حسن بلخاری قهی

The present study deals with the representation and analysis of structures from the film Big Fish directed by Tim Burton, using the opinions of Gilbert Durand. Durand was able to provide fancy, a faculty of imagination, in the Film’s reading of verbal and visual texts, using both Night and Day system. Also, repetitions and semantic redundancies are pointed out. Therefore, the fundamental problem would be the main functions of fancy in the Big Fish and how its artistic images can be classified based on Gilbert Durand's ideas. Accordingly, the aim of the present research is to identify the relationship between fancy (Edward Bloom) and truth (William Bloom) in the context of the events of the story using the two systems of Night and Day presented by Gilbert Durand. In this film, Burton tries to show the entire narrative as a kind of movement. A movement from the initial not knowing of Edward Bloom's son, to his final knowing. From the beginning of the narrative, the fictional system of the story's characters can be divided into two main subjects: fancy and truth. In fact, the images of the film are rotating around these two concepts. Here, two places, earthly and heavenly, can be seen. The earthly place refers to the city of Ashton and the heavenly place, to the city of Specter. The earthly place is opposed to the heavenly place, and Edward tries to move and travel from the earth to the sky with the help of the element of Fancy.In the Big Fish, Edvard Blum is hunting a huge animal that cannot be hunted by anyone and can only be hunted by a fisherman who himself is the catch. The fisherman (Edward) must bait himself, which is the wedding ring, to enter the structure of the Day and Night regimes. At the end of the film, with Edward's death, he turns into a large fish and begins a new life. In the final part of the film and in the final moments of Edward's life and before his death, he asks his son: How am I going? (not how I will die). The current research focuses on the subject with a fundamental approach and with a descriptive-analytical method, and the data is also collected based on library and electronic study. The findings of this research acknowledge that by benefiting from Gilbert Durand's comments, we can see that the director's fanciful view is influenced to some extent by the structures of the Night and Day system of fancy. The capability of fancy is an interval between death and resurrection.

Ferdowsi’s Shahnameh is one of the most renowned literary and artistic masterpieces in both Iranian and world heritage, representing a sophisticated blend of myth, epic, literature, and history. Through meticulous and artistic treatment, Ferdowsi has crafted his mythological and epic elements into a timeless work, creating enduring characters such as Zal. Zal, as one of the key figures in Shahnameh, symbolizes both the human struggle with fate and the spiritual bond with the divine, embodied through his connection with the Simurgh, the mystical bird. At the same time, Suhrawardi, a significant philosopher and mystic of medieval Iran, shows a deep connection to ancient Iranian wisdom, drawing heavily on pre-Islamic philosophical and mythological traditions. In his work Aql-e-Sorkh (The Red Intellect), Suhrawardi refers to mythological figures such as Zal and the Simurgh, attempting to revive ancient wisdom by combining Zoroastrian teachings from Pahlavi and Avestan sources with Islamic philosophy. Suhrawardi’s integration of these elements culminates in his school of thought known as Hikmat al-Ishraq (Illuminationist Philosophy), in which Zal and the Simurgh hold profound symbolic meanings beyond their literal narrative roles. This study aims to compare the structural and thematic representations of the story of Zal and the Simurgh in Suhrawardi’s Aql-e-Sorkh and Ferdowsi’s Shahnameh, with a particular focus on their visual depictions in the Shahnameh of Tahmasp, one of the most celebrated illustrated manuscripts of the Persian epic. By examining the points of convergence and divergence in these two narratives, this research seeks to explore how each author’s approach reflects different philosophical and cultural perspectives and how these variations have influenced Persian miniature painters in their visual interpretations of the tale. The primary question driving this research is: How have Ferdowsi and Suhrawardi, through their unique lenses of epic and mysticism, respectively, approached the portrayal of Zal and the Simurgh? What are the key changes in both form and meaning that distinguish these two narratives? Furthermore, how has the Persian painter, in illustrating these scenes, been influenced by the literary context and interpretations presented by each author? The research methodology is descriptive-analytical with a comparative perspective, and data was collected using documentary methods, including primary sources such as Shahnameh and Aql-e-Sorkh manuscripts, as well as secondary literature on Persian art and philosophy. The central focus is on the symbolic role of the Simurgh in both narratives and the shared motif of Zal’s miraculous birth, his association with wisdom, and his eventual reunification with his father. In both accounts, Zal is born with white hair, signaling his unique destiny and divine favor, with the Simurgh acting as a guiding and protective force, symbolizing both divine wisdom and spiritual enlightenment. However, a key difference emerges in the treatment of the story’s philosophical and spiritual dimensions. In Shahnameh, Ferdowsi’s approach is primarily heroic and epic. Zal’s journey is framed within a broader context of human struggle, kingship, and moral duty, with the Simurgh functioning as a protective force within the natural world. The narrative arc is centered on Zal’s eventual reconciliation with his father, Sam, which occurs after he reaches adulthood, reflecting the completion of his individual journey toward maturity and responsibility. In contrast, Suhrawardi’s Aql-e-Sorkh reinterprets the same figures within a mystical framework. Here, the story takes on a symbolic and spiritual dimension, where Zal’s early reunion with his father during his childhood represents an allegory for the soul’s journey toward enlightenment and divine union. The Simurgh, in Suhrawardi’s telling, is elevated beyond a protective creature to embody the ultimate source of knowledge and transcendence. Additionally, while Ferdowsi locates the Simurgh’s nest on Mount Alborz, Suhrawardi shifts this imagery to the celestial Tuba tree, symbolizing the soul’s ascent through the heavenly realms. This divergence in narrative perspective is mirrored in the visual representations found in Persian miniature painting, particularly in the illustrations of the Shahnameh of Shah Tahmasp. Persian miniaturists, tasked with visually interpreting these complex and layered texts, appear to draw more heavily on Ferdowsi’s epic narrative in their compositions. The depictions of Zal, particularly in his interactions with the Simurgh, reflect the grandeur and heroism of Ferdowsi’s portrayal, with the Simurgh often illustrated as a majestic, awe-inspiring creature. The epic and emotional resonance of Ferdowsi's story is emphasized by the meticulous rendering of moments like Zal's abandonment on the mountainside, his upbringing by the Simurgh, and his final reunion with Sam. Thus, the influence of Ferdowsi’s Shahnameh is more evident in the visual tradition of Persian miniature painting, especially in the Shahnameh of Tahmasp, where the artists have remained faithful to the epic’s grand scale and heroic tone. However, the underlying mystical and philosophical dimensions of Suhrawardi’s interpretation invite deeper reflection on how the same narrative can shift in meaning when viewed through different philosophical lenses. This study shows that while the structural and thematic elements of the story of Zal and Simurgh remain constant, the different contexts of Ferdowsi's epic and Suhrawardi's mystical narrative lead to profound differences in interpretation, both in literary and visual forms.

The event of the Mi'raj (Ascension) stands as one of the most profound and transcendent occurrences in religious history, inspiring numerous artistic representations. Among these is the illustrated manuscript of Nizami's “Khamsa” (Or.6810), preserved at the British Museum, which holds a significant place in the history of art due to the involvement of Behzad in select illustrations. This study examines the relationship between the narrative depiction of the "Ascension of the Prophet Muhammad (صلی الله علیه وسلم)" and the text of “Manazil al-Sairin” by Abdullah Ansari. The main objective is to uncover hidden connections involving the concept of “yaqzah” (wakefulness) from the perspective of the "Sage of Herat" and its relation to the narrative image, the Prophet’s gestures, and his bodily language. The significance of this research lies in identifying both explicit and implicit links between Persian mystical texts and Persian paintings, contributing to the advancement of related studies. Employing a descriptive-analytical approach and utilizing library-based resources, this investigation focuses on an image attributed to Mirak. The central research question revolves around how “yaqzah”, as the initial stage of the spiritual journey, is manifested in the miniature according to the viewpoint of the Sage of Herat. Findings indicate that Nizami's verses in this section primarily emphasize the Prophet Muhammad’s complete attention to the celestial mercy and his anticipation of divine benevolence for his community. By inscribing «لا إله إلا ٱلله» on the Kaaba’s curtain a phrase signifying the oneness of God the artist seeks to evoke genuine remembrance, awakening individuals from spiritual negligence and initiating the state of “yaqzah”.

Ibn Khaldun is the first thinker in the history of ideas who systematically examined the social factors influencing the formation and development of the arts within his historical analyses. However, previous research on his thought has primarily focused on historical, philosophical, economic, and general sociological aspects, while his sociological analyses of the arts have received little attention. This study, focusing on the social factors contributing to the development of the arts in Ibn Khaldun’s Muqaddimah, aims to elucidate the relationship between cultural, economic, and political elements and the flourishing of the arts. It seeks to answer the following questions: What factors does Ibn Khaldun consider influential in the growth of the arts within societies? How does he analyze and explain the role of these factors in the formation and expansion of the arts?This foundational study falls within the field of sociology of art and employs a descriptive-analytical methodology. Data has been gathered through the study of written sources, particularly Ibn Khaldun’s Muqaddimah. The findings have been analyzed using qualitative content analysis, with conclusions drawn from a sociological reading of the Muqaddimah. The results indicate that Ibn Khaldun perceives the development of the arts as deeply intertwined with various social factors. In his view, social cohesion and solidarity, urban population concentration, governmental authority and patronage, and cultural education of the populace are among the most crucial prerequisites for the growth and flourishing of the arts in any society. Furthermore, Ibn Khaldun emphasizes that the arts not only reflect social equilibrium but also play a fundamental role in maintaining and reinforcing it. Additionally, beauty in his thought-both on an individual and societal level-is closely linked to rationality and wisdom, and it can only thrive in societies that have achieved balance and stability.

Attar's Mantiq al-Tayr is one of the influential literary texts in Persian and world literature, and many copies have been made of it, most of which are illustrated. One of these copies is Mantiq al-Tayr, preserved in the Metropolitan Museum, which dates back to the Timurid period and the Herat school. Due to the technical importance of the manuscript and Behzad's participation in it, as well as the high quality of the manuscript's illustration and the many mystical points included in the manuscript, we decided to examine it. In the present study, an attempt has been made to examine the relationship between the story of the manuscript "A son crying over his father's death" by Behzad and the text of "Manazil al-Sa'irin" by Abdullah Ansari, and its aim is to discover the hidden relationships between the theme of "Yaqzah" or awakening from Sage of Herat's point of view, with the entirety of the story of the manuscript and the way its characters function. Overall, by studying the manuscript, it was found that Attar, Behzad, and Sultan Ali have shown in the best possible way how to learn from the people of hell. Attar's poems refer to gathering provisions for the hereafter, and in this regard, Behzad, by showing a conversation between a grieving boy and a kind-hearted Sufi, emphasizes the necessity of doing good deeds before one's time passes, and all other elements (human and animal) in the painting also confirm this. Sultan Ali's phrase "The grave is a door through which all people enter" at the entrance to the cemetery is also very effective in completing the hidden message in the painting, namely, making the most of the remaining life. The present research has analyzed the painting qualitatively, with a descriptive-analytical approach, and using library resources (real and virtual).

This article applies discourse analysis to study the formation of theatre sub-field including cultural and artistic characteristics in the 1990s Iran, based on Pierre Bourdieu’s theoretical perspectives. The focus of this article has been on the 1990s, a time when a new wave of theater movements emerged and different works were created compared to previous decades. Respectively, the key question is what are the most important characteristics of a distinctive product in the 1990s. Accordingly, Teun A. Van Dijk’s discourse analysis had been applied to study “khane-va-de (family)” play by Mohammad Mosavat.  The findings indicate the formation of dimensions and capitals, the most prominent features of which manifest in aspects such as prioritizing performance over text, the absence of a central hero, typical characterization, complex staging, minimal decor, and empty scenes, a phenomenological view of the body, the dominance of post-dramatic theater, and borderless geography. In fact, “khane-va-de (family)” play has been written and performed to convey its specific concepts and discourse (the new field plan) against two levels of meaning and reasoning (the prevailing traditions) and to do so, it has clung to concepts such as simple decor, opposition to the text without a hero, and emphasis on global values beyond geography.

Every social phenomenon is alive and dynamic when it moves in its cultural context, and parallel to the changes that occur in various political, social, cultural and artistic issues, that phenomenon also changes. Iranian painting in the 10th and 11th centuries A.H. has not been exempted from this. The social and political necessities of that period changed the path of painting. As a result of this transformation, the characteristics of painting were changed. Among these changes was the attention to anthropomorphism in painting, in such a way that man became the center of the image and attracted the viewer's attention by emphasizing the human body. This was especially evident when painting sought its themes not from literature but from routine and normal life among people. In Isfahan school of painting, due to the reduction of the role of the court in ordering copies, the trend towards new styles that encouraged realism, and the interest of the society's elites to own the paintings, certainly single-figure painting with empty spaces. It increased the speed of the artist's work and was cheap and allowed the artist to accept more orders. In fact, in Isfahan school of painting, there is a way of thinking that, despite being Iranian, influences from Western art can be seen in it, based on which the artist looks through his own eyes and introduces man in an image that gradually becomes A normal person becomes transformed. That aspect of the look that announces the artist's presence either in the painting itself or by writing his name on it. Based on this, every artist has the right to create works that represent him. Even if his name is not on that painting. Therefore, by examining the paintings, one can identify the individual characteristics and the work of the artist's hand. This means that the social position of the artist is stabilized and he gets an artistic identity. Here, the artist intends to express himself through his paintings, just the opposite of the past when the painter, by depicting a subject of a poet, was dependent on the book or its subject, and his work was done based on the order of the patron. The artist is involved in human moments and actions, and the human role is the main subject. Different types of utopian literature can be divided into three types in terms of the conceptual background Mythical Utopia: which is an imitation of the prototype of heaven and its material embodiment, on the border between Minu(paradise) and Gitti(universe). Philosophical utopia: which presents the most pragmatic point of view in the field of political philosophy and pursues to achieve a desirable society with models for organizing individual and collective life, and literary utopia which is based on Some of politics, wisdom, mysticism and humanism, etc., narrates the story of a trip to a city that embodies the human mindsets and aspirations of the creator of the work with a poetic or imaginary tone. The story of man's liberation from the dark narrowness of this material world and his return to the world of unity and his eternal abode has been reflected in various forms in classical and contemporary epic and mystical literature. Returning to the origin is the inner, natural and universal need of all people, which does not conflict with the desire for immortality; because they become one with eternity; therefore, returning to the eternal time means the desire to become immortal. Returning to the original to create a new transformation is, in fact, a renewed awareness of the creator of existence and a renewal of the covenant with him. In mystical thinking, returning to the origin of divinity is the natural inclination and desire of the heart of a complete mystic and possessor of knowledge. Mystical literature is a clear example of allegorical works with the theme of sojourn and the desire to return to the original. In these works, the mystical journey of the seeker goes beyond the formal interpretation and theoretical report and reaches the interpretation of meanings. These mystical parables are done with the help of active imagination. The allegory indicates the inner events and developments in which the soul, after being freed from the shackles and the gradual ascension and departure from exile, goes through the steps to reach the truth, and through this ascension with the vision of imagination, the face it focuses on imaginary and symbolic persons. According to the theme presented in the examined pictures and according to the mentioned cases, the result of the present research can be stated as follows: in all three pictures, we witness a kind of timelessness and spacelessness, where things like alienation By their very nature, they induce inconsistency with the world, the feeling of lack in what is, alienation from nature, anxiety and worry, which causes the escape and hatred of the existing world on the one hand and love, enthusiasm and desire for the world that is on the other hand. must be It seems that, in general, such situations and hauntings have appeared more in some strata of society, like artists, and they have seized the opportunity and have not given up their pen in portraying it. Also, it seems that the Iranian painter artist was not satisfied with what he was in the period he lived in, so he felt a lack and tried to compensate by drawing pictures of this kind. In any case, if we look at the issue from the perspective of Iranian-Islamic philosophy and wisdom, it is as if a conscious person has a desire to return to the origin and an exemplary and ideal place such as Jabolqa, which in some paintings, the aspect of self-talk (monologue) Imagery and Hadith had an image-like spirit; Manifested in an acceptable manner. The theme of sojourn and the desire to return to the origin is a precedent in Iranian mystical literature, and painters have depicted this incongruous and unimaginative feeling with the help of their active imagination. Metlanguage in the term means the use of speech without using words; This interpretation has been used in the phenomenology of the concept of Jābōlqā in the paintings of the Isfahan school, and for this purpose, three paintings of the Isfahan school, from the works of Reza Abbasi and his son Mohammad Shafi Abbasi, have been consciously chosen in order to examine the elements that are used in the advancement of this The concept helps to identify. The article is practical in terms of purpose and has evaluated the paintings of Isfahan school by inductive method and descriptive-analytical approach. In the pictures studied, there are three different states of the desire to return (lack of ambition and lack of a trusted person to telling secrets in picture one - determination to change the situation and escape from the current situation in picture two - sense of helplessness and passivity and unwillingness to change the existing situation in picture three) found. In general, it seems that due to the relationship of the Safavid court with European countries and the transfer of Western painters and paintings to the Safavid capital, the appearance of single-character paintings expressing specific mental and emotional states (indicating the increase in individuality and artistic identification of the artist) observed; which have presented the inner expressions of the painter in the form of images.

Elymais constituted an autonomous governing entity characterized by a distinctive artistic expression during the Parthian epoch. The precise delineation of the territorial expanse under the sway of this tribal authority has remained elusive to date, owing to the persistent fluidity of boundaries. However, in broad terms, the jurisdiction of this regional administration can be ascertained as extending from the northern and western reaches of Khuzestan to Chaharmahal and Bakhtiari Province, eastward to Kohgiluyeh and Boyer-Ahmad province, and southward to the Persian Gulf. Among the most significant and notable artifacts attributable to this culture are the distinctive rock engravings, or petroglyphs, located in the Zagros (Bakhtiari) mountains. These petroglyphs depict scenes pertaining to the political and religious activities of kings, princes, and local rulers of this society, showcasing a unique manifestation of Parthian artistry. A notable ensemble of such petroglyphs can be observed at Tang-e Sarvak, situated to the north of Behbahan city And in kohgiluyeh and Boyer-Ahmad province. These works, dating back to the first through third centuries AD, were unearthed and initially introduced to the scholarly community by the 19th-century Russian explorer, Baron Si Dubaud. Within this intricate composition, situated at the uppermost tier to the northeast, we encounter a standalone rock bearing the carved likeness of an Elymais prince. This tableau is replete with depictions of human and animal figures, intertwined with decorative elements, all flanked by two inscriptions rendered in both four and five lines of Aramaic script, devoid of any discernible regional accents or dialectical distinctions. Its temporal origin is firmly rooted in the second century AD. The task of decoding these inscriptions was undertaken by Henning in the year 1952. According to the textual content of these inscriptions, the central figure in the tableau is identified as Prince Erodos of Elymais, who is depicted grasping a ring in his hand. Within this composition, Erodos reclines upon an ornate throne supported by bases adorned with motifs that appear to bear semblance to eagles, mythological fowl, and doves. Accompanying these motifs are three figures that are posited as representations of deities, likely pertaining to Semitic, Greek, and Persian pantheons. This relief, characterized by its simplicity and lack of intricate detailing, comprises motifs imbued with symbolic significance, the true meaning of which lies concealed within. Hence, the inquiry into the underlying import of these motifs within this artwork seeks to discern the cognitive and visual paradigms inherent to this society. This investigation adopts an iconological approach, drawing from Erwin Panofsky's method, with the aim of unraveling the latent meanings of the work across multiple dimensions of thought, culture, politics, religion, and art within Elymais society. This research proceeds through three successive levels of analysis: the pre-iconographic description, which pertains to the fundamental and inherent subject matter of forms; the iconographic analysis, delving into the secondary subject matter and the established conventions of the motifs, enabling the interpretation of their meanings by referencing the texts, allegories, and citations related to the work; and finally, the iconological interpretation, which delves into the profound dimensions of meanings and concealed contents enshrined in the motifs of this work, exploring the realms of philosophical, religious, cultural, and political thought within Elymais society.This research reveals that the prevailing ethos within the Elymais community reflects a confluence of influences from the intellectual, artistic, and cultural spheres of Mesopotamia and Elam, Greece, and Iran, coupled with indigenous elements intrinsic to the Elymais belief system and worldview. Notably, the petroglyphs appear to have served a dual role, both political and propagandistic, in the governance of this society. In light of these findings, it is plausible to interpret this artwork as a piece of propaganda and a political tableau commissioned by the ruling authority. Its purpose appears to be the endorsement and promotion of the various religions venerated in the region, strategically employed to garner the support and favor of the populace, leveraging prevailing intellectual and religious convictions that shape the society. The presence of the ring, prominently displayed in the artwork, symbolizes the authority and influence wielded by the rulers in the presence of Semitic, Greek, and Persian deities. This research is grounded in a foundational framework, employing the iconological approach. The study has undertaken a comprehensive examination and analysis of the subject matter across three distinct levels: descriptive, analytical, and interpretive. The information necessary for this investigation has been gathered from a compendium of authoritative sources, including library materials, textual references, visual resources, and authenticated scholarly documents.

New Institutionalism emerged as an innovative managerial model in the late 1990s and was adopted by several European art institutions, including galleries, art centers, and museums. It remained the dominant framework for these institutions until the end of the first decade of the 21st century. Rooted in curatorial practices and influenced by the critical discourse of "Institutional Critique" and the academic field of "New Museology," this model developed alongside the expansion of biennials, the growing significance of social interaction, and, more broadly, a "social turn" in the art world. Unlike traditional management models, which prioritize creating a seemingly neutral space and emphasize the commercial aspects of art, New Institutionalism transformed art institutions into dynamic, interactive, and audience-centered environments. Despite its initial success, the mainstream application of New Institutionalism did not endure beyond two decades. Factors such as economic crises and conflicting interests led to the dissolution of many associated institutions or their reversion to traditional management practices. Nevertheless, its influence on art institutions and the broader art world remains significant today. This article presents fundamental research that utilizes library resources, a descriptive-analytical method, and a discourse analysis approach. It examines the context and key factors behind the emergence of New Institutionalism, analyzes its functions and impacts on art institutions, and explores the shortcomings of this movement, culminating in an investigation of the reasons for its decline.

Visual literacy or digital visual literacy has become an important essential skill for users of new technologies in the digital age. Visual literacy is a name that refers to a set of visual skills that are developed using human vision. The development of these competencies forms the basis of learning. A person with these competencies has developed the skills to recognize and interpret visual movements, objects, symbols, and other things around them.Many disciplines are effective in the field of visual literacy. These are disciplines such as art, education, linguistics, philosophy and psychology. These disciplines are influenced by the development of human visual knowledge, visual learning, visual thinking and visual communication. The theoretical foundations and theory of visual literacy also originate from these fields. Visual literacy includes visual learning, visual thinking and visual communication, and as a field of academic research and teaching, visual communication is a little more than 50 years old.The world of visual communication has been fundamentally transformed by the influence of digital media. The range of users of new technologies are professionals, the general public, past generations and children who grow up with these technologies. Accordingly, digital capital has emerged as a new type of capital and serves as a bridge to receive other capital in all fields.Depending on the field in which it works, and at the cost of more or less expensive transformations that are prerequisites for its efficiency in the field in question, capital can manifest itself in three basic ways: as economic capital, which immediately and can be directly converted into money and may be institutionalized in the form of property rights. As cultural capital that can be converted into economic capital under certain conditions and may be institutionalized in the form of educational qualifications. And as social capital, consisting of social obligations ("relations"), which can be converted into economic capital under certain conditions and may be institutionalized in the form of aristocratic titles.Digital capital is the accumulation of digital competencies (information, communication, safety, content creation and problem solving) and digital technology. Like all other capital, its continuous transfer and accumulation tends to maintain social inequalities. In Bourdieu terms, we may define digital capital as "a set of internalized capabilities and talents" (digital competences) as well as "externalized resources" (digital technology) that can be historically accumulated and be transferred from one arena to another. The level of digital capital that an individual possesses affects the quality of the Internet experience (the second level of the digital divide), which in turn may be "transformed" into other forms of capital (economic, social, cultural, personal, and political). In the social field, it therefore affects the third level of the digital divide. But in an unimaginably complex future, a non-digitally advanced person, however sane, would not be able to access the tools of wisdom that would be available to even the least intelligent digitally enhanced human.On the other hand, the digital divide, despite the previous simplification, is a multidimensional phenomenon that is related to complex issues that involve all aspects of social life in the economic, political, cultural and social arenas.According to Bourdieu's field theory, a change in one field or habitus necessarily leads to a change in another. Due to digital capital, there have been changes in economic, cultural and social fields. Therefore, changing the habitus is an essential requirement to reduce hysteresis in the field.Hysteresis is a term Bourdieu used to indicate the cultural lag or mismatch between habitus and changing "laws" and regularities of a discipline.Using Bourdieu's field theory, we suggest that in order to reduce the residual, the habitus of social agents in the domain of users of digital technologies should be aligned and related to the changes in this domain.Therefore, this study explains the relationship between visual literacy skills, as a habitus to adapt social factors in contexts, and the digital divide at three levels, as an obstacle to achieving digital capital, based on Pierre Bourdieu's field theory.Finally, according to the dialectic between habitus and capital in field, it is concluded that visual literacy as habitus will help the social agents to get digital capital and reproduce other capitals.It will be an important factor to reduce the digital divide in the social field. On the other hand, because of visual literacy skills are mostly acquired through viewing, when the digital divide increases at levels one and two between social agents, implies social inequalities and lack of access to capital also increase. According to the result of this research, in the social field, if visual literacy be a habitus then digital divide can be an obstacle for getting digital capital. This paper has been done by descriptive–analytical method. We have gathered data by library method and have analyzed it by inductive method.

Throughout history, the subject of woman, as one of the important visual elements in all arts, has been influenced by the social and political issues of the society and has been manifested in different ways. Artists have used this component in different ways to recount the lost identity of women and its disappearance behind the patriarchal discourse prevalent in the society. Many painters such as Afifa Aleiby -one of the contemporary Iraqi artists- has used the female component to show the position of women in the society and has depicted this component from different perspectives, and in fact, many of these works evokes feminist theories in the form of paintings. By looking at Afifa's works, you can see that she is influenced by the culture and thought of her place of life and the current pains and sufferings in her homeland. This impressionability is gradually combined with her thoughts and learnings from western artists and new elements enter her works. In this regard, many intellectuals in every period of history have tried to recover the social position of women and have presented their own theories. Lucy Irigaray, one of the French philosophers and psychoanalysts, examines the exclusion of women from the patriarchal language in order to find alternative forms of feminine writing that allow women to introduce themselves to themselves, because women in the patriarchal discourse are always defined as a passive and dependent identity and are excluded from the realm of culture. From her point of view, the sexual identity of women is independent, unique and reliant on the embodied experiences of women, and in her studies, she tries to find a worthy description of the close relationship between gender and language, as well as a positive definition of identity for women in which women are no longer defined based on lack. Even in simple matters such as the use of male pronouns in cases where no specific gender is intended, the language crystallizes the male tendency. The avoidance of women from having an active role is the result of a philosophy that determines the characteristics of femininity and their acceptance of these methods. Therefore, women are deprived of access to language and as a result, they are in danger of suffering from psychosis and being trapped in a private language. She has focused her main goal not on the definition of the feminine essence but on the definition of the radical ethics of gender difference. According to Irigaray, in the western tradition, "woman" is defined as another man, and the position of femininity is determined based on male standards. Dealing with the problem of how identity is formed and its definition in the discourse of science and philosophy is one of the themes of post-structuralist feminism, which tries to overcome the limitations of reductionist theories. Irigaray points to two distinct identity stages in the process of human social-individual life in order to explain how female identity is overshadowed by male identity. The pre-linguistic stage that during this period, the child is in close contact with the mother, and because he has not yet entered the community, he identifies with his mother. The next stage, or the linguistic stage, is when the child gets to know his father and moves away from the maternal sphere or the pre-linguistic stage, and therefore establishes a new identity for himself. On the other hand, in Irigaray's philosophical view, the body and its morphology are the central point, her emphasis is on the fact that the release of one's gender by the autonomous being when she is writing or speaking in a familiar style, causes the disappearance of femininity in the discourse becomes masculine. The current research, which was carried out in a descriptive-analytical way, first defines Irigaray's theories in the field of deconstructing the definitions related to female identity, and then reads the works of the Iraqi artist, Afifa Aleiby, whose female figure is one of the main components in her paintings are presented based on Lucy Irigaray's point of view in order to answer the question, what are the similarities between Lucy Irigaray's theories and Afifa Aleiby's works, and how can her works be analyzed from this point of view? The results of the research indicate that with the definitions given by Lucy Irigaray about women's identification, many cases in Afifa Aleiby's paintings can be compared with these theories. According to Irigaray's belief, throughout history, a woman has never received a position that is appropriate to her dignity from the society and has always been a symbol of representing something other than herself, or has been seen as an object to fulfill the desire of men. This issue and cliché concept can be seen in Afifa's works. In many of her paintings, this artist has depicted women while they are busy doing everyday tasks, which is in accordance with the image that society has made of women in their minds. A large part of Afifa's works is devoted to the responsibility of taking care of the child and fulfilling the needs of the man. Female gender and then being a mother becomes important in the bed of sexual difference and female metaphysics. Mother is the first interlocutor of women and a person of their own gender, but this has been influenced by the patriarchal thought and needs a new language to shape the relationship between mother and child as an independent subject. In western thinking, the father-son relationship is preferred over the mother-daughter relationship, which causes women to be alienated from their sexual identity and the mother-child relationship is forgotten. According to Irigaray, as a result of looking at women as a tool, women are trapped in stereotypical roles such as virgin, prostitute, mother, or a combination thereof. A noteworthy point in Afifa's works is the way of showing pictures of mothers who are breastfeeding or hugging a child, which is drawn in a sacred way, like the figures of Virgin Mary and Jesus. Other elements that Afifa used along with the main figures are generally reminiscent of the content of the Bible and related to the expulsion of women from heaven and the purity and virginity of women, which can evoke Irigaray's last view. Representations of the female body and their portrayal as an attractive creature is a perfect example of objectification, either as a symbol and illustration of classical beauty or as a representation of the sensuality and desires of the male audience. It comes According to Irigaray's belief, when the female body is the focus of storytelling, taking into account its relationship with matter, body and mortality, the inner and disturbing parts of the body deserve attention for artistic expression. Rejecting and removing the female imagination definitely puts the woman in a position to experience herself only in a piecemeal way, in the less structured margins of the prevailing ideology, as wastes or mirror additions that the male subject reflecting and doubling the self-expressed and purely sexual to fulfill male desires, perhaps it can be concluded that the naked bodies in Afifa's works are not sexualized as a concept, but it has been used in its paradoxical sense and to show this common sexual view of women. On the other hand, breaking the norms about the known standards about the external beauty of women has always been done by feminist artists. Society has set demarcated norms for women's appearance, which are based on beauty and neatness, modesty and cleanliness. Women also follow these ideal bodies chosen for them. But in front of all these, there are feminist artists who, by breaking these rules, reverse the traditional aesthetics expected by everyone in the naked body. In addition, this violation of norms is not only limited to the naked body, but also includes other details of women's appearance. Just as Afifa has shown this contrast in her paintings. She has depicted women in the simplest possible way, contrary to the aesthetic definitions of women in everyone's mind, she has depicted them with short hair and without makeup and jewelry. Afifa, unlike many of the works of painting that depict slim and thin women, most of the women depicted by Afifa have full and relatively large bodies, which is also contrary to the common aesthetics of society in relation to women.

Wabi-sabi is rooted in the Japanese lifestyle, related to a dominant attitude that focuses on the perception of nature or a more general expression: ‘mother nature.’ This attitude is based on the beauty of the events, objects, and subjects,disregarding their defects or the amount of imperfection that may be seen in them. As perfectionism dominates modern life, many face economic and psychological pressure to acquire luxury goods; adopting a special lifestyle can help alleviate this stress. The Revival of traditional aesthetics and nature-based approachesleads to more peace and relaxation in life. This paper aims to explore the Wabi-sabi style in architecture and interior design, along with related decorating styles. Naturalism, as the basic approach for Iranian designers and architects for building places such as Dovecotes or windcatchers, is also mentioned in this paper as a primary step regarding nature as the basis for human needs. This research explores contemporary and postmodern art approaches, including minimalism, that connect with public life. This trend arises from the rapid advancements of the modern era, highlighting the use of natural materials in art creation. Revision of such nature-based approaches leads to the connection of people to their traditions and the way of life belonging to their ancestors in the line of closeness to nature and natural materials. This style appeared first in architecture and interior decoration and is recognized as a kind of style with inner or hidden concepts. The most common meaning related to this style refers to the concept of acceptance of everything disregarding their faults or defects. In this style, we can see beauty in everything, and we learn to find innate beauty in everything surrounding us instead of seeking perfectionism or excellence; it means that we see them as they are not as they should be, in other words, the beauty of objects is seen in theirnatural and original form and this is exactly the concept referring to naturalism in this article. Comfort and a sense of home are key outcomes of this style in our lives, guidingus toward simplicity. This arises not from mere simplicity but from a focus on nature’s principles, which brings unique characteristics like roughness or asymmetry while retaining an element of finesse and a quasi-romantic quality. Themain feature of this style is the use of organic architecture, utilizing tools and materials like unaltered wood, to create a natural aesthetic. One of the first forms of this approach in architecture is the style called Brutalism, which is focused on using raw concrete in the visible part of the buildings. According to this attitude, the world will be a better place to live and we can use objects fluently and without discomfort. This approach highlights the renewed focus on naturalism in both the interior and exterior of our homes. This approach results in more comfortable norms and lifestyles and fosters undesirable interactions with nature. Wabi-sabi, a minimalistic and nature-oriented lifestyle, reflects the deep connection to nature that our ancestors embraced in ancient times.

As one of the most important arts of history, glassmaking has continued almost unchanged until the early centuries of Islam. In the 3rd to the 5th centuries of Hejira, glassmakers used new methods in making and decorating glass, and in this way, precious and limited glass works, such as cameo glass, which are made by blowing glass and layers، have been made. Putting colored glass melts on colorless glass is left over from the Islamic civilizations of Iran and Egypt. This type of glass, which is very important in terms of construction and decoration, on one hand shows the ability and mastery of the glassmakers of the Islamic world, and on the other hand, it shows the new techniques of glass making. Considering the fact that no independent research has been done in relation to this issue, the present research aims to study and examine cameo glass works in order to advance the knowledge of glassmaking. The aim of this research is to study some of the most important glass works of the Islamic era in these lands, to achieve and to identify their similarities and differences by focusing on the technical and visual examination. Therefore, the current research seeks to answer these questions; 1- How can cameo glass works be executed and what are the technical and visual characteristics of the above-mentioned works belonging to Iran and Egypt in the 3rd-5th centuries AH, including form and pattern? 2- What are the differences and similarities of the cameo glass works of Iran and Egypt in the 3rd-5th centuries AH? The research method is descriptive-analytical with a comparative approach and the procedure of information collecting is library method. The results indicate that the cameo glass works were decorated with two methods of encased and marquetry. Encased method is used in the decoration of the cameo works of Iran and Egypt, with the advancement of the encasing technique, in order to remove more surface of the body of the vessel with an additional layer of colored glass to create an encased work with prominent linear patterns and effect. There are two colors and the placement method in which the body of the container is cut and taken out, and then the pattern is replaced in one piece with another color in the body that is exclusive to Iranian works. Also, the cameo works of Iran and Egypt are similar to each other in terms of form, pattern and color on one hand and they differ on the other hand. Each of the mentioned works has a unique form, which is decorated with animal, plant, inscription and geometrical motifs. Bird, lion, palmette and ivy motifs are common in the works of the two lands, and other animal and plant motifs as well as the legibility of Kufic writings in Egyptian works have distinguished the cameo glass of Iran and Egypt. The animal motifs in works from Iran include bird, lion and rabbit, while the animal motifs depicted on objects from Egypt represent bird, snake, lion, mountain goat and unidentifiable four-legged animal. Inscriptions on Iranian glassware are in Kufic script, yet illegible, while, as already mentioned, the inscriptions on objects from Egypt include words such as Allah, Barekat, and Daaem in a legible and comprehensible Kufic script. It is also noteworthy to mention that the geometric motifs, such as diamond and oval, are solely and individually represented on Egyptian glassware as ornamentation, while objects from Iran lack the above-mentioned shapes as primary motifs, which are observed as shapes merely drawn on as filling motifs on the body of the objects. The color similarity of the cameo works of Iran and Egypt is in having a colorless glass melt in the lower layer and green, blue and brown colors in the outer layer, and other colors that are more often observed in Egyptian works. It is one of the other differences of these works.

Kilim-weaving has a long history and is widely woven in rural life and some urban communities of Kerman. Having diverse kilim-weaving technique, one of the most famous and valuable kilims of this province is “Chehel-Māshūleh” of Bidkordūiyeh village, which was registered nationally in 2017. The special and unique weaves, diverse motifs and designs are subjective, abstract, among the most important characteristics of this kilim. The main objective of this article is to identify the technical features of the weaving method, the reasons for the naming and the factors affecting the formation and variety of the use of hand-weaves, motifs and designs of “Chehel-Māshūleh” of Bidkordūiyeh village. The information in this article was collected using field and library surveys with descriptive-analytical method. This research seeks to answer the question “what are the significance and unique characteristics of the technique and associated motifs that have been registered nationally”. The results of this research show that the innovation and skill of the Afshār tribe weavers have led to the formation of a rare weaving technique, in the form of “left-weave”, which has contributed the preservation and sustainable use in their personal and daily life to provide design and decoration of the their every-day objects in their life, work and even rest.According to archaeological discoveries, the history of weaving in Kerman dates back to more than 5000 BC. Motifs are the most important element in decorating these types of kilims, which have a great deal of originality. The results imply that most of these motifs are the result of the mentality of nomadic and rural women which are adopted from their life and environment, and ethnic traditions. In other words, these motifs are the abstracts of various elements and thoughts of the weavers, which are formed according to Iranian mysticism and Islamic civilization. They have woven these motifs with great skill on the carpet with an abstract and geometric style, but over time, they have undergone gradual changes and have evolved from simple to complex patterns. This process has created a lot of diversity in motifs, designs, and their use. The mental weaving and repetition of motifs have caused the diversity and multiplicity of motifs colors and names in the Chehel-Māshūleh kilim. In other words, it can be said that any work or artistic field, which has appropriate, logical, orderly, balanced structure and is rooted in the tradition, is picturesque. Therefore, most of the nomadic and rural handwoven with the Chehel-Māshūleh kilim style has the same characteristics while preserving the native identity and regional authenticity. As a result, it should be said that the nomadic art of this region is a pure, amazing, beautiful and useful/practical art.

Problem statement: 

Nature is Human’s first existence and home. Essence and accident are the aspects of Mollasadra Trans-substantial Motion theory, which defines the rhythm of motion, from form to meaning to substance utility and welfare. Seems that the mentioned subject is in contradiction with today scientific world rather that their goal is the same. Biophilic design tries to create a living condition with nature in human living environment. A realization of Alive Architecture according to Mollasadra Trans-substantial theory creates possibility to increase quality of life.

the Aim of this research is to achieve the Alive Architecture purpose to increase quality of life and notify spirituality in Architecture to calm soul. To reach the mentioned aim, the research defines an appropriate answer to the relation of Mollasadra Tran-substantial Motion theory with Biophilic Architecture.

The research was based on a Qualitative method (Grounded theory) with data analysis strategy, systematic coding of Strauss and Corbin with the help of MaxQDA software. The nature of the data in this research is Textual, semantic and unstructured derived from deep interviews, which have been analyzed with inductive logic by interpretive analysis.

The research findings prove that, essence transformation is in each being of existence, and Biophilic Architecture reminds Aliveness of existence by essence transformation through considering alive elements. The purposes such as: Perfection, Progressive, Reunion, soul and body, Timeless concept, are in Human and existence elements. The possibility of having essence transformation in a meaningful Architecture via considering more aimed purposes in terms of, communication, new thinking and Seeking reality, would have result in Beauty creation and Living Architecture.

This study aims to identify the challenges related to Teaching Methods that have affected in this field.

This research was conducted using the descriptive-analytical method. Documentary method was used to investigate the issue and qualitative analysis method was used in data analysis. After the initial review, 14 articles were selected and systematically reviewed. The information was gathered through the use of library and internet research in order to answer the research question.

Visual arts teaching in Iran higher education system is now confronting issues, which are related to such things as effective methods to improve students' learning, the role of students' background, professor knowledge, the educational goal, professor-student relationship.

The solution can be found in the traditional methods of art education in Iran and the teacher is considered an important element. It is also suggested that the challenges related to teaching methods be re-examined and in addition to consider art education in the West, traditional art education methods in Iran should also be paid attention to. It is also necessary for professors to be aware of their role in solving the challenges of teaching methods in visual arts education.

Iran, Egypt, and the Ottoman Empire, early leaders in art and knowledge within the Islamic world, engaged in significant artistic and cultural exchanges, deeply influencing one another’s art. Despite the many ups and downs visible in the political, artistic, and cultural fields of Iran, Egypt, and Ottoman lands, these lands continuously strive for the progress and prosperity of their science, culture, and art. They have made a lot of effort. The art of glassmaking has remained prominent in these regions after the advent of Islam, with artists creating innovative and creative glass containers that have yet to be thoroughly studied. Therefore, the current research aims to study and compare animal and plant motifs in the remaining glass works from the 13th-15th centuries AD from Iran, Egypt, and Ottoman lands to answer these questions: 1. What were the influences of Iranian, Egyptian, and Ottoman glassmaking in the mentioned centuries? And 2. What are the commonalities and differences between the animal and plant motifs of the glass works? The research method is descriptive-analytical with a comparative approach, where information is collected through library sources and reliable sites, and 103 works are selected as a statistical population, based on the works available in books and museums, and analyzed qualitatively. This research, with the comparative study of the art of glassmaking in the three mentioned lands, will contribute significantly to the history of this art, and in this sense, it is important and necessary. The art of glass-making, which received limited attention in the 13th to 15th centuries AD in the mentioned regions, was notable for its pioneering contributions to the craft. This understanding is essential for uncovering the history of this remarkable art, highlighting the necessity of the present research. The research results indicate that several factors such as migration and the exchange of artistic and cultural works and knowledge, have caused the lands of Iran, the Egyptian Mamluks, and the Ottoman Empire to be influenced and benefited from each other’s culture and art. The presence of some commonalities in the animal and plant decorations on the glassworks also shows the mutual effects of the art of glassmaking in the mentioned lands from each other.

Some historical stories, especially because of their religious themes, appeal to the ordinary people in some societies and have been retold in different ways during the time. One of these stories is the story of Prophet Yusuf, which has been frequently considered not only in the history of the Qur'an interpretational tradition by commentators and authors in the field of ethics but also in the history of Iranian poetry, art, and literature. The two important scenes of this story are Yusuf escaping from Zulaykha and also Zulaykha`s party which are considered the two tempting climaxes of Yusuf's story as well. These two scenes refer to moral aspects, on the one hand, and to sexuality on the other. These dramatic and figural scenes have been repeatedly represented in the history of Iranian painting, especially in the Safavid and Qajar eras. There are many paintings in the Qajar era also seemingly referring to and evoking this scene for audience. As a social fantasy, discussed in this paper, the Naranjborii Majlis or Zulaykha`s party somehow discards moral aspects for the sake of sexuality. This scene, not mentioned in the Torah at all and briefly mentioned in the Qur'an, is highly taken into consideration by commentators, poets, writers, painters, and the ordinary people in post-Qur'anic literature in all historical periods, especially in Iran. Therefore, one can question this importance and look for its historical and cultural roots; the visual functions of it can be questioned as well. This essay, with a descriptive and synthetic analytical method, tries to gene-analyze this scene in a social and psychoanalytical approach regarding the collective unconscious of Iranian people. Gene-analysis in this paper provides a theoretical and conceptual framework alongside a methodological and targeted combination of myth-analysis, psycho-analysis, and discourse analysis, with the help of which one can find the mythological origin of this scene and comparatively analyse them in terms of discourse, and expectedly, in terms of psychoanalysis, to know about the conscious and unconscious psychological investment of the collective subject. The results justified that the Creation Myth scene in Bondahish, one of the holy books in Zoroastrianism in the late Sassanian era, is the figural model of Zulaykha's party, also Nerse and Jahi are the archetypal characters of Yusuf and Zulaykha with the same roles and characteristics. The paintings of Zulaykha`s party can present dense and multiple and at the same time contradictory scenarios and can also be a suitable scene for the collective subject`s projection and fantasy; consequently, it causes the multi-faceted circulation of desires and anxiety in an unconscious way. What is considered to be the most significant point of this study is that Yusuf is deemed an attractive prototype for kings, beautiful men and women; like Fath Ali Shah, due to the correlation of power (holiness) and beauty (connected with sexuality). Finally, what can be inferred from this paper is that, this scene due to some indigenous reasons, rooted in Iranian culture and history, has been repeatedly represented in the history of Iranian painting.

Pierre Bourdieu, French sociologist, revolutionized the study of cultural sociology by introducing the theory of social fields and concepts such as distinction, habitus and doxa, whose influences on related theories remain to this day. Although he did not directly express his views on urban spaces and architecture, this is one of the most important areas in which Bourdieu's concepts can be analyzed. The relation between society and culture with urban spaces and architecture is an important issue that can be well reflected and analyzed in the context of cinema. City and urban architecture have had a close, continuous and notable relationship with cinema since the advent of this art. The following study, by selecting Asghar Farhadi's latest film "A Hero", as the case study, examines how architecture and urban spaces are influencing the film and also reflected by it, and uses Pierre Bourdieu's views for analysis. During the analysis of this article, the effects of the city of Shiraz, the urban landscape, the houses and the culture arising from them, and finally the social fields have been discussed. Then, the reflection of sociological concepts in these cases have been identified. This study shows how the city of Shiraz and its urban spaces and architecture have adapted to the key concepts of Bourdieu and by presenting various fields such as prison, charities, bazaars has advanced its narrative.

Had television emerged in Eastern lands like Iran, it would have undoubtedly had different aesthetic characteristics today. Cinema and television are modern amalgamations of the European traditions of art forms such as painting, fiction, music, theater, and architecture—traditions that inevitably followed the culture of their birthplace in their shaping of the rules of film and TV. If we recognize TV as a communication medium, then it becomes a channel to disseminate localized content, and creating such content calls for adopting elements from the culture and art of target regions.Not only is Iran, an Islamic nation, among the many countries that practice TV localization, it has also always considered it a top priority. According to the Charter of the Islamic Republic of Iran Broadcasting (IRIB), promoting Islamic culture should be the primary focus of the corporation’s TV and radio programs. Non-fiction religious/spiritual programs have a special place among the genres produced by the IRIB; however, designing sets that best represent the content of such programs has rarely been a priority to its producers and, when attempted, has often been flawed.In many parts of the world, the use of light as an independent visual element has long been part of scenic design, especially in theater. Even so, despite its long-standing philosophical and artistic significance to Iranians, light has never been employed as a primary element in scenic design for TV programs in Iran. Revisiting the rich Islamic–Iranian philosophical and artistic traditions seems to be the best starting point to do that. Since sets are an essential medium for the communication of content in non-fiction TV, a purposive use of light in their design may be the most effective way to evoke notions from Islamic mysticism and philosophy—traditions that have been described as “made of light”. Not only does this use of light aid faithful visual representation of the content of such programs, but it also improves their appeal and mystical quality.This article explores the aesthetics of scenic design from Islamic–Iranian religious and cultural perspectives and takes an intracultural look at the conception of light in Islamic mysticism. By doing so, it aims to introduce a style of scenic design that most effectively represents the content of non-fiction Islamic TV programs. The article also tries to answer the following research question: “Based on Islamic mysticism and the philosophy of Islamic art, how can ideas be communicated through the use of light and color in TV scenic design?” The study was conducted as basic research in terms of purpose and analytical–descriptive research in terms of scope. The research information was collected from print and electronic sources alike and organized using note cards.The interdisciplinary nature and newness of the topic necessitated finding similarities between the information from the two domains—philosophy of Islamic art, and TV scenic design. This was to reveal how Islamic art’s approach to aesthetics, light, and color overlaps with the aesthetics and the use of light in TV scenic design, an originally non-Iranian craft. Accordingly, the information was inductively analyzed, whereby a general conclusion was drawn by synthesizing data from different sources. The study reviewed the literature on the conception of light, color, and aesthetics in Islamic philosophy and art to extract principles that could guide the use of light and color in TV scenic design. In establishing a link between scenic design and Islamic art, the study relied on the theory of “form–content congruity in Islamic art” by philosopher of art, Hassan Bolkhari Qehi, making the research also comparative in this regard.The study found that consulting the philosophy of Islamic art, along with the embodiment of its conception of light in Islamic–Iranian art and architecture, makes it possible to achieve a sophisticated aesthetic and the highest degree of form–content congruity in scenic design for non-fiction Islamic TV programs. Since the study focused only on design and content, further research is needed to investigate viewer experience in practice.

This article is about the research on the Design and Restoration of the inlaid floor of the Laurentian Library by Michelangelo Buonarroti with the approach of Cesare Brandi's theory. This review is based on the concepts and tools of restoration with the aim of preserving works of art and cultural heritage. The purpose of this study is to know and understand the aesthetics and history of the studied subject in an outstanding work of art; by Michelangelo; The main character of the Golden Age of Italy, which has defined the next artistic generations and gave them a strong motivation for the Mannerism movement, and also reflects the views of Cesare Brandi's restoration theory. Hence, the first definition of restoration: "Restoration is the methodological moment of knowing the work of art, in its physical consistency and in its dual polarity of aesthetics and history, with regard to its transfer to the future". What is meant by physical consistency? This is the place of manifestation of the image, the substance on which the form is born and then exists in the world. Hence, the first principle of restoration: "only the substance of the work of art is restored". Then we come to the second principle of restoration: "Restoration should be aimed at re-establishing the potential Unity of the work of art, provided that this is possible without committing artistic forgery or historical forgery and without erasing the work." (Brandi, 2000). Della cultura non si dà ricetta: ma, poiché la cultura non è l'erudizione, cultura diviene solo quella che, entrando a far parte della conoscenza, accresce la coscienza.»-Cesare Brandi. "There are no prescriptions for culture: but since culture is not wisdom and knowledge, culture is the only thing that increases conscience by becoming part of knowledge" (Brandi, 1992). Cesare Brandi (1906-1988) was an Italian art historian, art critic, essayist and specialist in restoration theory. The Central Restoration Institute was established in Rome in 1932 with the collaboration of Brandi (Brandi, 2011). He was trained as an art historian and also in contemporary aesthetics. He is a follower of Crochanism in philosophical and literary fields, especially in relation to a form of criticism that considers primarily or exclusively the aesthetic values of a work of art. The philosopher he considered closest to him was Martin Heidegger, although their positions did not coincide; For this reason, he also felt closer to Derrida, especially to his commentary on difference (Fasoli, 2007). His extensive scientific experience and phenomenological references from Plato to Kant, passing through Benedetto Croce, Martin Heidegger and Friedrich Hegel, culminated in what became known as Critical Recovery Theory (Burnett). Brandi's proposals had a great influence on the restoration of Italy in 1972 and, consequently, on the current practice of restoration throughout the world (Heloisa do Carmo, 2016). The restoration of an outstanding work of art begins with its recognition, and then at the first moment of intervention, the work of art is recognized, and restoration is understood as any intervention aimed at restoring its full function. In addition to materials, from visual elements such as: form, space, light, color, decorations, signs and symbols and in place of visual factors: rhythm, contrast, movement and atmospheric and geographical effects, materials and construction techniques created by the artist in the artwork has been investigated. Therefore, knowing the concept of restoration, the subject of the work of art, the potential Unity of the work of art, environmental effects on the work of art and restoration, restoration according to the historical example, restoration according to the aesthetic and historical approach, the space of the work of art and preventive restoration, the moment Intervention is coming. The research method in the studied research is using the descriptive-analytical method, in order to express the research objectives with field studies, library studies, translation of reliable scientific sources, technical methods and tools (photography and design with graphic software) in data analysis. The basis of a certain sequence is presented in the restoration of the artwork. Therefore, by knowing the concept of restoration, it is done according to the historical example and the aesthetic approach, which seeks to respect the authenticity of the artwork. As a result, it emphasizes the recognition of the potential Unity of the work of art with regard to its transfer to the future.

Eslimi element is considered the first among the most applicable seven elements of the Iranian traditional art motifs whose application refers to the earlier centuries of Islam. However, the use history of the word Eslimi –also registered as Islami– dates utmost to 830 Hijri and is used only in Persian texts. So far, a lot of research is done on Eslimi, and various and contradictory theories are proposed on its background and origin. The point is that no comprehensive research has been done yet to consider and contrast the issues about the Eslimi element in “historical texts” and “research of the last century”, and their relationship is overlooked; Identifying that relationship is significantly important in Iranian-Islamic art. The present qualitative research which uses a descriptive analytical method and is based on library studies is evaluating the related references to extract their important data about Eslimi and to highlight their similarities and differences through comparative studies. Findings show that the last century researchers with non-Iranian pioneers have not paid much attention to Persian “historical texts” and they boast more differences than similarities. Although the formation of traditionalists’ ideology and its attention to “Eternal Wisdom” has reduced the severity of differences, our understanding of Eslimi –referenced as a religious and ethical motif– is incomplete and based merely on the western studies.

Classical narratology was mostly based on a biased reading of Plato’s The Republic and Aristotle’s Poetics, which considered mimesis as mimics and gestures in dramatic literature and diegesis as narration in novels and fiction. Through this perspective, the act of narrating and the presence of a narrator became the necessities for the texts being analyzed narratologically. However, the two terms mimesis and diegesis are much more complicated and the division is not that strict. In addition, although since the beginning, drama in Iran and Turkey has always been dependent on diegetic ways of narrating, after becoming familiar with the western drama by translating and adaptation, the writers in these two countries, started to adopt mimetic approaches. The first examples of this new journey are the Collected Dramatic Works of Mirza Fath-Ali Akhundzadeh by Iranian playwright Akhundzadeh written between 1850-1857 and The Wedding of the Poet by Ibrahim Sinasi in 1859, Turkey. This comparative study aims to analyze the narrative of the plays The Miser, a play from the collection, and The Wedding of the Poet through the framework of mimetic and diegetic narratology. Accordingly, these two plays both show relations to their ancestors and the diegetic characteristics are apparent in the plot, characterization and also, spatial-temporal aspects of these plays.