خشایار قاضی زاده

Cow- head mace is one of the symbolic weapons in the mythological stories and the Punishment tool of Zahhak in the Ferdowsi's Shahnameh. This case is depicted in Tahmasp’s Shahnameh paintings and the Scene of Zahak's Hanging is one of the paintings that Seen in it the motif of Cow- head mace.There is a metal Cow- head mace with similar Specifications in the New York Metropolitan Museum. Formal and apparent similarity of the metal case and the image Illustrated has made the research necessary. The purpose of study is to identify the similarities and differences between the Cow- head mace in the Scene of Zahak's Hanging painting and the Metropolitan Museum metal case. The question in the study is: 1. what are the similarities and differences between Cow- head mace Motif in Scene of Zahak's Hanging painting in Tahmasp’s Shahnameh and the Sample No. 36.25.1882 in the Metropolitan Museum? This research has been done by analyzing library and documentary information with a descriptive-analytical and comparative approach. research Case Studies include the Cow- head mace Motif in Scene of Zahak's Hanging paintings of Tahmasp’s Shahnameh and the metal sample of Metropolitan Museum. The results show that the metal mace of Metropolitan Museum has a form similar to the motif of the Cow- head Fereydoun mace in the Scene of Zahak's Hanging painting and it has an iron color and is made of iron and it has golden ornamentation, while the painting mace is golden color.

AbstractThe plaster designs discovered in the Samarra collection possess decorative patterns which have always attracted the attention of the people of science and art. Some of these plaster designs are fully imitated from the abstract and geometric motifs of the plaster designs of Sassanid palaces. Some other plaster designs have abstract motifs that, despite being very similar to the motifs of early Islam and Sasanian art, also have their own unique characteristics. One of the important features of these motifs is the combination of Sasanian motifs and elements of Mesopotamia art in combined-animals and abstract icons. These pictorial structures are seen in statues, reliefs and most of all in Mesopotamian seals. Many people, such as traditionalists, believe that after the introduction of Islam, artists rarely used human and animal images, especially on the walls of mosques, for monotheistic reasons. Contrary to this view, there are human or animal images in the form of combined-animals in Samarra as one of the most important works related to the early centuries of Islam. the underlying reason(s) of this issue is an important question which is tried to be answered in the process of this research. In this regard, the aim of the present research is to analyze the drawing of Samarra's plaster motifs and to compare them with the combined-animal motifs in the ancient works of this region (from the Assyrian period to the end of the Sasanian period). The results of this research, which is carried out in a descriptive, analytical-comparative way, are the presence of abstract icons and combined-animals in the decorative motifs of plasters on the body of Samarra buildings. Also, one of the other achievements of the research is the graphical and descriptive expression of the roots of the motifs of Samarra in the ancient motifs of Mesopotamia (combined icons and animals) and Sasanian motifs that were integrated, transformed and recreated after the arrival of Islam.

Samani pottery, which is attributed to the 3rd and 4th centuries of Hijri, has many drawing similarities with Sasanian works. The way of painting the faces and parts of the figures, the composition of some significant works, and several other decorative features, according to art history researchers, make Nishapur pottery a logical sequence of Sasanian art in the first centuries of Islam. When the conceptual reading of motifs becomes a function of this statement, the generalizability of the general theory of "the influence of Islamic art from Sasanian art" is distorted by some works. By ignoring the contribution of Sasanian art in the analysis of motifs, some other works are excluded from the circle of theoretical validation. Wilkinson's careful attention to the artistic legacy of pre-Islamic Iran for Samani pottery was gradually approved by the researchers after him, and the research assumptions were based on this theoretical foundation. The main criticism of this range of research was ignoring the centuries-old ideological developments of Muslim and even non-Muslim Iranians, which appeared in the Iranian cultural return movement in the form of a plurality of Islamic sects and superstitions. It can be said that this was a research deviation from the followers of Wilkinson's theory that the Sasanian influence was emphasized as if it made Nishapur pottery a part of the artistic achievement of the Sasanian era in the post-Sasanian era. With the explanation that all figures and animals were considered symbols with Sassanid meanings and thus, a significant part of the works could not be interpreted with this theory. On the other hand, recently, various content readings of the role have been presented by some other researchers who ignored the theory of the influence of Sasanian art and turned to different phenomenological or historical interpretations. A serious criticism of such studies is the non-generalizability of theories to the variety of animal and physical compositions. In such a way that each interpretation can finally cover the works with visual characteristics and composition similar to its case example. In this research gap, establishing a theory that can correct the established theory and cover the themes of all the works is the main goal of the research. The operational plan of the research is as follows: First, various data, including visual, audio, and citation data, are collected and categorized, and after coding, categorization, and extracting central concepts. The importance, necessity, and purpose of this article explain the correction of the above theory. The main question of the research is what theory can be proposed about the painted pottery of Samani Nishapur, which can be more generalizable than the existing theories. The research method is descriptive-historical, and data-based or contextual methods. The modification and establishment of the theory is one of the most challenging research topics. Where the theory works but its generalizability is doubtful, formal and conceptual generalizability can be separated from each other. It is assumed that Wilkinson's theory has a good generalization ability at the form level; However, it does not work comprehensively at the level of content and is not responsive to interpretative variations. All the available samples (online and museum) were listed under the title of "patterned pea pottery". The searchable samples, which are 174 healthy and almost healthy painted pea potteries, are considered to be the product of a common content platform. In explaining the tools and methods of data collection, the relative balance of data in historical subjects seems to be heavier in favor of the left documents and texts. In the selection of the interviewees, in addition to the researchers, attention was paid to the museum-keepers and their oral experiences in direct encounters with the works. Nishapur patterned pottery can be classified into four groups from the visual point of view and the combination of patterns. These categories are: 1- Figures on horseback 2- Standing/sitting figures (single, double, and triple or more) 3- Combinations of animals 4- Mixed human and animal creatures. Conceptual categories and spectrums that have been extracted through the coding of the interviews refer to various aspects of Nishapur's patterned pottery. Some categories have a critical and pathological look at the methods used in the existing research, which is the result of the concerns of the authors and researchers. The only distinguishing categories in terms of content were the possibility of the existence of constellations and astronomy, as well as the discussion of national religious festivals and holidays, which were not mentioned in any of the conversations. The influence of Sassanid art, the influences of East/Sogdian art, popular art, the narrative nature of the role, the factor of religion, constellations and astronomy, and the cultural movement of Iranians; The most important conceptual and content categories are extracted from the research data. The most important question, the answer of which will change the direction of content research is, in what tangible and objective way did the Iranians shape this renaissance? The answer in literature is Shahnameh; in politics, it is a desire for independence from the caliphate, and in the depiction of Nishapur's engraved pottery? Is it possible that there has been a methodological problem? This sameness in the generality of culture, without paying attention to contemporary and effective factors such as religion and new religion, can reach such an interpretation. Nevertheless, it is necessary to answer this question once again: based on the thought system of Iranians who lived three or four centuries after the emigration of the Prophet of Islam, the way to overcome Arab rule and make Iranian rulers dominant again - not necessarily Sassanid - what was it? This return and the so-called cultural, political, social, and all-round "regression" have gone through which reliable path in the real world? It seems that the central phenomenon can be discovered from this question and the answer we give to it, and the basic theory of the research depends on finding its exact answer.In this way, wanting to return - or in other words, wanting to see the future - could only be achieved and become objective through a concrete path, which could not happen except by resorting to apocalyptic beliefs. Because the vindictive literature of the insurgents and the astronomical and astronomical superstitions of that period is largely defined by the apocalypse. It should be known that it is difficult to find logical relationships between the role and its contemporary history, in the situation where the painting avoids any kind of narrative. Perhaps this is the factor that encourages the commentators to do iconological interpretations and mention general reasons and factors such as the cultural movement of Iranians and then go into iconography and find the visual relationships between the text and the role. The set of these risks causes us to overcome such a cognitive error, to draw a theoretical sphere of inevitable or probable contents. It can be said that one of the results of this research was the recording and collection of Nishapur engraved pottery images and the presentation of the formal typology of the works. Collecting the images of all the works - both fake and original - has been since previously, in the existing research - if available - the frequency and specific number of Nishapur engraved pea pottery has not been stated. The numbers mentioned in this treatise are not certain. It should be known that any attempt to achieve a single meaning and content for numerous monologues ultimately requires illogical generalizations and leads to failure. If we look at the shape effects in Nishapur pottery with a critical eye, the avoidance of imitation and uncreative patterning by the Nishapur artist seems clear and certain. No clear narrative in the official literary and historical texts that connects the image and the text of the documents was found in any research work. There is only a series of mostly superstitious sub-narratives, which, according to the author, can be given more attention and thought to reread the motifs. The apocalyptic content of the return of Abu Muslim or any other savior was suggested for motifs in the author's previous articles. That is for works in which birds are most similar to pigeons and horned animals are most similar to goats. This analysis is based on a series of superstitious sub-narratives. The importance of these narratives is due to their connection with astronomical constellations and the issue of the cultural return movement of Iranians, and since it is repeated in at least 3 important texts, it makes the author give it an impact factor again. Of course, there are flaws that damage and weaken the theory, and as a result, it is necessary to promote an idealistic hero without direct reference to historical and concrete figures such as Abu Muslim. The time frame of two centuries considered for the history of the production of works makes it difficult to find the main sources of content. Unless the widespread events during this period are emphasized. In this respect, apocalyptic beliefs have superiority in spatial temporal, and even ethnic scope. The results of the research show that in the variety of topics and conceptual categories of motifs, drawing a theoretical sphere of the concept of the end of time can be the most comprehensive answer to the question of the existence of Neishabur's works in the third and fourth centuries of Hijri.

Iranian painting, as a cultural heritage and a symbolic and spiritual asset, requires effective and appropriate educational conditions. This research aims to examine the role of miniature painting in the higher education of traditional arts, evaluate the challenges facing the miniature painting course, and propose solutions for its enhancement within the undergraduate curriculum of handicrafts.   The authors have employed a comparative approach to analyze this course alongside others within the higher education system, enriching the findings. The summary of these findings indicates that the current state of the miniature painting course is inadequate for several reasons. These include a mismatch between the allocated time and the course objectives, overly extensive content that combines both illumination and miniature painting, a lack of emphasis on the crucial topic of design, weaknesses in course description writing, and misaligned assessment methods with the course goals.  Another significant issue is the excessive parallel efforts that separate miniature painting and illumination from handicrafts, along with the overall low priority of this course in the undergraduate handicrafts curriculum. To address these shortcomings, the research presents suggestions and solutions for improving the course or potentially replacing it with a more suitable option that aligns with the program's objectives. These recommendations are structured coherently as a revised course description and a preliminary proposal.Research Objectives: To identify the challenges of miniature painting education in the undergraduate handicrafts curriculum.To propose solutions and recommendations for enhancing the current situation.Research Questions:What are the strengths, weaknesses, and inefficiencies of the miniature painting course in the undergraduate handicrafts curriculum (according to the guidelines of the Ministry of Science, Research, and Technology)?What suggestions and solutions can improve the current state of miniature painting education in the undergraduate handicrafts curriculum?

Mohammad Siah Qalam's paintings can be examined due to the focus on displaying all kinds of clothes. The clothing system was proposed as one of the symbolic elements by Roland Barthes. The goals of this research are the semiotics of clothes in the paintings of Mohammad Siah Qalam and deciphering their meanings. The two questions of this research include: 1. According to the opinions of Roland Barthes, what semiotic aspects are the clothes in the paintings of Mohammad Siah Qalam based on? 2. What are the differences and commonalities of clothes in the paintings of Mohammad Siah Qalam according to the social status of the different classes in the paintings? This article has been conducted using the descriptive-analytical method and using the fiche tool, library sources and documents. The statistical content of Siah Qalam’s drawings is centered on the drawing of clothes, of which nine drawings have been selected non-randomly from reliable sources and have been discussed until theoretical saturation is reached. The qualitative information analysis method has been analyzed and investigated through the description and analysis of the pictures from the perspective of the research on the Siah Qalam’s pictures. Results show that the accuracy of Siah Qalam's opinion in using the cover as a visual sign is to introduce the characters of the paintings. In Siah Qalam's works, the symbols can be tracked and classified in terms of the size and length of the clothes, the level of wear, and also on another level the use of accessories related to the clothes. Roland Barthes points out that the type and degree of adherence to these symbols can be perceived in the audience's perception of the social level of people, and in the characters created by Siah Qalam, the clothes and the way they are displayed on the figures, guide the audience in distinguishing a character from each of the social spectrums depicted by Mohammad Siah Qalam.Semiotics is one of the new methods in human sciences, and since the 1950s, it has been used as a research method, especially in "cognition of significations" and "perception of communication mechanisms". Saussure introduces semiotics as a science to study the role of signs as a part of social life. Peirce also called semiotics the formal theory of signs, which is closely related to logic. Semiotics is a science based on the study of cultural phenomena which belong to semiotic systems and also deals with the study and follow-up of all human behavioral methods in the course of communication. Siah Qalam uses the style of pointillism to depict the texture of the body's skin and the texture of the clothes, and shows the details of the clothes with a range of balanced and parallel lines. Another point that can be understood from the study of Master Mohammad Siah Qalam is the different way of writing by Mohammad Siah Qalam compared to other masters of painting. Barthes is in favor of the opinion that the meaning of the elements is in the endless scope of modern human life. He states about the "elements of semiotics" that the sign, like its model, is made up of a signifier and a signified, and society with denotative goals has diverted them from the main path of their essence to another direction and has given them a meaningful function. For example, clothes are for covering the body and food is for nutrition; while these two examples are also used as an indication. These signs can be called "functional signs (function-sign)"; because they are functional and they appeared due to the need to use them. Barthes' major work in the field of semiotics is based on these functional signs; what attracts attention most of all in Mohammad Siah Qalam's paintings is the accuracy in separating the layers with signs such as clothes and ornaments, and of course, the adherence to accuracy in drawing and the accuracy in details of creation of his pieces in periods of his work.The fashion system is a system that is formed based on the decisions of a few consultants and based on equivalences and combinations; it shows optional relationships such as mandatory and natural relationships and also a kind of mandatory law. The language of fashion does not originate from the speaking mass, but it is issued by a group that makes fundamental decisions and carefully shapes and constructs the code. The method of covering is taken from traditions; Clothes form the language in the clothing system as they are worn. Speech in the cover system includes all the phenomena related to the individual construction of the cover or irregular construction. In the end, examination of his works determined that "Mohammed Siah Qalam" was one of the painters who went beyond the framework of the general rules governing Iranian painting.

Mi'raj is recognized as a significant theme within Islamic culture and has been depicted repeatedly by various miniaturists. This study concentrates on the esteemed illustration of Mohammad's Mi'raj based on Nizami’s Khamsa, commissioned by Shah Tahmasp, attributed to Tabriz School during the Safavid period, and created by Sultan Mohammed, a notable miniaturist associated with the Safavid court. This miniature operates as a narrative text that conveys meaningful messages to its viewers. Rather than merely reflecting visual aspects of reality, the miniaturist approaches their work from an elevated perspective to generate deeper meanings. Essentially, before being rendered visually by the miniaturist, a miniature is shaped by his beliefs and convictions, resulting in a unique expression characterized by specific colors and symbols. The individual and societal perspectives of the miniaturist significantly influence their mode of expression.

Iconology serves to reconstruct an entire program or context and includes multiple texts situated within an environment encompassing artistic and cultural contexts (Adams, 2008: 51). Regardless of how superficial or insignificant an image may appear, it inherently contains meanings that are subject to interpretation (Durand, 1992: 19-20). This study examines the miniature in question through an iconological method applied in three distinct stages. The first stage involves a descriptive pre-iconographic analysis that addresses primary meanings, tangible forms, visual details, and a descriptive critique of the miniatures. The second stage focuses on iconographic analysis aimed at uncovering secondary or conventional meanings by aligning the literary text with the corresponding miniatures. Finally, in the iconological stage accompanied by interpretative efforts the themes, concepts, and symbols represented in the miniature are thoroughly analyzed.

Nizami’s The Khamsa, commissioned by Shah Tahmasp and compiled within the Tabriz school, is cataloged under number "or.2265" at the British Library. This manuscript comprises 808 pages made from small royal-sized paper and encompasses all five poetic works by Nizami. The Tabriz miniaturist school during the Safavid era is influenced by three artistic traditions: the Turkmen school in Tabriz, the Herat school (associated with Turkmen commerce in Shiraz), and lesser-known schools from Samarkand across the Seyhun River (Robinson, 2011: 50). A century after this miniature was created by Sultan Mohammed, it underwent restoration by Mohammad Zaman during the reign of Suleiman I in Persia; this restoration reveals deeper meanings inherent within the miniature (Sims, 2002: 82). Sultan Mohammed employed minimal gilding in this artwork; his restrained decoration allowed ample space for depicting gestures and movements. Conversely, swirling white clouds and abundant wild golden flames serve as striking decorative elements within the composition. The miniaturist incorporated visual elements absent from the literary text itself, namely a crown (attributed to Mohammad Zaman), a fiery cup, fruits, clouds, and golden vessels.The analysis of the interplay between the literary text and Mohammad's Mi'raj miniature indicates that both Sultan Mohammed and the restorer, Mohammad Zaman, were not entirely faithful to Nizami's original text; they frequently omitted descriptions concerning the Prophet's presence within divine realms and related events while neglecting certain themes as well as animate and inanimate elements. It can be concluded that non-living themes and elements were integrated into the miniature to fulfill specific objectives set by the miniaturist. Notably, an angel is depicted offering a ring to Mohammad the Prophet within this miniature; this ring, in a critict’s view, may symbolize succession or Imamate. The ring held by the angel serves as one of the several visual and thematic symbols associated with Shia’ culture. Additionally, depicting a crown in an angel’s hands as it approaches Mohammad who gazes back at viewers with a subtly ironic smile underscores both royal sanctity and divine favor bestowed upon him through this crown. Furthermore, this portrayal reflects Mohammad Zaman's critical perspective on the governance of Suleiman I; he regarded Suleiman as unworthy of royal authority while bestowing it instead upon a prophet characterized by true meritocracy, justice, and piety. Thus, within this miniature context, the crown emerges as a symbol of rightful kingship.

The iconological analysis of Mi'raj miniature depicting Mohammad the Prophet indicates that it does not adhere strictly to Nizami's literary text; instead, it significantly omits various descriptions related to the Prophet's presence in the celestial realm and associated events. It can be concluded that Sultan Mohammed concentrated on spiritual themes, whereas Mohammad Zaman articulated a critical viewpoint regarding prevailing social, political, cultural, and religious conditions. A closer examination of Mohammad Zaman's restoration efforts, including his addition of an angel who gazed intently at viewers while presenting a crown to the Prophet, occured during the rule of Suleiman I in Persia; a time characterized by social injustice, corruption, and courtly betrayal.This context is reflected in Mohammad Zaman's work; among all the angels surrounding Mohammad, one specifically gazes knowingly at the audience with a smile. This portrayal suggests that Mohammad Zaman may have represented himself holding a crown, an added inanimate element within the artwork. Notably, this angel is depicted in motion as it presents the crown to Mohammad. The implication is that the miniaturist consider Mohammad’s character as the one who deserves kingship as wll as taking refuge in, a suitable model for governance during the reign of Suleiman I. The results of this study demonstrate that this miniature emerges from spiritual and religious perspectives prevalent at its time of creation and is deeply rooted in Islamic wisdom traditions. Additionally, cultural influences and social customs from the Safavid period as well as prevalent visual elements within miniature art concerning clothing and character depictions have significantly shaped its creation. Sultan Mohammed was influenced by this mystical perspective when crafting his work; concurrently, Mohammad Zaman’s restoration was informed by tumultuous political and social circumstances. Ultimately, this miniature reflects a confluence of its creator’s political, social, spiritual, and religious viewpoints that stem from both societal conditions and philosophical beliefs characteristic of that era.

One of the verbal texts that have always been transformed into visual texts throughout the history of Islamic Iranian painting is the Nizami’s Khamsa and the romantic poem, "Layla and Majnun". Among the Nizami stories, "Majnun trip to the Ka'bah" has been an attractive subject for illustration. Illustrators have tried to convert verbal texts into visual texts, in addition to being faithful to the hypotext, they can help their viewers in inducing the contents of the verbal text with individual interpretation in the form of visual text. The individual interpretation of the illustrators in reading the verbal text has led to transformation and understanding the concepts in the visual text. Some illustrators, in order to express their ability, not in the form of the skill of transforming verbal texts into visual text, but in order to express their artistic identity, have created elements in their illustrations. The separation of these elements reveals the difference in interpretation of literary texts by illustrators. The two illustrations of "Majnun in Ka'bah" from the Herat school have a single theme, but there are differences between the visual elements of these illustrations. The current research aims to find out the difference between the elements in the verbal text and the two visual texts "Majnun in Ka'bah" in Nizami’s Khamsa, painted in the Herat School, and seeks to identify the illustrator's contribution through his interpretation in the creation of the work. Therefore, it raises the question: What differences can be found by studying the verbal and visual texts of "Majnun in Ka'bah" that are the result of the illustrator's interpretation? This research has been done by collecting data through documentation and library studies with the method of intersemiotic comparison and analysis and with Gérard Genette’s transtextuality approach. This approach is an efficient approach due to the reading and classification of relationships between two texts in separating the contribution of the illustrator from the author. The association of this research is two depictions of "Majnun in Ka'bah" from the Herat school. An illustration belonging to Nizami’s Khamsa and preserved in the library and archive of Topkapı Palace Museum, with the ID (H. 781, fol. 111v) is about 1445 AD (Milstein, 2021: 335), which will be studied in the process of formation of the research with the title text A (image 1). The second illustration belongs to Nizami’s Khamsa around 1517 AD. It is attributed to Behzad, which is kept in the British Museum Library; in the research process, this illustration is called text B (image 2). Examining the differences and commonalities of these texts has been neglected in art studies due to the perception of the illustrator's contribution and its effect on the perception of verbal text concepts, which has made the necessity of this research a reality. By analysing the themes and relationships between the texts and the results listed in tables (1) and (2), it was determined, two visual texts in intertextuality, in addition to faithfulness to the hypotext with explicit and implicit references, have considered the presence of the verbal text in the visual text, and have explicitly addressed the hypotext with a verbal quotation with borrowed and migrant elements; The illustrator of text A has increased the internal elements of the text with her interpretation. But the illustrator of text B has transformed it by depending more on the hypotext and with a serious and complete imitation in the form of Forgery, in the continuation of the verbal text with little changes, he has expressed his loyalty to its theme and content in the new situation. Elements based on the interpretation of the illustrator cannot be found in text B. In relation to the Intertextuality of borrowed elements, it is clear and obvious. The relationship of the hypotext with the hypertext in the hypertextuality is transposition by serious transformation in a new space with distortion, increase and substitution, which has led to the expansion of internal elements in the hypertext. The elements that the illustrator of text A has added to the visual text, independent of the verbal text, along with the migrant elements, reveal her interpretation of the analysis of the semantic patterns of the text language and the contents of the verbal text. The illustrator of text A has not only limited herself to the general theme of the hypotext, but has explained its content in the hypertext in a metatextual relationship. The result of the illustrator's interpretation is the creation of unattainable and supernatural concepts by adding elements based on her visual memory and mental assumptions, such as mad prayer by the Majnun, by the hands of heavenly beings. The increase of these visual elements makes the difference between the two illustrators in creating a common theme. In addition to describing and expanding the meanings, the effect of the illustrative interpretation of text A has caused the explanation of the concepts of the verbal text.

As per Pierre Bourdieu's sociology of art, the wall paintings or the murals in Valiasr Square can be seen as a display of the role and significance of art in society and culture. These murals are not only considered as pieces of art but also as a means of communication and social interaction. Emphasizing the social role of art, Bourdieu believes that art is not only a creative act but also plays an important role in influencing societies and cultures. From this viewpoint, the wall paintings of Valiasr Square can act as a means to communicate with society and convey social, cultural, and artistic messages to the audience. Bourdieu is also concerned with the effects of power in society and believes that art can act as a means of confronting incompatible social and political powers. Therefore, the murals of Valiasr Square can be used as a public space for discussing and criticizing social and political issues. According to Bourdieu's analysis, the wall paintings of Valiasr Square in Tehran can act as a context for discussion and opinion exchange, which affects social behavior and attitudes in society. Also, these wall paintings may be known as a mirror to reflect society's issues and an opportunity to express different identities and opinions in the public space of citizens.Research Problem: After the revolution, the art field was reorganized in the country, and its connections with other fields and social spheres developed over time. Within this new field, artists and mural painters worked to build political, cultural, material, and artistic values, aiming to occupy a significant social space and adapt to changes. These specific features led to changes in the art of painting after the revolution (Zangi et al., 2011: 86). Sociology, on the other hand, is the scientific study of societies, social life, and the examination of the laws governing societies. The current research aims to examine wall paintings from a sociological perspective, focusing on their social impacts, communicative potential, and action potential rather than their physical definition. This article analyzes the murals in Valiasr Square based on Pierre Bourdieu's theory. The upcoming research will focus on the sociological study and analysis of these murals, aiming to understand how they represent social, cultural, economic, and symbolic relationships at national and international levels.

The upcoming research is descriptive-analytical in nature and method. The writer has used the findings from the research background to address the research questions. The information was collected from the library, including articles, books, and scientific documents, as well as from the global Internet network. Due to the large volume of murals in Valiasr Square, the author will selectively examine ten of them. Therefore, a non-probability sampling strategy will be used.

The artist is influenced by the conditions, events, and atmosphere of society through interactions with their surroundings. An analysis of the murals in Valiasr Square demonstrates the abundance of social, cultural, economic, and symbolic elements that display authority, solidarity, unity, and more. The artists have created insightful murals by incorporating these elements. Many of these wall paintings convey a significant cultural statement on an international level. In addition to utilizing social, cultural, and lleconomic values, the creators have employed symbolic worthiness through allegorization to enhance the impact on the audience. The subjects depicted in the Valiasr murals often reflect the conditions and events in national and international society.Valiasr Square is one of the most important squares in Tehran, famous for its historical and cultural significance. The wall paintings of this square play an important role in representing social, cultural, economic, and symbolic relations. They serve as a means of communication with society, drawing attention to social and cultural issues and conveying various messages, including social, cultural, artistic, and political ones. Situated in the heart of Tehran, the murals in Valiasr Square have a significant impact on the social and cultural fabric of the city and the country. They also symbolize Tehran and Iran on the international stage and contribute to promoting the cultural and historical identity of the region.

Nowadays, murals serve as a medium for competing for economic, cultural, social, and symbolic influence. The research describes the different types of values involved, focusing on their impact on the wall paintings of Valiasr Square. The cultural representation of these wall paintings is influenced by current political and cultural attitudes that oppose Western and non-Iranian culture (Modernism). While economic values did not play a significant role in creating the Valiasr Square mural, the competition was centered on acquiring social, cultural, and symbolic values. These values are rooted in the ideals of the Islamic Revolution, defense of the Islamic homeland, and the importance of family. Therefore, it is reasonable to expect that symbolic, cultural, and social values have the largest impact on the murals.

One of the oldest geometric motifs of the ancient world is a motif created from two crossed lines - a cross with broken arms or a ninety-degree angle. In international sources, this motif is known as «Swastika» with the concept of well-being, and in Persian sources, it is known as «Gardune-e Khorshid» and «Mehrane». Researchers consider the origin of this motif to be ancient civilizations such as the Indus Valley, Egypt, China, Mesopotamia, and the Aryan peoples, who, despite different names, have a similar formal structure. In Iran, this motif was depicted on pottery for the first time since the fifth millennium B.C., and its continued use can be seen until the beginning of the Islamic period. Identifying the theme and factors of drawing the Swastika in Iranian art and showing its evolution and development from the point of view of form and content in pre-Islamic Iranian art until the early Islamic era is one goal of the present study. In this regard, the questions of how the form and content of the Swastika have evolved in Iranian art from the ancient period to the Seljuk period and the common and distinctive factors of its drawing in the pre-Islamic and Islamic periods are addressed.Research

The current research used descriptive-analytical and historical approaches. The data collection was conducted using library- and field-based methods. The statistical population included 29 samples from the pre-Islamic and Islamic periods with distinctive and distinctive characteristics that show the evolution of the Swastika.

The presence of religion, especially the worship of Gods, burial rites and Mithraism in ancient Iran, was one of the essential reasons for drawing the Swastika, and for this reason, it is known as the «Gardune-e Mehr». Astronomical motifs such as twelve constellations and folk beliefs such as good luck, avoiding the evil eye, and being safe from calamity have been influential in representing this motif in both the pre-Islamic and Islamic periods. In Islamic art, this motif is a symbol of light and, accordingly, God. Besides displaying its original form during this period, in some works, it has become «Solomon's knot» and «Shamseh» by combining curved forms and plant motifs.

The Swastika has been a sacred symbol in Iranian art from the ancient period to the early Islamic period and often served ancient myths and religions. In the early period, this motif symbolized the God and Goddesses of the Sun and was gradually associated with the ritual symbols of Mithraism and Zoroastrianism in works of art. In the Islamic period, this motif underwent metamorphosis and was used as a symbol of God and Islamic holy persons.

Since the 1980s, a burgeoning interest in slavery and its attendant racial prejudices has emerged among art historians. Race has become a central focus in contemporary art and cultural discourse. The institution of slavery in Iran possesses a history extending to pre-Islamic eras, encompassing a diverse spectrum of enslaved individuals, including female captives or concubines. This research delves into the visual representation of concubines within the realm of Timurid miniature painting, examining the intricate relationship between their social standing and their portrayal. Employing a descriptive-analytical method and drawing upon library resources, the study categorizes concubines as delineated in Persian literature before scrutinizing their depictions in Timurid art. The findings illuminate a hierarchical structure among concubines during the Timurid period, with nine distinct social strata identified. However, the research reveals a selective focus on miniature painting, with only those concubines prominently featured in literary narratives receiving visual representation. The visual treatment of concubines varies significantly based on their social rank. Those of elevated status, characterized by luxury and artistic association, are frequently depicted in collective groupings at the periphery of compositions. Conversely, concubines occupying positions of affection or servitude are often isolated and positioned closer to the image's center. This study concludes that Timurid miniature painting, deeply intertwined with literary traditions, prioritizes the visualization of concubines holding narrative significance. The spatial arrangement of these figures in the composition visually reflects their social hierarchy. By examining the representation of concubines in Timurid miniature paintings, this research contributes to a broader understanding of the intersection of gender, race, and power within the art historical canon. It highlights the potential of art historical analysis to illuminate social structures and ideologies embedded within visual culture.

With the presence of Iranian artists in the court of the Mughal rulers in the subcontinent from 1549 AD, a new form of mughal painting was created, combining two Hindu-Persian styles, which has left significant works. The present study investigates the effect of Iranian miniature paintings on Pakistani miniatures (1947-2021). After the independence of Pakistan and India in 1947, Pakistani artists, for political reasons, sought to create a new art form in which little influence of Indian art could be seen. In this way, the efforts of Pakistani artists to achieve artistic independence were accompanied by the influence of Indian and Iranian Muslim art during the mughal period, and thus created the basis for an independent artistic identity. For this reason, by studying the works of painting in Pakistan, one can clearly see the impact of Iranian painting on Pakistani painting in different periods. The purpose of this study is to identify and to deeply understand the richness of the impact of Iranian painting on Pakistani painting and to study the artistic elements in their miniatures, so the research and the focus are based on the following questions: What elements of the Iranian style are there in new Pakistani miniature art? How are these elements represented in Pakistani miniatures? Are Pakistani paintings influenced by Iranian paintings in terms of expression?If we consider the painting styles related to Tabriz, Shiraz, Herat, Bukhara and other places to represent the main traditional styles of Iranian painting, after the Muslim invasion of the Indian subcontinent, these styles crystallized into a new art form, mainly from Iran. They entered this area. Of course, the styles inspired by Iran, along with the developments of Morian art in the third century BC and the developments in the mughal arts in the sixteenth century AD, quickly and dramatically changed in each case under the influence of Indian artistic environment and taste. Perhaps the main reason for this artistic exchange is the strong interrelationships between the two regions in antiquity and also after the middle ages. It was the Islamic civilization of India or other neighbouring civilizations that had considerable resistance to change, so it is not surprising that the Iranian spirit, which was still evident throughout the Indian subcontinent, stemmed from much older influences than Islamic influences. These influences were later reinforced by many of the Mughal kings and rulers of India due to their friendly relations with Iran.Another major factor in the direct impact of Iranian miniature art on the subcontinent was the migration of prominent artists from Iran to India after the establishment of the Safavid rule and the spread of Iranian painting and miniature art in the subcontinent. Therefore, the aim of this study, which uses the descriptive-analytical method, is to understand the depth and richness of the impact of Iranian art on Pakistani art as part of the subcontinent and to study the artistic elements in their miniatures.For this purpose, first, a summary of mughal miniature art before and after the arrival of the Muslims in India is given, then the contemporary miniature art of Pakistan is studied by analyzing the works of two contemporary Pakistani artists from a selected list of Pakistani artists after independence. The present study is important because unfortunately today only a little recorded evidence of Pakistani miniature art remains, so the study of traditional Pakistani miniature art can be a basis for recognizing and preserving this art for the use of other artists in future researches.it can be estimated that the new art form, known as contemporary painting or neo-miniature, began in the 1970s and quickly gained special popularity in the international art scene. Among these artists is Zuhur al-Akhlaq, which created a new aesthetic design and concept in miniature painting. Iranian painters also played a very important role in the development of mughal art. Based on findings, the influence of the Iranian style was so profound that over the centuries, many traces of it can be seen in contemporary Pakistani miniature art. In addition, evidence of the Iranian style in modern Pakistani miniature art, shows how neighbouring countries can influence each other over time, which can accept various changes, but not completely disappear. It can be said that Iranian miniature art has significantly influenced the contemporary miniature art of Pakistan. Contemporary artists, in particular, have used elements such as atmosphere, composition, colouring and performance styles of Iranian paintings, but there are significant changes and themes in their works, including the use of myths, and various symbols, even subvert the themes in order to induce a new meaning and concept of the achievements of these artists. Contemporary Pakistani artists have shown with their works that despite the current perception, Iranian painting has many capabilities for expressing contemporary themes and preserving valuable art of their ancestors.

In ancient civilizations such as Iran and Mesopotamia, an eagle figure can be seen, which has two heads - inclined to the right and left - and with open wings. The continued use of this motif until the Islamic period in Iran and Anatolia made it emerge as a national symbol in the Seljuk period. This motif represents the dominance of the West and the East, and the implied concept of power and kingship. Available sources attribute this motif to the Hittite civilization in the second millennium BC and consider it influenced by Mesopotamian art, while it has a much older history in Iranian art. Today, due to the importance of this motif as an international symbol, as well as the attribution of the background of this motif in the available sources to other civilizations and the concepts hidden in it, the need to investigate and analyze this motif has become more important. The purpose of this research is to find the roots and evolution of the motif of the form and content of the double-headed eagle in the art of ancient Iran until the Seljuk period. Also, identifying the important factors in drawing this motif in Iranian art is another goal of the research, which is done for the first time in Iranian and international sources. This research has been carried out by descriptive-analytical method and by referring to library-documentary sources. The findings showed that this motif was seen for the first time in the 4th millennium BC in Iran and in the pottery of Tal Bakun - a millennium before the Mesopotamian art. The presence of ancient Iranian myths, religions and rituals, popular beliefs about the king, literature, especially the Shahnameh, are among the reasons for the presence of this motif in the pre-Islamic art of Iran and its continuation until the Islamic period.

The Dome of the Rock was built in Palestine in the first century AH and Sheikh Lotfollah Mosque is one of the most important Islamic buildings belonging to the years 1602-1619 AD in Isfahan. These buildings have beautiful and unique decorations under their domes that can be identified similarities between them. Purposes are to identify the decorative motifs under the domes of these buildings and to comparison those with each other and questions are: 1- What decorative motifs have been used under the domes of the Dome of the Rock and Sheikh Lotfollah Mosque in Isfahan? 2- What are the differences and similarities between the decorative motifs under the domes of the two mosques? Also, library and documentary data and research samples, which include the two domes of the Dome of the Rock and Sheikh Lotfollah mosques in Isfahan, have been studied by descriptive-analytical method with a comparative approach. Results show that under the domes of these two buildings, many decorative motifs including geometric, plant, inscription and animal motifs have been used and it brings the principle of unity to the viewer's mind. In these decorations, the peacock symbol is used naturally and metaphorically, which is related to the beauty and power of the God in creating the universe. One of the most important similarities of the decorative motifs under the two domes is the principle of monotheism, which is expressed by reproducible geometric and similar shapes and patterns. Another important similarity is in the use of the peacock symbol in these decorations, which can be seen in the central point of both the domes and the type of geometric shapes. Also the outside of the dome of the rock is without decorations and the outer part of the dome of Sheikh Lotfollah Mosque has Arabesque and Khatai decorative motifs. In the inner part of the domes, the most central Shamsa in the dome of the Rock is the sixteen Shamsa, while in the central part of the dome of Sheikh Lotfallah, the eight Shamsa can be seen. Also, the type of duplicationof the peacock feathers under the two domes is similar to each other and expanded based on fractal geometry. Of course, inside the peacock feathers circles of Sheikh Lotfollah Mosque, it is decorated with a combination of Arabesque and Khatai motifs While in the peacock feathers circles, the dome of the rock, can be seen Arabesque motifs and margins decorated with Khatai motifs, which are drawn a little coarse and with a different form and are more influenced by Byzantine art. Below the spherical part of the dome of the Rock, a Quranic inscription can be seen and below the spherical part of the dome of Sheikh Lotfollah Mosque, there is no Quranic inscription. The Dome of the Rock decorations has the warm colors such as gold, red and cold colors of blue and jade green and the decorations of the dome of Sheikh Lotfollah Mosque has pease, dark blue, blue and Turquoise colors which are cold colors.

Video games are among the widely demanded cultural and artistic products in various human communities. Hence, the development, transfer, and representation of cultural values have directed attention to this industry (Khaniki and Barekat, 2016, 99). Video games encompass traces of a nation’s culture and arts as well, since game developers design games relying on the culture and thoughts of the community they come from, and develop their products accordingly. One could point out several contemporary video games that contain elements and hints of Iranian art as well as traces of Islamic thought. After Islam was introduced to Iran, Islamic culture and thought integrated with the Iranian civilization and culture, bringing about a new era of culture and arts in the country also known as the Iranian-Islamic art. Islamic art is defined as an absolute and abstract form of art whose characterizing features include abstract designs, rich decorations, and the prohibition of illustrating animal and human forms (Enayat, 2008, 33). The Islamic artist seeks to bridge the natural world and existential world, illustrating the invisible universe by transforming the material logic of nature (ibid). This purpose is practiced through symbols and signs in the works of Iranian-Islamic artists that contain symbolic and mystical concepts. Iranian-Islamic art brims with abstract and mystical symbols, the awareness of whose intellectual and spiritual foundations informs the audience of ancient arts (Nazarizadeh and Mashhadi Haji Ali, 2015, 1). This practice is reflected contemporarily in various works of art, especially in restoration practices. For instance, game developers are inspired by Iranian-Islamic works of art, based on which they design the game space and offer valuable works. The reconstruction of the space in contemporary Iranian movies equals relying on the significance and presence of a human as the player in the position of value patterns that appear alongside each other through various characters depending on the game. In the case of the game “The Cat and the Coup,” the two characters of “Cat” and “Dr. Mosaddegh” have been developed in this regard. The significant point regarding the game “The Cat and the Coup” is that the game designer has been inspired by Iranian painting art. Moreover, the game encompasses special symbols and signs that encourage the audience to contemplate. This game starts in the final days of Dr. Mosaddegh’s life in Ahmad Abad, and rewinds to various times in the past, up until the Iranian coup on August 19th, 1953. The games start with the death of Dr. Mosaddegh and delve into his past as his spirit goes through the pages of history. Each segment of the game includes the historical events of its time, and new characters are beautifully introduced into the gameplay. The strength of the fame would be the use of metaphorical images demonstrating the emergence and fall of Mosaddeq in 1953. The main character in this game is Dr. Mosaddegh’s cat, which heavily affects his decisions while going through the stages of the game (URL1). The present article is concerned with an analysis of the various geometrical, composite, and natural symbolic elements used in “The Cat and the Coup” gameplay that facilitate the understanding of the symbols used in the game.

The present work seeks to explore the Iranian-Islamic symbols in the design of “The Cat and the Coup” video game as a means of visual expression in Iranian game development and analyze the concepts incorporated in each of the symbols.Research questions: The present works seek to respond to the questions of what are the symbols used in “The Cat and the Coup” video game. And what concepts does each of the symbols carry?

Given the imagery and contents of “The Cat and the Coup” video game, various symbolic elements such as geometrical, composite, and natural elements go through an evolutionary process while pointing to realities beyond the apparent scope of the game. In this regard, the reflection of emotional expressions in the behavior of the main characters in the game, the induction of the power of animals and humans, the destruction of evil forces, the war between good and evil, and the struggle between darkness and light are among the results unveiled in the present work. Islamic symbols have been incorporated into the geometrical symbols used in the game. These symbols used to be incorporated due to the prohibition of demonstrating animal and human figures, some of which can be found in a segment of “The Cat and the Coup” video game on the oil barrels to decorate them and demonstrate their significance for Dr. Mosaddegh and the Iranian nation. The square is another one of the geometrical symbols used in the game, exuding a sense of death and an opposing circle, which is a symbol of immortality and life. This symbol has been used at the beginning of the game in a square-shaped frame, symbolizing the death of Dr. Mosaddegh. The second set of composite symbols includes the dragon symbol. This element harbors a notion of evil and darkness, destroying things in its path and counting as a threat against the victory of good and the emergence of favorable events, and has been used beside the oil barrels and inside the frame within the space where Dr. Mosaddegh resides. The angel symbol demonstrates the invisible forces sent down from God to protect Dr. Mosaddegh in the court. The symbol of a human with a pig head appears to be inspired by the Animal Farm novel whose main character was a pig bringing misery to other animals. This symbol is depicted on the king’s body and emphasizes the aforementioned notion. The natural symbols include animal and human symbols, the former comprising the cat character that causes several events throughout the game that could the enemy countries complicating Dr. Mosadegh’s works or the country of Iran since Iran’s map resembles a cat. The dark silhouettes of humans in the background also symbolize evil people who put pressure on Dr. Mosaddegh throughout his decision-making, contrasting Mosaddeq himself, who has been illustrated in a white robe signifying his honesty and purity.

The book "Gifts of the Sky" is responsible for teaching religious concepts to elementary school students in Iran, for which appropriate illustrations can be of great help in understanding the religious themes of the lessons. Illustrating these themes is very important due to the mental characteristics of children and teenagers and requires its own unique style. For this purpose, analyzing the elements and indicators of the text and choosing the appropriate visual solution to express the message of the text is the best model for illustrating these books. The problem of the present research is this: To what extent do theology lessons' illustration features in the fourth grade Heavenly Gifts book in 1402 A.H. provide concepts of theology? The goal is to recognize the degree of conformity of these illustrations with the text of the book and finally to provide a way to illustrate fourth grade theology courses. The research method is applied in terms of purpose, and in terms of descriptive-analytical method and analysis method, it is quantitative and qualitative. In this regard, ten common indicators between text and image, including: purpose, concept, feeling, event, style, execution style, characterization, space creation, time and element were selected and then the views of forty experts and lecturers in The field of illustration and primary school teachers was used by questionnaire. As a result, an average of 63% matching of the illustration with the text was obtained for ten indicators of the four theology courses, and the conceptual and fundamental indicators with 57% show less success compared to the formal and operational indicators. This means that the illustrators had an average analysis of the text and it is necessary to improve the visual strategies used to express religious themes

The painting "Two Conflicting Sages" attributed to Aqa Mirak in Khamsa Tahmasbi's edition is one of the works in which the painter, as the author, has created an additional meaning out of the original work. The purpose of the present paper is to identify the hidden layers of meaning in this painting. To do so, the research employs the framework of Panofsky's iconology via a descriptive analytical method. The paper seeks to find out which hidden layers of meaning exist in the painting. The results show that the painting has originated from spiritual and religious beliefs, particularly those of Islamic wisdom. Agha Mirak, being both influenced by this mystical view and being closely connected to Shah Tahmasb's court, while showing the splendor and majesty of the court with the help of visual symbols, has portrayed the conflict of the two sages in the court scene, and thereby, has reflected moral messages to the king and the courtiers in an esoteric and indirect way, lest their excessive prejudices cause the destruction of the monarchy. The image represents the key conflict between the reason and illusion, a conflict which exists within all human beings and leads to pride and neglect. Illusion is like a beautiful flower whose appearance is agreeable to reason, but in reality, it leads to human failure.

In the field of painting, artists have penetrated the conventional boundaries of painting and set new standards, including Mohammad Siah Qalam. The problem of this research is how to use pictorial and visual elements as well as design in Mohammad Siah Qalam's divination. The difference between this research and the previous researches is in dealing with the pictorial, visual and design elements in Mohammad Siah Qalam's divination to show the two concepts of ugliness and beauty at the same time. One of the goals of this research is to deal with the neglected aspects of Siah Qalam's madhouses, as well as to analyze how ugly manifestations are reflected in it, with an emphasis on Mohammad Siah Qalam's demon paintings.Beauty in Iranian painting is the result of visual harmony and proportion; The beauty of harmony and proportion is a relative matter that is influenced by factors such as living environment, practice, experience, and education, and the repetition of concepts based on certain forms with similar structures causes the soul to get used to it, and this habit of the soul causes beauty. Be these concepts. But beauty, if it is relative to the truth, will always be beautiful and is not relative; Mohammad Siah Qalam painted the daily life of ordinary people during his lifetime and ignored the rules of the royal workshop-library, he is considered a realist artist, and at the same time, the way he dealt with the subjects he chose was with a formal method. Mohammad Siah Qalam, in his second period of painting, created a transformation in his work style; And for social criticism, he chose satire along with Grotesquera. The necessity and importance of the upcoming research is to investigate and research about the concepts and causes of this style of painting (which is neglected compared to the conventional style of the time of the painter under study); The new and original aspect of this research is the neglect of the concept of ugliness and specifically ugliness and madness in Iranian painting. The difference between this research and the previous researches is in dealing with the pictorial and visual elements and design in Mohammad Siah Qalam's divination to show the two concepts of ugliness and beauty at the same time. The aspect of innovation in the analysis is the reflection of the opposition of these two concepts in the demonizations of Professor Mohammad Siah Qalam. The concept called "beautiful" is one of the constant elements in the discussions of the philosophy of art, and different views have been presented about it. In parallel with beauty, another concept is formed called "ugliness". Unlike beauty, it is not the focus of art and philosophy researchers. In fact, the definition of ugliness is using the concept of beauty. The concept of evil is related to ugliness. To define these two concepts, their opposite concepts (goodness and beauty) can be used. These concepts can be traced in the history of Iranian art and painting. Ugliness plays an important role in this, it has been neglected. This role is remarkable and thoughtful in the works of painting and especially in the madness of Mohammad Sieh Qalam. An artist whose tendency to break the foundation and remove familiarity can be seen in his works. Regarding the way of coloring the works of Mohammad Siah Qalam, it should be said that in most of the works related to the second period of his work, we see the use of partial and spiritual colors. But in the later style, the colors are not uniform and dark colors are used. In such a way that he first removed the motifs with dark colors and then using dark colors, he painted them raw brown grays. The color in the works of black pen is very heavy and harsh and sometimes very bright; Garlic to light pea grades. Different tones of bright colors were used in his painting, the colors were dull and dark. The works of the second period of his paintings are different works compared to the first period, which have symbolic concepts in all areas such as the type of frame, the type of lines, the coloring method.This research has collected the materials using a descriptive-analytical method and using vouchers, library sources and documents. The method of qualitative information analysis has been investigated through information analysis using books, articles, researches and researches related to the subject of Mohammad Siah Qalam's paintings (here focusing on visual and visual elements and design). The findings of the research indicate that there are elements of humor, play, entertainment and vitality in the black ink drawings. In order to draw beauty and ugliness, he has used the lens of focusing on visual elements and design in murals, which categorization and separation are among the achievements of this research.

This paper analyzes the role of stamping of Qajar period milk and sun; the study of motifs in different periods has long been considered by researchers and researchers in artistic research. Drawings of ancient and historical works are considered as visual documents, whose study can be considered in the presentation of information about the time of occurrence of the work. Therefore, motifs and images of the stamps can also be in the form of a work, reflecting the cultural, artistic, social, and ... attributes of its origins. The research problem was focused on the relationship between these designs during the Qajar era by analyzing iconography. Accordingly, the researcher claims that the emergence of stamps from the beginning was due to the presence of governing systems largely imprinted on the images of rulers, national motifs, and sometimes include important figures and individuals of their era; in this regard, to explain the concepts behind the role and Stamp design in order to achieve the fundamental cultural and social values ​​and concepts of the current period. The present study focuses on the iconographic method in three stages of description, analysis and interpretation to the semantic understanding of the symbolic role of the relevant stamps in the Qajar period. The results show that the sun and milk designs are rooted in the myths and beliefs of the ancient Iranian people, which, due to its importance and value, have evolved throughout history, and as a national symbol on the plain, coins, badges, stamps and ... Picture Has been.

Entrepreneurship is one of the ways of employment and the development of entrepreneurial culture is the important approaches of advanced societies. Islamic art is the most important fields in the Islamic world and the importance of the Islamic religious and cultural structure creates the need for the expansion of entrepreneurship in the Islamic region. Designing and manufacturing usage furniture and utensil such as mirror frames is one of the approaches in the entrepreneurship fields and this product has an important usage position in homes, places and architecture. also It has been proposed as purposes that recognition the importance of entrepreneurship in the Islamic art with the focus on designing and manufacturing metallic mirror frame with usage the concepts of Islamic art, culture and philosophy and also identification how and importance of reflection the concept of light in design and aesthetic structure of metal mirror frame. In this regard, library and documentary and field information have been studied qualitatively and experimental with descriptive-analytical approach and the information is collected taking notes and using a camera and the Internet, and observing and acquiring experimental and practical skills. The results show that it is possible to design and making the the mirror frame by maintaining the structural coordination of the usage product and coordination of Islamic semantics and this product has been make inspired by the concept of light in Islamic philosophy and wisdom and the use of symbolic motifs including solar, Khatai and Arabesque motifs and the number 12.

The art of Tash’eer and its various applications during the schools of Shiraz and Herat, finally led to a widespread presence on the margins of books and covers, around written texts and pieces of painting in the second school of Tabriz.
The design-like feature, along with the elegance in the implementation of plant and animal motifs and nature and sometimes human figures, is known as one of the distinctive features of this art, so it can be said that some characteristics of Iranian painting, are more obvious in the works of Tash’eer. During the heyday of painting in the second school of Tabriz, the art of Tash’eer was established as a part of painters' activities and its execution method became the model for later periods. Among the most important collections with Tash’eer, we can mention the exquisite work of Khamsa Tahmasbi, which is considered an important work in terms of the variety and quality of the patterns. The Tash’eers of Khamsa Tahmasbi were created by the artists of the second school of Tabriz (10th century) and Isfahan school (11th and 12th centuries). The patrons of Tabriz period have sought to create worthy and valuable treasures that are equal and even more magnificent than the previous works. Stable governance conditions, competition with the famous Timurid period under the rule of Shahrukh and Sultan Hossein Baiqra, as well as the handover of the library to Sultan Mohammad and his merit and competence in managing each of the collections can be among the reasons for the creation of this fruitful period in Tabriz, which is reflected in the executed subtleties of Khamsa Tahmasbi's Tash’eers. In examining the method of execution, one should pay attention to the way of using the brush, which is the only tool of painters in the existing works; this tool has the ability to draw lines with a range of different thicknesses. Due to the importance of the second school of Tabriz, the present study is aimed to identify the way of creating visual effects using brush and gold paint in a part of the Tash’eers of Khamsa Tahmasbi which was done in Tabriz. Therefore, the question of this article is: What are the characteristics of the technical methods of Khamsa Tahmasbi's Tash’eer in the second school of Tabriz? With descriptive-analytical method, elements such as how to use the brushes, use of ink, darkness and lightness, full shape drawing (Silhouette), texture, pardaz (stippling), shine of gold and silver and color tones are described. The gathering of information has been obtained through library studies and images available on the website of the British Library. The necessity and importance of research is to increase the attention and knowledge of artists and researchers and to create a platform for more understanding of the basics of Persian painting, considering the lack of available resources in this field. It seems that the contemporary period in reviving past practices and increasing awareness of Iranian arts needs such research, and in the meantime, the second Tabriz school due to the abundance of works in quantity and quality, spiritual thought and taking advantage of the systematicity of the Herat school next to the dynamism of the Turkmen school, has a prominent position.
The most important findings show that the use of dilute color was common; the line ink drawings were the main focus in the Tabriz school.
 Creating light and dark as a color change, darkness and lightness play a complementary role in the shape and line.
In Tash’eer, the use of background is important. The second Tabriz school, as a period of peak of painting, has skillfully displayed various aspects of the use of darkness and lightness in Khamsa Tahmasbi and its effects have appeared in different lines, shapes and genders.
The function of the background as light or shadow levels in shaping an element such as mountains and rocks is obvious, the line plays the main role in shaping the form and the color does not lead to exponential volume.
Another common feature in the examined samples is the use of pardaz (stippling) and creating texture, especially on the body of animals.
The artist of the second school of Tabriz has a great variety and artistic vision in using this visual element as well as line. Apart from gold, in the Tash’eer of the Tabriz school, we only see the use of silver, which is mostly used to show water and sometimes horns, hooves, etc. The ability of these methods can be generalized in the Tash’eer of other schools and due to the nature of type design, they can also be seen in painting design methods.

In the pre-Islamic art of Iran, a hybrid animal figure known as a harpy can be seen. This motif has a human head and a bird's body and has been proposed as an extraterrestrial being, the symbol of death and the liberation of the soul from the body. The beginning of the use of this motif in ancient Iranian art is from the Middle Elam period and in Islamic art from the Samanid Empire. The peak of its presence is in the pottery and metal works of the Seljuk period. The use of this motif compared to other composite motifs shows its importance and emphasizes a higher purpose than mere decoration by the artist, conveying concepts in the field of religion, beliefs and culture. The type of composition of this animal in pre-Islamic and Islamic Iranian art, while similar, has structural differences that have caused changes in its content and meaning over time. In some periods, artists used women's heads and elements such as crowns for targeted structural changes to convey special concepts such as royal glory. In the pre-Islamic period, this motif has special characteristics such as human legs or quadrupeds, plant motifs, fish tails and horns; And in the Islamic period, it has been seen with twisted plant motifs, halo of light around the head and in practical works such as dishes and single figures. Studying the evolution of this motif based on form and content in Iranian art from the ancient period to the Seljuk period and then finding the common and distinct factors in its depiction in the pre-Islamic and Islamic periods are the questions of this research. The results show that pre-Islamic and Islamic religions, the spread of science and especially astronomy, ancient literature; And popular opinions and beliefs have been effective reasons in showing this motif. Angels are one of the most important religious reasons for drawing this motif in both pre-Islamic and Islamic periods. The Sraosha, an angel in the pre-Islamic period and the transfer of his characteristics to the Gabriel, angel in the Islamic period can be considered the same as the motif of the harpy. The influence of religion on literature in the Islamic period caused this angel to appear in a new form as a Simurgh- Rostam's protective bird in the Shahnameh - and from this point of view, the Simorgh in the Shahnameh can be considered a harpy in the images of the Islamic period. Gemini is shown in various astronomical sources with the Harpy symbol, which is related to the spread of science and especially astronomy in the Islamic period. Morghe-Amin, which is a sacred bird in the beliefs of the Iranian people, can be matched with the characteristics of the harpy on artworks. The use of the crown on this animal, in addition to belonging to his special position, has shown people's beliefs about kings. The horn, which was used as a symbol of an extraterrestrial animal in the pre-Islamic period of Iran, is seen as a sacred animal in the motif of this animal in the Mana period. Blue, which is a symbol of wisdom and the sky in Islamic mysticism, is used in some images related to the Islamic period. Harpy in the pre-Islamic period is often seen with a male face and in the Islamic period with a female face. This research has been done by historical-analytical method and by referring to library-documentary sources.

In Iranian painting, the interpretation of an artist can also be studied through investigating the illustrations of fixed themes and texts by prominent painters. From this perspective, the interpretation of an artist's literary text is of great importance, and painters have used their personal interpretation of the original text in illustrating its various versions and have created additional meanings besides the theme of the work in the images. Bahram's battle with the dragon is seen in most of the illustrated versions of Shahnameh and Khamseh Nizami due to its beauty and charm. In drawing the military Khamseh Nizami paintings in Herat school, painters have actually created another meaning in the paintings, which in fact shows the artist's authorship in drawing the military Khamseh Nizami scenes in that school. One of the paintings created by the artist as the author of a work has an added meaning. The illustration of "Bahram Gur's battle with the dragon" is attributed to Kamal al-Din Behzad in the Khamseh Nizami manuscript of the British Library. The current research aims to identify the meaning of the hidden layers in the image of Bahram Gur with the dragon by iconology method, and with documentary and library studies, it raises the question, "What layers of hidden meaning are there in the image of the battle of Bahram Gur with the dragon?" The stage of pre-iconography involves the description and recognition of the apparent aspects of the artwork and the identification of the existing elements within the complex world of artistic structures. In the descriptive stage, there is necessarily no reference to the external world beyond the artwork itself.    In the iconography stage, the world of codes hidden in the heart of the artwork is opened. This stage is entering the field of meaning, which is also known as metaphysical meaning, and is the result of the reactions induced in the viewer to the initial awareness of the art work.  It connects artistic elements and motif compositions with their themes or concepts. In the stage of iconology, which is also known as content or intrinsic interpretation, the final destination is in a deep iconographic investigation; more precisely, this stage seeks to identify how iconic symbolic values ​​are selected within images, legends, stories and oral literature. The painting mentioned in this article has been done analytically with an iconology approach. The results of this research indicate that this painting is different from other paintings with such a theme visually and the relationship between the literary text and the work itself. The painting represents Bahram's upward progress towards the truth and in a way represents Bahram's spiritual behavior. Bahram's movement actually shows the stages of reaching perfection. In this picture, Bahram, by destroying his pride, undergoes internal cultivation, which is associated with the defeat of the dragon. In fact, the zebra is a symbol of the warning and the lion, with the help of which Bahram succeeds in killing the dragon, which is a symbol of the Amara's ego. And the defeat of the dragon was a kind of defeat of this ego. In it, which Bahram goes through the path of the valley of truth, which in a way represents the movement from the world of the kingdom to the world of theology, which is accompanied by difficulties.

Cultural products such as Stationeries, have direct effects on the cultural identity of the society. Importance of preserving the identity and cultural values of the society necessitates the use of Persian art patterns in designing and decorating the Stationeries. Tahmasp's Shahnameh Paintings have great artistic value and have many decorative motifs. Also geometric motifs are one of the most important sorts of these motifs. Zahak's dream painting in Tahmasp's Shahnameh has a many variety of geometric motifs.The purpose is to identify the geometric motifs of Zahak's dream painting in and to use these patterns and motifs in the design of cultural products, Stationeries. Questions include: 1- What are the types of geometric motifs and patterns in Zahak's dream painting? 2- How to use the various geometric motifs and patterns in this painting, in the design of cultural products, such as Stationery (note book and pen)? In the study, library and documents information have been qualitatively analyzed with a descriptive-analytical approach and the case study includes the Zahak's dream painting. The results show that there are 26 geometric combinations in this painting, which are also composed of 19 types of patterns. These geometric motifs have been used in designing 11 samples of Stationery, 4 notebooks, 2 Small notebooks and 5 pens.