different types of art, such as painting, sculpture and photography, have their own territory of expression determined by the media through which the themes of an art form are recognized. Medium demarcation became apparent in modernists’ theories. Against the modernist approaches to achieve pure art, with the express advances in technology in the 20th century, the concept of media in art became meaningless, so that the target audience in the new media art is faced a deformation of media. One of the features of new media art is late understanding which can be interpreted as altering the perception of the audience of the new media art. In the process of changing the concept of medium, several changes occurred in the perception of the target audience. Despite the changes made in the course of art history, explaining the concept of media in the art can be explored with the concept of “perception” by Merleau-Ponty. Husserl's phenomenology impacted Merleau-Ponty's conception of sensory perception. He focuses on immediate and direct contact with the world and strives to interpret it philosophically. In describing perception, for Merleau-Ponty, the evolution of media perception can be examined based on the audience's experience of perception. From his approach, the principle percept has been replaced by experience in understanding the meaning of the media in art. In the new art media, the target audience misplaces its connection with the work of art. In Merleao-ponty’s phenomenology, one must re-discover the perceived world through modern art and philosophy. His doctrine is that the objects of the world emerge to us based on our perceived experience of that phenomenon. He holds this view to be right about artworks as well. In other words, the meaning of an artwork arises through the experience. The meaning of an artwork does not come from the representation of the work, rather, through the process of perception of the work. In art history, various art forms have been instrumental in communicating and perceiving art, however, in contemporary art, the media has been de-materialized and here is the level in which experience -in the concept of “perception”- comes to support the art. In order to understand the multiple and contradictory features of the media, the audience strives to avoid using traditional tools in art. In Merleau-Ponty’s approach, the audience needs exposure: They need experience in order to perceive rather than categorizing and limiting the art, and the meaning of the artwork is what is gained through the audience experience. Descriptive phenomenology as the approach of the article includes the exploration, analysis, and direct description of the medium. This approach disregards previous preconceptions. An approach that is consistent with the characteristic of contemporary art. This research is a descriptive-analytic review of documents and data that explains the process of transformation of the audience's perception of artworks into new artistic media. The results show that by changing the function of media in art, the experience of perceiving the work of art through the media is not possible. The art media, as the communication and artistic perception tool, has been dematerialized in new art media, and the audience with its own perceptive experience completes the work of art.

Visual art of the Qajar era was inspired by both the new technical developments such as photography and printing as well as the tradition of Persian painting of the previous schools that had developed new visual features. Along with this visual quality, the exposure of the artists to western traditions and the popularity of modernity caused the Iranian society to experience changes in its artistic identity and thus, new types of visual features emerged. These features depict a series of particular changes which distinguish them from the dominant worldview of the Persian painting in terms of appearance. This type of visual art creates different visual forms in comparison to previous instances of Persian painting by using different designs, new techniques and tools. Illustrated manuscripts of the Qajar era are a collection of unique documents that incorporate the art and culture of this period of time and are the readings of an authentic artistic statement of aesthetic aspects and identity layers. This paper mainly aims at classifying aesthetic features prevailing in the illustrations of the lithographed manuscripts as well as recognition and retrieving of the identity layers and presenting the priority of the identities in these illustrations. Considering the features of Iranian-Islamic art as well as the Western artistic characteristics prevalent through the Qajar era painting, it could be hypothesized that due to exposure to modernism, the visual art styles of the Qajar era are different in lots of visual and technical aspects as compared to the Persian painting tradition; however, due to the presence of some aesthetic features of Iranian-Islamic art, they might be considered the continuation of the same visual tradition. Study of the visual qualities and aesthetic aspects of a selection of Qajar-era individual documents and manuscripts which are considered as original artistic statements in this essay leads to the reading of the identity layers of this era which could be found both in art and culture of this period. In all cultures and countries, the definition of the concept of identity is associated with religion, ideology, political and social relations and history. In artworks, the identity has different layers and each layer has different aspects. Such identity might be examined in a different manner for each work of art which, in its own turn, might have several layers: one of them being stronger and more obvious than the others. Nonetheless, all the hidden layers of identity leave their trace on the outward manifestation of the identity layer in the artworks. Due to the specific social and political ambience of the country, popularity of Archaism (approaches to ancient Iran periods) as well as widespread relations with the west (through business, education, politics and etc.), Qajar reign is considered as one of the important eras of Iranian art; therefore, we can find several identity layers in the artworks of this Era. This paper chiefly intends to categorize the main aesthetic features in the illustrations of the lithographed manuscripts of Qajar era and also recognize and retrieve the identity layers therein. Subsequently, the priority of the identity layers of these illustrations shall be studied.  The study makes effort to answer these questions: What are identity layers in the visual art of Qajar Era and which identity layers appeared more frequently than others in Qajar Lithographed Folklore Manuscripts? The research has been conducted using descriptive-analytical method through the desk study of library sources as well as other valid ones such as the manuscripts. The statistical population includes 7 Lithographed Folklore Manuscripts created during the Qajar Era using a selective procedure (11 pictures were selected). The analyzed results indicate that the identity layers of the artworks of this era might be categorized into four: archaic, Persian-Islamic,westernization and Islamic-Shiite. Moreover, in each type of artworks created during the Qajar Era, some layers play a more important or a special role. In this case study (Folklore Manuscripts), the first and the most important layer is westernization to be followed by Persian-Islamic. The other layers (Islamic-Shiite and archaic) are less important and thus, imperceptible.

Layla and Majnun is a classic story of love most notably expressed by the great poets. In addition, various scenes of this love story have been painted by Iranian painters. According to researches, the first painting of Layla and Majnun at school illustrated on Seljuk pottery and then repeated in different Iranian schools such as Herat and Shiraz. This paper investigates the structural and conceptual aspects of the scene of Layla and Majnun at school painted on Seljuk pottery. Since, Erwin Panofsky interprets the subject of artworks by studying the literary texts and the thought of a nation during a particular era, this article attempts to answer this question: What is the relationship between the dominant Iranian thought during Seljuk era and the painting of Layla and Majnun at school illustrated on Seljuk pottery? Ahmad Ghazali (d. 520 AH/ 1126 AD) is a prominent Iranian thinker whose view about love had profound effect on Iranian mystical thought in Seljuk era. So, the main purpose of this research is to find out the relationship between Ahmad Ghazali`s thought and the painting of Layla and Majnun at school illustrated on Seljuk pottery. Research The data have been obtained through a documental and librarian method. In this research, information collected through documentary and librarian, historical-analytical method is based on the iconology of Panofsky`s approach. Visual and conceptual patterns of Layla and Majnun painting illustrated on Seljuk pottery reflect Ahmad Ghazali’s thought about the essence of love, in addition to Nizami poems.

The scholars in the field of mysticism have expressed a variety of ideas about the concept of love, which show the importance of it in Iranian religious thoughts. Ahmad Ghazali (452 -520 AH) created a dramatic change in the nature of love by writing mystical works. He presented a new interpretation of the story of Layla and Majnun's love in Sawāneh, his first work in the field of love in Persian language. In Arabic literature, Layla and Majnun love story is a kind of pure love (Ishq-e Azrā) or Platonic love. By using descriptive-analytical method, in the present article the attempt is made to consider the stages of the transformation of pure love of Layla and Majnun in Ahmad Ghazali's thoughts and to answer this question: In a comparative study, how do we interpret the similarities and differences between the Layla and Majnun love in Ahmed Ghazali's attitude and the pure love in Arabic literature? The results show that, based on Ghazali's romantic and mystical principles, virtuous, secular, painful, unending and pure love transforms to admirable, divine, pleasant and hopeful love and leads to perfection.

“Iconology” is one of the methods of artistic studies from the standpoint of phenomenology in which it has stolen many attentions in the 20th century.By focusing on ideas of Panofski,this article tries to study the saint Mary's icon with the concept and content of Quranic verses comparatively.The main goal of this paper is to study and scan Mary’s image in the renaissance time and its decoding from the picture language of holy Quran in relation to saint Mary’s life iconologically.The present article tries to respond to adjust and match saint Mary’s images’ iconological features with the symbolic portaiture of her Quranic features providing the possibility of content and subject review of saint Mary’s life story.The main point of this study is to convert the text into a picture and image,in which both Bible and holy Quran talked about her holiness and characters.In renaissance art this text is turned into an image,but in islam the text has remained intact.This article tries to match texts and images.The necessity of implementing new studies in studies of Mary’s pictures is highly needed as a way to recognize.The sample population includes 20 samples of renaissance paintings and is in random way.And 8 samples of icons has been studied for visual analysis.The research findings demonstrate reflection of 3 kinds of saint virgin icons in 3 eras of renaissance in row.In the first renaissance era the icon of saint Mary had more match and correspondence with the holy Quran’s sacred in terms of form and content,in middle and advanced era of renaissance icons lost their holyness and its holy and abstractional synmbols have turned into some earthly and anthropocentric symbols.

Bahram V or Bahram Gur is a well-known just Sassanid king. Bahram same as Vərəθraγna is the great warrior god of Zoroastrianism, but his figure also contains a wealth of archaic, pre-Zoroastrian elements which clearly point to an Indo-Iranian era. Bahram has all the characteristics of an ancient warrior God, the personification of a force that shatters and overcomes any resistance or defense, an irresistible offensive force which displays its strength in attack. Bahram was revealed with symbolic features in Iranian art and literature. In Seljuk era, different stories of Bahram Gur are painted on potteries. The images of Seljuk potteries which are depicted on the surface of the plates are appropriated according to the Islamic atmosphere. Bahram Gur's hunting and Azadeh is one of the Iranian stories which is painted on some Seljuk potteries. Investigations on Seljuk illustrations show that some of the pictures depict Azadeh while playing harp and accompanying Bahram Gur in hunting. But the rare examples of Seljuk potteries display two scenes about Azadeh`s harp playing and her death underneath camel's feet with different clothes.This article attempts to answer this question: What are the hidden semantic meanings of Azadeh’s harp playing and her death underneath camel's feet with different cloths, illustrated on Seljuk potteries? The purpose of this research is to study the visual and conceptual patterns of human figures which were illustrated on the Seljuk potteries. In this research, the information is collected through documentary and library sources. The historical-analytical method is based on the iconography and iconology with Panofsky’s approach. Therefore, seven samples which belong to two historical periods (the Sassanid and the Seljuk) including three silver and golden Sassanid plates, a plaster Sassanid frame, a Sassanid seal and three Seljuk clay plates have been selected. The results show that Azadeh's symbolic death in Bahram Gour's hunting refers to the common literature in the Seljuk period, which is derived from an ancient Persian narration. Also based of Iranian mythical perspective Azadeh's symbolic death, illustrated with different cloths, centered on the romantic relationship between Vərəθraghna (Iranian God - Sun) and Venus (Morning Star) who promises the Sun’s rebirth or new day.

Toranj patterns have been existent since Iranian ancient times in artistic works and various designs nonetheless the ample interpretations regarding its origins. The patterns have crucial roles regarding the aesthetic effects. Since Safavid dynasty has been, in some people’s opinion, the period for advent of artistic works and artists used to be creative in making their works, the aforementioned pattern is widely seen in the works of the era such as rugs, book covers, plaster patterns, tiles and generally any architecture design. This paper aims to evaluate the similarities and differences of Toranj patterns in rugs, Quranic covers, and Safavid Shahnameh covers using comparative-descriptive methods and by data analysis as well as using library methods. The results illustrate that Toranj patterns in Iranian arts and especially in the Safavid era are nearly unique in a way that few patterns compare to them both in practical and conceptual aspects .

The Quran, the Miracle of the Noble Messenger (Peace Be Upon Him) has various dimensions and special unique literary style. One of the manifestations of the Quranic rhetoric literary genus is the different kinds of binary oppositions in verses.
The oppositions such as: “body and soul”, “day and night”, “metaphysicals and supersensibles”, “male and female” has been the controversial issues since the ancient times.
In the present paper the binary oppositions have been investigated in the holy surah “Al-Lail” and the comparison of these kinds of binary vocabularies with those of Quranic in scription colours with the emphasis on hand-writing of Quran. The objectives of this library research is the establishment of the connection between theology and art. The results reveal that the number of binary oppositions are eight in this surah .The collation of the binary oppositions of surah “Al-Lail” with those of inscription colour are as the following: “day and night”(لیل و نهار), “conceal and reveal“(یغشی و تجلی) with azure and golden;”male and female(ذکر و انثی)" with red and light green ;”endowed and withheld” (اعطی و بخل),” piety and satiety”(اتقی و استغنی) ,”approved and disapproved"(صدق و کذب) with white and black;”ease and hardship”(یسری و عصری) with light blue and orange ;” hereafter and first life”
(آخره و اولی)” with violet and light yellow, dark yellow and dark green.
The images of the present paper taken by photography from Quranic hand-writings and from the existing scans in National Iranian Museums like: ”National Museum of the Noble Quran“, ”Golestan Palace Museum“, ”Saint Abdolazim Quran Museum“ and the ”Museum of Quran and the Exquisites of Astan Qods Razavi“.

Deconstruction and Surrealism, despite their different origins, are in accord on their criticism of deterministic approaches; both of them stand against reducing the infinite domain of meanings and interpretations to the determined and contrastive field of “binary oppositions”. Deconstruction challenges the structural contrastivism through its approach towards text and lingual structures, as surrealism does the same by altering the perceptive experiences and elevating the perceived reality. Given the aforementioned similarity in approach, the current research aims to use the reader-response theory to study the approaches of surrealistic art in 20th century (two-dimensional image) from the deconstructive viewpoint. The deconstructive analysis in this research is based on the reversed and disrupted relationship between oppositional components, and the “undecidability” of their final status. The research concludes that by disrupting the conventional relationship among contrastive concepts, wavering the certainties, and questioning the accepted convictions, surrealist images not only deconstruct the used visual system (abstract art and figurative art), but also “embody” (visualize) the deconstructive approach towards our conventional notions about reality.

Homi Bhabha emphasizes that hybridity is the result of a movement of the two discourses of colonizer and colonized towards each other in the third space. The result would be a totally new object (hybridity) which can change the discourse of power and cause a new movement in society. This study has been done to explore the third space and its influences on visual arts, and it is tried to define the mural of Nomkhubulwane as a product of a clash between the Christian colonizing discourse and the mythological colonized one of Zulu tribe in the third space. The main question is whether this mural is a hybrid product or merely a simple combination of native and foreign elements. Through this comparative study, the artistic expression of the mentioned mural has been considered based upon both the colonized and the colonizer’s visual as well as symbolic values. The comparison is based on descriptive and analytic methods with an emphasis on the rich mythological and traditional art of this tribe and those of Christianity. The required data have been gathered from library documents emphasizing the literature on mythology in South Africa’s universities. This research considering both the ideas and beliefs of the natives and colonizers as well as the social movement that took place after this mural (the struggles against HIV and for defending the native girls’ rights), proves that the mural not only is a combination of the native and foreign artistic elements, but also it presents Bhabha’s ideas on transitions in socio-political discourse.

Present research is a contextual analysis on the goat motifs designs derived from a period between pre-history to Sassanid Empire (9000 B.C. to 651 A.D.). The studied cross-historical time period includes sub-periods of Pre-history (from 9000-3200 B.C.), Early History (form 3200-625 B.C.) and History (from 625 B.C.-650 A.D.) that covers the Epipaleolithic Era, Neolithic Era, Copper, Bronze and Iron ages, based on the classical chorological chart. A classification of dominant styles and images and function of image were presented in fallowing with respect to the study's sub-periods. Based on the results, style of natural processing with a high degree of reality (naturalism), an obvious tendency to move from naturalism with high degree of abstraction and a deep inclination toward realism can be found in pre-historic era (9000 B.C. to 3200 B.C.), the Beginning of history era (3200 B.C. to 625 B.C.) and in the history era, respectively. Partially exaggeration (in horn) and motion were the main characteristics belong to the pre-historic era and history era, respectively. Function changing from goddess role to the ritual, decorative and propaganda functions during the studied period was observed. This distinct transformation can be attributed to the formation of the Kingdoms and religious beliefs of the society (Zoroastrianism).

Simultaneous with the translation movement in the Muslim world during the Abbasid era, many philosophical and even theological literatures were translated into Arabic and used by the commentators and scholars. Plotinus, a third century A.D. philosopher with the Neo- Platonic philosophy, profoundly influenced the ideas of many Muslim philosophers by bringing together the ideas of Plato and Aristotle; so much that the influence of many of his ideas may be traced in the philosophical ideas of Muslim mystics, aesthetics and art in the Islamic culture and in the body of religious understanding of the Muslims. The purpose of this paper is to study Plotinus’ views on art and their reflection on the aesthetics of the Islamic art, with emphasis on illustration and architecture.
This article will answer the following questions:-what are the Plotinus’ ideas about art and aesthetics?
- What are the aesthetic features of Islamic art?
- Which of the ideas of Plotinus can be found in aesthetics of Islamic art?
The findings show that the opinions expressed by Plotinus on art, influenced the principles and tradition of illustration and the Islamic-Persian architecture, and Plotinus’ ideas were introduced into the Islamic-Persian art, after reexamination and revision by Muslim scholars. These principles are extensive and scattered light, flat and pure metal based colors, spiral and circular movements influenced by Plotinus’ idea of the Unity of Being. The research method is descriptive-analytical, and data were collected from library research. Statistical population includes examples of Islamic-Persian architecture and illustration using selective procedure.

From 1990 to the present, the subject of “exhibition discourse” has been considered both in theoretical discussions and in practice as a dynamic process that is effective in production of cultural concepts. In contemporary art of Iran, especially in recent decades, discussions related to the exhibition and the relationship of art and the audience has been somewhat important; however, practically, organizing exhibition has not been gone beyond modernist methods, and displaying art object to the audience has still a repeating content. With this background, this article seeks to prove its hypothesis in relation to the theoretical discussions such as “dematerialization of art work” and “discursive participation”, and as a case study, “Of Labour, Of Dirt” (the third exhibition of Babak Golkar’s exhibition cycle in Iran) is analyzed. Using a qualitative research method and data collection through field observations and written documents, it would try to answer the questions about curating, cultural discourse and place of audience in this process in Contemporary art of Iran. Research’s findings indicates the potentials of art exhibitions in Iran and suggests that it is formed on the basis of audience presence and precise understanding of contemporary theoretical structures. It will then create a proper place for discursive action in the circle of production and distribution of cultural phenomena in society.

A carpet is a product of arrayed meaningful elements or arranged artistic motifs set together. The practical and spiritual applications of carpet indicate that this Persian art can deliver meanings in different aspects. Carpets have long been used in religious, rituals and funeral ceremonies. Not only are these artistic creations applied for covering various spaces, but also they are dedicated to holy places due to the strong tie they have with lives of Iranian people. Accordingly, this paper studies the carpet dedicated to the Holy Shrine of Imamzadeh Zeid that was woven by the order of Taghi Khan Dorrani, governor of Kerman. This study aims to explore the hidden layers of meaning in the text inscriptions of the carpet and find answers to the followings: What are the implicit meanings that the carpet inscriptions imply? Can we investigate the meaning of the carpet text by using a comparative study? Can we find a significant relationship between the text components and other written texts of the carpet by using an intertextual approach? Here, the research data is obtained from library researches and museum observations and studied in comparative, historical and analytical research methods. Not only does the discovery of implicit and explicit layers of the inscription describe the relation between the writing order and the pictorial order of the carpet, but also it reveals the public wisdom of the public during Zand era

Today in literature of "Urban Art" in our country, the definition of it, is either based on the mission of art work to improve the quality of urban landscape or on a variety of art works in the city; however the interesting point here is that the Urban Art is not clearly determined in the previous studies. How can it affect the quality of urban landscape? And whether all works of art in the city are caused such qualities?
With the
distribution of artworks all over the cities and failure to reach their maximum determined targets, it seems that Urban Art has been backed away from its original essence and subdued by some styles attenuating its values as much as decorations and ornaments of city. Therefore, it has not only lost its meaningful presence in the city, but also [the present application of it] has led to some sort of confusion.
To achieve the desired goals, this paper suggests considering "urban art" as a landscape phenomenon, because it depends on two components, "citizen" (human) as the "target audience" that urban art works are created for him, and "social space" as an environment to form perceptions and social interactions, not just a simple context of the works. Finally it concludes, in modern times, the most appropriate platform for urban art is not every urban space and public space, but it is a social space establishing the social connections as the highest goal of civic life to be able to invite the target audiences to understand art works and achieve urban qualities in this calling.

There are many images throughout the holy Quran as the biggest written miracle. One of the reasons for Quran simplicity and understandability is that its subjective concepts are figurative and tangible. Since the holy Quran is in Arabic and Arabic language is an illustrative one in its nature, illustrative properties of Arabic language helped a lot in formation of Quran’s artistic images. In the theory of “artistic illustration of Quran verses”, Seyed Qotb believes that holy Quran has advantaged from "image" rule for expression of different meanings in best possible way. For him this rule is General and comprehensive and also the best means for Quran’s expression. By applying Descriptive-analytical research method and library-based data collection technique, the present research attempts to study the characteristics of this theory and its manifestations in artistic illustration of Quran verses in order to attract God-fearing men's attention to this ocean of art and thought and represent another aspect of the miraculous beauty of the holy Quran to enthusiastic people for understanding the revelation.

The Qajar paintings can be categorized into two main periods: the first period, initiated at the beginning of the reign of Fath-Ali Shah and continued until the reign of Naser al-din Shah. It focuses on the combination of ornamental and Persian painting forms with the achievements of naturalist art such as perspective principle and its important feature is the total domination of Persian art. In the second period, initiated from the reign of Naser al-din Shah and the arrival of those artists who had been trained in Europe, the painting is based on the representation of the naturalist art of the west and its main feature is an attempt to exactly imitate the principles of atmospheric perspective. The “Emad Al-Kottab” Shahnameh is a product of the second period; although it belongs to the Mozaffar Al-din Shah period as the last handwritten and illustrated version of Shahnameh, it reflects faithfully the pictorial traditions of the first half of Qajar period. The question here is what Qajar school’s paintings of Emad-Al-Kottab Shahnameh are based on? The present research is aimed at comparing illustrations at Emad-Al-Kottab Shahnameh with components of the first and second Qajar painting schools. To do so, and after remarking Qajar painting elements, five Persian paintings from Emad-Al-Kottab Ahahnameh are selected and investigated through a descriptive-analytic methodology. Two illustrations are first delineated, then, three paintings of Emad-Al-Kottab Shahnameh are compared with their counterparts at other Qajar Shahnameh, including Davari Shahnameh. As the investigations show that although Emad-Al-Kottab illustrations are created through the second half of Qajar reign, elements such as faces with no individuality, the dominance of ornamental elements, use of clear warm colors, and simple landscapes reveal influences of the first Qajar school. A comparison of Emad-Al-Kottab illustrations with those of Davari Shahnameh, which was created right before Emad-Al-Kottab, rejects any other reasoning, including the influence of taste of that time and the impossibility of the entrance of western art techniques into the book’s illustration.

The few existing shrines with wall drawings are being reined or have been ruined completely. This problem creates double necessity of protection of these works. The holy shrine of Pinchah Village at Astaneh Ashrafieh with the religious wall drawings is one of them. This question is propounded: Do the wall drawings of the mentioned shrine have the visual concepts of good and evil? From the research findings we can mention numerous visual similarities in recreation of good personalities, visual differences of good and evil contents and also creation of native wall drawings by the drawer. The data were collected by field method and compiled by descriptive- analytic method.

After the Qajar period, taking a cue from Western modernism, the spaces known as square were created in Tehran that are far away from the historical meaning of the "square" in the Persian language as an interactive, aggregatable and walkable space that have been close to "round-about" as an appropriate atmosphere for traffic roadway. Unfortunately, these two urban elements are considered as one municipal phenomenon. The destructive consequence of this adaptation led to install of sculpture in the center of the roundabout that has now become the principle of aestheticizing and identifying of the urban landscape.
The result of this behavior is that, today's urban management, artists and citizens, consider these roundabouts as the subjective and historical representative of squares and the center of it as the most appropriate location for installing an urban sculpture.
Given that the sculpture as a visual attraction should bear the inviting property to a sociability space, an available place for stopping, walking and experiencing of collective life, the question arises here is that which of the existing squares in Tehran is bearing the true meaning of the sculpture that would include the desired influences.
These squares do not include any safe and secure space for pedestrians as the dominance of vehicles around it fail to form the social communication and gatherings. So they are not only considered as the factors in the provision of collective life stop encouraging the citizens of Tehran to attend and interact in the space, but also because of the chaos and high mobility are repellent of the population and social activity.
Therefore, the squares [roundabouts] of Tehran are not considered as a good place for installing sculptures because the atmosphere is not presenting a proper level of social and interactive public space with spectators and so the installation will not be able to play the role expected of urban art.
It seems that the lack of attention to the importance of the placement of sculpture and the audiences, in the current atmosphere of Tehran, is rooted in theoretical and performance concepts; like as a partial translation of Western resources has been implemented and, as we known round about as a square and as a local public space suitable for urban sculpture.

TV advertisements is one of the relevant areas for cultural studies, especially for representing the dominant manners in portraying of women's identity in society. In this article, the representation of gender identity have been studied through different topics and different approaches such as semiology and content analysis. The main subjects are the representation manner of women and their assigned roles which are constituents of traditional and modern women's position. In this study, the random sampling method has been chosen and advertisements that broadcasted during one year about all kinds of products have been classified into seven groups. At first step, the presence rate of women and men in advertisements has been identified and then women's roles in the advertisements has been criticized according to the definition of modern and traditional woman. In this research, it was indicated that in 40% of all advertisements, there wasnt any woman character at all and in the rest, equivalent to 59% of all advertisements, men were presented. Another statistics shows that women were only in 17% of advertisements and the presence of men and women together were restricted to 23% only. In representation of women, usually the image of a traditional woman was in priority. The reason of this situation, beside cultural issues is the domination of a manner and a thinking which favors the consumerist, non-thinker and marginal women which ultimately led to the creation of a kind of marked advertisement in which the woman character is presented.