عفت السادات افضل طوسی

" Recognizing the art of Ruling (Jadval( since the 9th century; Based on texts, documents and manuscripts"Ruling (Jadval) is an ancient decorative element found in Islamic manuscripts, commonly used in manuscripts produced in Iran. The continued use of ruling led to the development of various styles during the 9th and 10th centuries AH. In addition to serving as decorative lines, ruling also dictates the placement of elements such as text, illuminations, and images on pages. Despite its significance, little research has been conducted on ruling.The goals of this study include examining the importance of ruling, introducing ruling artists, exploring the cost of ruling, presenting ruling tools, and revising Qazi Munshi Qomi's explanations of ruling styles. The research addresses questions such as the importance of the art of ruling based on texts and documents, and how Qazi Munshi Qomi's definitions of ruling styles can be clarified through stylistic studies. This fundamental research analyzed data qualitatively by examining historical texts and documents chronologically. Information was collected from library and electronic resources, and the structures of rulings in 333 manuscripts were scrutinized. Investigations revealed that ruling has been a common element in manuscripts since the 9th century, with some ruling artists mentioned in books and documents. A comparison of the ruling fee with the costs of writing, painting, and gilding in the "Baravord" document from the late 9th century suggests that the amount specified for drawing the rulings of the manuscript was reasonable. Additionally, this article corrected the descriptions of ruling styles in the book Golestan Art in the 10th century by comparing them with the ruling styles used in manuscripts.Key words: Manuscript, Book Art, Ruling, Jadval, illumination, 9th century AH.

Illustrating children's book covers plays a significant role in conveying cultural concepts to them. The cultural identity of children can be indirectly reinforced by images that reference specific cultural concepts of a community or a region.This study aims to answer the question of how the cultural identity of girls and women is represented in the cover illustrations of children's stories in Arabic-speaking countries. To gain insight into cultural identity, particularly Arab identity among Arabic-speaking girls and women, it analyzes the statistical population. In this context, 249 cover designs from six Arab countries including Egypt, Iraq, Lebanon, Syria, Saudi Arabia, and the UAE were examined for the age group (B). Results show that the UAE is the most wealthy nation in terms of cultural visual representations, while Syria is the least prosperous in this regard. Arab girls' and women's faces are prominent in most images, and the palm tree, a symbol of natural geography, plays a significant role in Arab identity, especially in Iraq publications. Older women on the cover illustrations are often veiled, and the veil is one of the most prominent visual symbols. Nevertheless, in Lebanon and Syria, this symbol is less prominent across all age categories. It appears that a general conclusion can be derived regarding the identity of Arab girls and women on the covers of children's books in Arabic-speaking countries in the present study. This identity is a combination of Arab and Islamic identity, with a particular emphasis on geographical and natural symbols.

The culture of every society is not constant over different periods, and it transforms being affected by various factors including the effect of other cultures. Also, art inevitably transforms over time being affected by the culture. Therefore, study of art as a phenomenon that is affected by culture can be a step towards identifying the human and culture. Visual anthropology is a major subcategory of cultural anthropology, and it investigates the culture by means of image. Also, it investigates the humans’ thoughts, relationships, and situations by studying their culture. This research is a descriptive analytical study in which, data collection has been done by library method. It aims to investigate the visual relationships in the contemporary Iranian Graphics. For this purpose, the research has been performed by using the global anthropological concepts and theories introduced by the Indian anthropologist, Arjun Appadurai. It is assumed that the today’s phenomenon of globalization can make significant changes in moving towards homogenization or heterogenization to the global culture. The research population includes the posters exhibited in Silver Cedar Exhibitions in 2017 and 2019. Regarding the content of the contemporary Iranian graphics, the artists have paid attention to the national visual identity and companionship of national and transnational identities. This attitude provides a new viewpoint and structure in association of two different identities.

Rulings (Jadwal, Decorative frames, Cadre, or Border) are an old and continuous element in manuscripts. Rulings are seen in the oldest Qurans produced in Islamic civilization. Because the rulings are used on all the pages of a manuscript, as a result, they have a significant contribution to embellishing the manuscripts. Previous studies have shown that red rulings were the first rulings used in Persian manuscripts and after them, drawing rulings with gold has been popular since the middle of the 7th century. Since the 9th century, decorative rulings have become one of the important elements in the book art. But unfortunately, we see that few studies have been assigned to the rulings. Examining the manuscripts shows that the rulings were used in different styles in the manuscripts produced in the 9th to the 12th centuries AH. Therefore, the importance of the present research is due to two reasons. The first thing is that the stylistics and typology of rulings, which are necessary for a better understanding of book art in the Timurid and Safavid periods, have not been done until today, and the second thing is that by recognizing the type of rulings, manuscript researchers can accurately date undated manuscripts. It is reminded that the stylistics of rulings in the manuscripts produced before the 9th century have been identified and introduced in previous research. Therefore, the present study complements previous research.  As a result, the first purpose of this article is to identify the different styles of rulings based on their structure from the ninth to the twelfth century AH, and the second purpose of this article is to identify the rules governing the structures of the rulings. To achieve these goals, these questions have been answered: 1- What are the stylistics of rulings in the 9th to the 12th centuries AH? And 2- what were the rules governing the structure of the golden rulings? In this article, the rulings of more than 450 manuscripts with decorative rulings that are preserved in reliable libraries inside and outside of Iran were identified and analyzed using a descriptive-analytical method, and the necessary information was collected from library sources. The results of this study showed that the golden rulings in the manuscripts produced in the Timurid and Safavid periods (ninth to twelfth centuries AH) can be an important indicator in the classification of ruling styles. Therefore, in the first stage, basic styles were formed based on the number of golden lines, which are:one golden line, two golden lines (Dawaleh), three golden lines (Morassa), and four golden lines. In the second step, based on the number and placement of colored lines (including lapis lazuli, red, and green) next to the golden lines, the subgroup styles of each style were formed as follows: eight subgroups for one-golden rulings, eight subgroups for two-golden rulings (Dawaleh), three subgroups for three-golden rulings (Morassa) and two subgroups for four-golden rulings. Also, by examining the structure of the ruling, it was determined: 1- The main golden ruling (the last golden rule, the mother gold ruling) is always the thickest compared to other golden rulings. 2- Three contours (thin black lines: Tahrir) one contour on the front and two contours on the back are always used for the main golden rule (mother gold ruling). 3- lapis lazuli ruling is the last ruling in the structure of ruling. 4- Contrasting and complementary colors are used in the structure of the rulings (gold and lapis lazuli, green and red).  Also, the investigations showed that due to the non-uniform thickness of the ruling lines, the use of two colors with the highest contrast (gold and lapis lazuli) and complementary colors (green and red) and drawing three contours instead of two contours for the main gold table (mother gold ruling) have been the methods by which the ruling artists have given dynamism and attractiveness to the static structure of the rulings. The study of the stylistics of golden rulings, in addition to revealing the rules governing them, also specified how styles were formed as follows: Before the ninth century, one golden line with two black contours and one lapis lazuli line became popular ruling, and in the ninth century, drawing three black contours replaced the drawing of two black contours for the golden line. The ruling with two gold lines and one lapis lazuli line (Dawaleh) branched off from the previous ruling, and after that, all rulings with three, four, and five golden lines were formed based on the structure of the Dawaleh ruling.

A huge part of Iran’s epic literature originates from fairy tales and folk tales. One of the research indicators related to these stories is mythological studies. In other words, a myth is a story within the framework of mythology, that is, a system and a coherent collection of old inherited stories that were once seen by a group of real people. Stories based on the intentions and actions of supernatural beings explained why things are the way they are and why things happen the way they do. On the other hand, the reflection of mythology in ancient Iranian epic stories such as the Shahnameh and the transmission of its themes is the basis for the connection of graphic novels with narratives of the valuable heritage of the past. One of these narratives is Rustam’s Seven Labours in Shahnameh, the events of this journey can be analysed from the point of view of mythology with the archetypal components of Campbell’s Hero's Journey (departure, visit and return). From Joseph Campbell’s point of view, the discovered and understood archetypes are actually those that have evoked mythological, inspirational and ritual images throughout human history and culture. But they should not be confused with the personal symbolic figures that appear in the nightmares and agitations of the anxious person. Based on this, Campbell researched and researched the hero and finally created the result of his work in a book titled "The Hero with a Thousand Faces". According to him, all texts and mythologies of the world's heroism have a single narrative structure, and he has considered a core that includes the three parts of departure, appreciation and return, for all texts and mythologies of the world's heroism. Therefore, from Campbell’s point of view, a hero is someone who masters his personal or native characteristics and transcends them to reach a useful and usually human form. Therefore, the steps of Campbell’s hero's journey are as follows: departure, indicates a campaign to find a person or a charm or a charm that after its acquisition and return, fertility is restored to a barren land. The destruction of this land is a reflection of the illness and incapacity of its leader. In order to save his country, get his beautiful and favourite lady and prove his identity in order to establish his rightful status, the protagonist must do some extraordinary actions. Honour, usually means to enter life and is used to describe a teenager who reaches the stage of maturity and maturity. Such a person faces many problems and responsibilities in the process of growth. Awakening, awareness and more knowledge about the world and the people who live in it, usually forms the culmination of this archetypal situation. On his return, after finding the charm, the hero returns to his land to cure the drought. For each of these three stages, Campbell has stated other stages as its subset, which include the first stage: departure or separation including invitation to the adventure and rejection of the invitation, unseen assistance, crossing the first threshold, the belly of the whale. Next stage: honour ritual including the road of tests, meeting with the goddess, the woman in the role of temptress, reconciliation with the father, turning into god and the final blessing. The final stage: return including refusal to return, magical flight, saving hand from outside, crossing the threshold of return, master of two worlds, free and loose in life. Campbell calls this repetitive structure a journey. In this regard, in this article, the authors, with the aim of reading the images drawn in Rostam's Seven Labours graphic novel with the approach of joseph Campbell’s hero's journey, answer the question whether the images drawn in this graphic novel have the capacity to accept the model of joseph Campbell’s hero's journey? Regarding the research hypothesis, it can be said that it seems that the pictures of "Rustam’s Seven Labours", while following the illustrator's taste in using realistic expressions with exaggeration (in some pictures), and showing details to influence the audience's understanding of the story, with the archetypal image components of Campbell’s hero's journey it is adaptable, and in other words, you can observe these patterns in the form of images in aforementioned graphic novel. The importance and necessity of the research, the analysis of the integrated and sequential structure of the narrative, and the analysis of the related images with the desired approach for a better understanding of the audience of the hero's journey model, which has led the writers to this task. Therefore, in the present study, in addition to the research concepts and literature about the graphic novel, myth, single myth from Campbell’s point of view, the reading of the graphic novel "Rostam’s  Seven Labours" based on Campbell’s hero's journey archetype has been discussed. Also, the present article has been compiled using a descriptive-analytical method on the images of Rostam's readers by collecting materials in the form of literature review and analysing them. Regarding the statistical population of the research, among 150 examples (illustrations of Rostam's Seven Labours), 56 examples of images were selected and analysed based on Campbell’s hero's journey model. This picture book in three volumes narrated and illustrated by Mustafa Hosseini was published by Khorasan Cultural and Artistic Institute in 2014. This collection fully narrates Rostam’s Seven Labours from the beginning and with eloquent and heart-warming prose makes teenagers interested in the Shahnameh and native stories of Iran. The basis for selecting the samples among the many images was having the most readings (images) with the components of Campbell’s hero's journey model. In addition to this, the visual qualities used and the creativity of the illustrator in drawing images for a better understanding of the audience from the studied approach are other reasons for choosing the desired images and also not choosing other images, due to their similarity with each other and preventing repetition of content in the process. Regarding the analysis method of the upcoming research, in addition to identifying the diversity of images in the drawing method, paying attention to the concepts and content of images as constructive and structural patterns in Campbell’s approach is of main importance. Also, the findings of the research show that the analysis of the story of Rostam’s Seven Labours, following the criticism of Campbell’s archetype and the analysis of the images of this graphic novel, shows that the mentioned myth has the main stages proposed by Campbell (departure, honour and return) and the subset of these three main stages which it includes sub-steps and it is mentioned in the text of the article, it is fully compliant. In picture one in the text of the article, which is the reason for the beginning of Rostam's journey, the graphic novel is seen with a view of Mazandaran, and the narration of the story continues with a sequence of images of the attack of kykavus' army on divan until, in a surprise attack, Kaykavus and his troops are attacked by demons. Imprisoned and makes Kaykavus blind. The picture shows the fear of the field by showing details of this confrontation and the face of the demon. In the second picture, the conditions of the prisoner corps are depicted in a barren atmosphere and with contrasting colours of black and light. In picture three, Kaykavus informs Zal of his predicament through a courier named Pashtun. Also, in images four and five, Zal chooses his son Rostam for this important task, which also shows the interior of the palace and the conversation between Zal and Rostam. His picture shows equipment donated by father to son. From Campbell’s point of view, this sign contains the unconscious contents of a person. In the honour stage, the hero enters the test roads, which includes all the seven labours of Rostam from images seven to fourteen. In the stage of Rostam’s return and the rescue of the king of Iran in the fifteenth image, the thread of the narrative of Kaykavus and Rostam is tied together. In the windows drawn in the picture, it is mentioned that Kaykavus regains his sight and the army of demons is disintegrated by the fighting of Rostam. In this way, Rostam continues the journey as a supporter. In a summary, this research shows that in the illustrator's graphic novel, the events of the story are displayed with precise details and strong imagery. In fact, the accurate drawing of the events and the coordination of the image with the text and the general atmosphere of the story has caused the pattern of Campbell’s hero's journey to find a meaningful connection with the story in terms of imagery, for the audience to understand the main and secondary stages of Campbell. Therefore, it can be concluded that the graphic or illustrated novel can follow the text or the story and its strength with the general perspective images or with the dramatic details and especially by completing some items in the windows with writing, a suitable way to convey concepts and here the myth of the hero's journey is from Campbell’s point of view.

In the twenty first century, we face the development of the presence of toys in the fine arts. They present a world of happiness to the addressee. Because of their universal language and the great emotional connotation, they inspire, toys, as attractive consumer goods, conform to some definitions of the kitsch. Thus, the use of this element in art in a comprehensive and exaggerated way can be considered as a combination of kitsch and art in order to eliminate boundaries between them. Discriminatory and status-making modernist attitudes defined kitsch as a trivial, emotional, stereotyped and imitative art having no creativity. From their point of view, kitsch was located at the lowest level of the culture and art hierarchy.
The word kitsch was first used in the nineteenth century to refer to inexpensive pictures sold as souvenirs to tourists. One frequently suggested etymological origin for the term is the German verb verkitschen, meaning to make cheaply. Thus, from its earliest usage, kitsch was linked with a cheap form of art. kitsch is a modern phenomenon. The authors who focus on the sociological and sociocultural aspects of the phenomenon emphasize that the proper conditions for both the consumption and the production of kitsch did not exist prior to the modern era. They invoke factors like the emergence of the middle class, urbanization and the influx of peasant populations to the towns, the decline of aristocracy, the disintegration of folk art and folk culture, increased literacy among the proletariat, more time for leisure, mass production, and technological progress, as preconditions for kitsch. Authors who are more concerned with its art-historical, stylistic, and aesthetic aspects consider kitsch to be an offspring of the Romantic Movement. The discourse on kitsch has changed tone. The concept, which in the early 20 century referred more to pretentious pseudo-art than to cute everyday objects, was attacked between the World Wars by theorists of modernity. The late 20th century scholars gazed at it with critical curiosity.
With the emergence of post-modernist thoughts in the 1960s and 1970s, the boundaries between the high art and the kitsch collapsed. Pop artists used stereotypes in their own works and theoretical discussions changed about kitsch. Post-modernist views assumed absolute freedom for all kinds of attitudes and accepted the possibility of being artistic in every kind of phenomenon with every kind of attitude. Nowadays, artists use kitsch and stereotypes extensively. Among the elements that artists enjoy as the main material of the artistic work, "toys" possess a special place.
 In the twenty first century, toys are presented increasingly in the fine arts. They appear in different forms of sculptures, Installation art, assemblage, images and a combination of these items and, with their various and attractive appearance, present a colorful and joyous world to the addressee. As a result, the artist transmutes the element of kitsch (toy) into an art that deserves aesthetic discussions. When the element of kitsch (toy) is refined by the artist's creativity, in addition to preserving its initial and recognizable identity, it enters other discourses. Here, you face two issues: first, redefinition of kitsch in the twenty first century and change of its surrounding discourses (with an emphasis on Sam Binkley's idea) and second, the artist's use of the element of toy (kitsch) in different forms and its involvement in the new discourses.
Sam Binkley is Professor of Sociology. He offers courses on the sociology of subjectivity, emotions and personal life, with a focus on power relations in contemporary society. His research examines the social production of subjectivity through lifestyle literatures and popular texts. He has undertaken studies of self-help literature and popular psychology, lifestyle movements of the 1970s, multi-cultural discourses, and the corporeal and emotional of neoliberalism, all with an eye toward the fashioning of subjectivity in these contexts.
Binkley not only redefines taste hierarchies but highlights the function and value of kitsch in contemporary life through its ability to re-embed the individual. Sam Binkley in Kitsch as a Repetitive System: A Problem for the Theory of Taste Hierarchy (2000) argues for breaking away from the traditional analyses that categories kitsch as bad taste, aligned with ‘taste habits’, class identities and crass consumerism. he argues that Modern societies, confronting individuals with unprecedented choices in consumer goods, ethical outlooks and life plans, undermine the security of conventional life with the promise of creative freedom – the freedom to choose oneself through one’s own taste expressions – with all the risk and danger this freedom invokes. What Giddens calls ‘ontological security’ is jeopardized as choices multiply and social life is increasingly disembodied, and as routines, recurring practices, comforting cosmologies and world views are shattered. In short, kitsch, which glories in its embeddedness in routines, its faithfulness to conventions, and its rootedness in the modest cadence of daily life, works to re-embed its consumers, to replenish stocks of ontological security, and to shore up a sense of cosmic coherence in an unstable world of challenge, innovation and creativity. Particularly where kitsch makes its most aggressive demands on our aesthetic sensibilities, in its appeals to sentiment, kitsch aims to re-embed its consumers on the ‘deepest’ personal level. Precisely by deflecting the creative, the innovative and the uncertain, kitsch advances the repetitive, the secure and the comfortable, supplying the reassurance that what is to come will resemble what has gone before, that the hazards of innovation and uncertainty are far away, and that one is safe and secure in the routines of an unadventurous genre.
This article is seeking to answer the research questions of how can the entrance of toys to the area of fine arts be defined and justified based on the contemporary approaches to kitsch? And how are toys used to define modern aesthetics by the contemporary art? According to its aim, this study is fundamental, and considering its method, it is descriptive-analytical. Library method has been used to collect the data. Based on the obtained results, some contemporary approaches interpret kitsch as alleviating the sense of ontological insecurity in the world full of abundant choices and risks. The sense of soothing that kitsch inspires and the sense of escaping from the reality and happiness that toys elude have a lot in common. Contemporary childish art places the addressee in an atmosphere that experiences mostly childish peace and happiness rather than philosophical-intellectual explorations. Moreover, the artist de-familiarizes toys (as a kitsch element) by making use of various methods and leads them to enter new discourses. The entrance of the toy element into the field of fine arts was contemporary with the emergence of neo-pop currents in the 1980s and 1990s. However, some other factors can be considered that helped it to stabilize and highlight its presence. It seems that the following interactions have not been ineffective in this respect:
The interaction between "philosophical-sociological discussions of postmodern age about kitsch" and "contemporary art".
The interaction between "Eastern contemporary art influenced by Eastern popular culture, specially Kawaii culture" and "contemporary pop art inheriting neo-pop currents and pop art in the 1960s".
The interaction between "Art Toy" and "contemporary art".

In contemporary art, toys are used in various forms; and visually evoke several discourses. This article considers four general categories for such kind of works:First, an imitation of childish items in much larger dimensions. Second, arrangements, assemblages and accompaniment of mass-produced toys. Third, works in which, merely, aesthetics of mass-produced toys is used and they are presented in one version. Forth, works that are influenced by the movement of "Art Toy". With increasing expansion of presence of toys in contemporary art, it is possible to consider the presence of novel aesthetics that is based on childish settings and use of toys and also bright and cheerful colors in the works.

Myth, in its nature, have an undeniable relationship with artistic forms. Cassirer considers the structure of myth and art to be very similar, but he believes that the forms that serve the myth become a function, and in this position, such images cannot and should not be analyzed from an aesthetic point of view. Therefore, the question that arises is how to explain the relationship between myth and art in the formation of the final output of the components of mythological consciousness? With this aim, our paper deals with the case analysis of the painting "Salaman and Absal on the Island of Happiness" from Ibrahim Mirza’s Haft awrang and tries to examine Cassirer's opinions about mythological consciousness. Salaman and Absal is a myth that has its roots in Greek civilization. Ibn Sina is the first person who used the secret capabilities of Salaman and Absal, and some thinkers after him, such as Jami discovered the esoteric concepts of this narration and "Mirza Ali Tabrizi" is a painter who has illustrated this story. The research method is comparative-analytical and the library method was used to collect information. Findings show that in the cognitive components of mythic distinction and contrast, mythic causality, mythic perceptual mediators and mythic embodiment in this painting, it is the aesthetic imagination that serves the mythic imagination; But in mythological unity and qualitativeism, the painter's mythological imagination serves his aesthetic imagination. In fact, the output of the components of mythological consciousness is a result of the relationship between art and myth with an emphasis on aesthetic imagination, which is caused by the continuous relationship of image capabilities in the representation of mythological imagination.

In achieving frameless art within the scope of conceptual one, the approach of contemporary art is to utilize the technological revolution and emphasize interaction between audience and the work of art, taking into account the environmental concepts. Ecological art, as one of the most contemporary art forms, represents a new avant-garde style through its treatment of the environmental crisis. The environmental degradation has created a common space for the actors to represent the interaction of different discourses of knowledge, including the different dimensions of science in understanding this issue. By this way, this research is necessary to explain the art-science interaction in ecological art and understand the discursive relations in contemporary art; hence, it is carried out by studying the representation of the interaction between the above two with a critical approach to the environmental crisis as well as the discursive formation in Foucault's reading of episteme. This paper tries to study the discursive formation of ecological art based on science with the assumption of the synergy of art-science as the discursive platform of contemporary art in representing the environmental crisis. The research method in explaining the discursive rules of ecological art is based on the epistemological description in the theory Foucault, which is based on library resources. Using a variety of experimental, interactive, and participatory techniques, contemporary ecological art can regenerate the discursive space of the environmental crisis through interaction between scientific institutions based on scientific research. The art-science relationship can be considered a schema of the epistemology of our time.

Introduction The term "emoji" is an anglicized adaptation of the Japanese words "e" (meaning "picture") and "moji" (meaning "letter" or "character"). So, the definition of emoji is, simply, a “picture-word” accurately encapsulating its essence.. The primary function of an emoji is to fill in emotional cues otherwise missing from typed conversation. Emoji exist in various genres, including facial expressions, common objects, places, types of weather, and animals. Emojis are standardized pictographs used to emphasize the emotional tone of the message, indicate emotions, open conversations, and convey the mental state of the message sender While emojis are a cornerstone of social network interactions, their influence extends to other domains, such as culture and commerce..Nowadays, emojis are used in commercial ads, consumer goods, cultural productions, computer games, animations, etc. Therefore, they have a much broader application scope besides social networks. The global obsession with these images, their recurrent use in everyday life, and their positive role in communication have turned these symbols into common and familiar tools for everyone. Emojis have also been applied to contemporary art. The incorporation of these images in visual arts might be explained by recent inclinations of contemporary art and the use of clichés in works of art (especially in pop and neo-pop art). Thus, if we take the “emoji lexicon” on social networks as a “cultural-visual” text, then the use of emojis in other areas might be considered a form of (direct or indirect) imitation from this lexicon. This study seeks to investigate the incorporation of emojis in contemporary art and explore the possibility of creating parodies using Linda Hutcheon's framework on parody. Specifically, it aims to address the following questions: How are emojis integrated into contemporary art? How do artists imitate emojis within the realm of visual arts? Can the adaptation of emojis from their cultural context into the realm of art, along with their imitation, give rise to an ironic situation or parody?The objective of the present study is to analyze the application of emojis to contemporary art to create parodies using Linda Hutcheon’s “A Theory of Parody”. The present study was done with the objective of fundamental research using the descriptive-analytic method. Qualitative data analysis was used in conducting the research. Data were collected using library and digital resources. The research population consisted of works of art that used emojis. Eight out of ten works of art were selected as samples. Linda Hutcheon’s “A Theory of Parody” was used to analyze the works of art. Linda Hutcheon is known as one of the most prominent postmodern researchers and theoreticians. The postmodernism of Hutcheon is deeply linked with intertextuality and parody. Parody is considered one of the oldest forms or sub-forms of art which entails intertextuality. Postmodernism pays special attention to parody. Parody is defined as making (conscious) or ironic use of another (often, not necessarily) art pattern. In semiotics, parody is defined as a humorous representation of a literary text or a work of art. In other words, it is the representation of a “modelled reality” that is itself a representation of an “original” reality. In her book “A Theory of Parody: The Teachings of the Twentieth Century Art Forms”, Hutcheon defines parody and its function, its similarity to other (literary and art) genres, coding and decoding, the importance of the codes embedded in the text and their interpretation by the reader. According to Hutcheon, parody is repetition, but repetition with a difference, imitation with critical ironic distance. Parody uses irony as the main tool to signify or even create contrast. Therefore, exploring whether imitation contains an ironic situation or not is an important marker in identifying parody (from Hutcheon’s point of view). Thus, the first element to analyze in a work of art is its ironic edge. As mentioned before, it is the ironic edge of a parody that helps create distance from the original text and imitation alone does not create a difference. Hutcheon also argues that to understand what a parody is. we should consider the entire act of enunciation, production, and context of reception about a text. She uses the word “ethos” to explain this concept. According to Hutcheon, ethos is a feeling conveyed to the decoder by the encoder. The ethos of a parody might range from respectful, neutral, or playful to mocking and ridiculing. Therefore, the degree to which an (artistic) text is parodic might depend on the extension (intensity) of its ironic edge. According to Hutcheon, parody is not just a humorous imitation, but a broad range of ethos. Thus, the intensity of the parody is another element to analyze in a work of art to recognize how each work alters the original cultural text (emojis). The third element to consider in Hutcheon’s theory is the importance of encoding and decoding a parody. Hutcheon refers to the importance of encoding the signs embedded in the text and interpreting them. In encoding a text as a parody, the author (encoder/artist) should consider a group of shared cultural and linguistic codes and the reader’s familiarity with the parodied original text. Just like irony, parody demands embedding a certain group of aesthetic and social (ideological) values in the text to enable comprehension. Thus, to analyze a work of art, one must pay attention to the author’s encoding and the codes they place in the work (in a text with a familiar culture, codes might be embedded in social and cultural discourses and even emojis) and also the reader’s decoding based on their cultural and artistic background and familiarity with the codes embedded in the text. Regarding the objective of the present study and essential elements used in creating a parody from Hutcheon’s point of view, eight visual works of art that applied emojis were analyzed. The results of the study showed that conveying emojis from the cultural context of the “emoji lexicon” into the work of art and altering its sign system and medium could itself create an ironic edge since emojis are used to open conversations and convey the sender’s message tone, feelings, and mental state. Although emojis are humorous and playful, they lack an ironic or critical edge and often refer to what they signify. Therefore, they lose their communicational function by moving to another medium , they can refer to what they signify but they lose their previous function. In the artistic setting, they both legitimize the original cultural text and include critical distancing. In addition to this, each work uses a special method to create an ironic situation. The second point in Hutcheon’s theory is the function, ethos, and intensity of the parody which is directly linked to the ironic edge and ranges from respectful, neutral, and playful ethos to a ridiculing one. The parody created from the analyzed works of art has a double relationship with the original text. This relationship is humorous, amusing, neutral, or playful, but not ridiculing or destructive at all. However, the parody keeps its ironic distance from the original text. Finally, the encoding and decoding of each work of art were analyzed. From Hutcheon’s point of view, the first condition is the reader’s familiarity with the original text. She believes the encoder (artist) embeds a group of aesthetic, cultural, social, and ideological codes in his/her work and the decoder can only understand the parody by identifying them. The three main elements in Hutcheon’s theory apply to these works and the artists have used different methods to create parody. The results showed that the artworks had ironic elements,a prerequisite to parody in Linda Hutcheon’s views, and the resulting parodies have a double-edged relationship . They have an affirmative tone while maintaining an ironic distance. Also, it would seem that due to the diverse encoding methods applied to the artworks, most of them have recognizable pictures and socio-cultural elements that the common people can easily understand which makes the decoding process much easier.

The main issue of the contemporary world is the crisis regarding the climate in all of its dimensions, which also involves various aspects of natural phenomena. Aligned with the environmental issues and natural phenomena, preferred themes of contemporary art, coupled with the achievement of rejecting the art object, are related to the definition and alteration of the artwork’s presentation, the presence of the audience with the experience and understanding of the aesthetic object, along with focusing on the natural phenomena and matters concerning them. By discovering the limits of artwork’s presentation and by broadening its definition of them, contemporary art has established the possibility of perceiving them in terms of experience in the form of three-dimensional installation beyond the horizon of sensory experience and in a tangible connection with the material world. On the other hand, addressing the social problem is a mission that contemporary art pursues pragmatically, in the dimension of biological concern, and by relying on making its dangers tangible for the audience. Therefore, contemporary art is a wide area for choosing social themes with a focus on sensory perception and perceptual forms for the audience. The knowledge of philosophy, which seeks to explain the essence of all phenomena, while studying any kind of them and their description, along with the manner in which they appear in the time and place which the knower perceives, focuses on the appurtenances of the perception of phenomena using a phenomenological approach; meanwhile, Mikel Dufrenne’s reading of phenomenology is to elucidate the object and cognitive aesthetic experience (understanding the aesthetic object through experience) and aesthetic perception in art. According to Dufrenne, the perception of aesthetic experience in art is drawn on three levels: pure physical presence, representation (mostly as imagination); and feeling (leading to expression). The description of the experience of the work of art in this reading is important for the reading of the works of contemporary art, which creates the possibility of sensory experience for the audience, in that it focuses on the experience of the object and the experience of the observer as a cognitive aesthetic experience. Since phenomenology, in philosophical terms, focuses on the experience and perception of the world, and its dependent components in contemporary works of art are rediscovered by the audience through renewed understanding and in an interactive and experimental way. According to this reading, the object and aesthetic experience are inseparable, and with the presence of the audience based on sensory experience, the cognitive aesthetic experience becomes possible, and through that, the inclination to deal with natural phenomena in contemporary art can be explained. By relying on the study of the weather qualities and using humidification devices, the weather project by Olafur Eliasson in the space of Turbine Hall, immersed in a thin fog, which, together with the sun, is reflected at the end of the hall by hundreds of single-frequency yellow lamps that are installed in the form of a semi-circle behind a semi-transparent semi-disc, which creates a new understanding of the category of weather with the illusion of being close to the sun and the sky, so by suspending the lived experiences, stimulates the visualization of presence in the time situation and redefines the place, and changes the audience’s attitude towards living in the world.The first stage of the phenomenology of aesthetic experience in Dufrenne’s terms is the stage of presence, which includes sensory presence. In the experience of the work of art, presence is as a body, and artistic awareness is as a perception of the body. The weather project, which was presented in the form of an installation, by benefiting from the atmospheric qualities that are basically perceived with the body, is inclusively based on the presence and perception through the physical senses of the audience (phenomena includes the senses of touch, smell, and sight and activates them), and the meeting of the work of art and the body is the starting point of the artistic perception of this work. Therefore, by adapting the way of presenting the work in the form of installation, focusing on the position of the audience in contemporary art, and identifying and applying the aesthetic object in Dufrenne’s reading, which insists on the observer’s experience, the weather project provides both the fulfillment of the stage of presence and identification of the aesthetic object. Therefore, the aesthetic object in the weather project is the very same principle of the formation of the work of art, which is the atmospheric qualities and representations of natural phenomena.The second aspect of Dufrenne’s aesthetic perception is reappearance or representation or imagination; which is called the intermediate representation between presence and reflection, which mainly appears in the form of imagination. In the weather project, the atmospheric condition in time and place is represented in a fixed way that everyone is facing (time is created based on the light and the representation of the sun and the presence of fog, and the perception of the color of the light determines the specific moment for the audience and the spatial representation is provided by visualizing the proximity of the sun and the expansion of the place by means of a mirror that increases the size of the surfaces, and on the other hand, creates a situation of reflection). In fact, it is the creation of memories of fog, along with humidity and yellow light, which evoke London air pollution with the centrality of Tate Modern for the audience, and despite the absence of pollution in the hall, the memory of being in such an atmosphere is predicted for them.In the third stage, the process of perception proceeds with reflection, feeling, and organizing the imagination, which dialectically and simultaneously leads to an aesthetic experience. In the weather project and through a phenomenological process, the spectator has the opportunity to see their reflection in the ceiling mirror to perpetuate the memory of air pollution; In the weather project, the audience apart from daily life and by suspending the assumptions they feel about the weather is presented with the opportunity to experience the representation quality. The audience’s action (in the form of feeling) is actually a response to the process of experiencing the aesthetic object as if the mirror reflection is the completion of the perception process in the aesthetic experience, which is an empathetic approach in response to the image of the audience in the mirror in dealing with atmospheric phenomena and spatial and temporal location. Therefore, according to the phenomenological aspects of environmental settings, the work of art will never be complete until the spectator experiences and interprets its specific qualities; and its effectiveness will take place through physical perception, and eventually, reflection on it.The result is that the weather project, by creating an unmediated reminder of the weather, objectifies the time and place, which is the evolution of the state of the public in the urban space as a collective matter, and the visitors ultimately experience the aesthetic object with an emotional and reflective quality, following an empathetic approach. Therefore, the recent approaches of artists in raising awareness about the environment (in line with the increasing growth of biological crises) are the use of phenomenological approaches in the perception of nature; since this genre tries to put the audience back in the experienced space, so they could get a deeper understanding of ontological qualities of natural phenomena (as they are), and to understand the current situation and their own relation to it in the form of redefining the physical totality of the natural world and uncertainty. [1] This article is based on the first author's Postdoctoral research project entitled "Critical Approach of Contemporary Art to Environmental Justice" at Iran National Science Foundation, Tehran, Iran.

The politics of exploiting the environment and environmental commitment represents a global concern about the categories of social philosophy which has recently turned into a critical theme in artistic activism within the sociopolitical art approach. In social sciences, the idea of the third generation of critical theory concerning normative principles is to determine a moral grammar of social contradictions to explain the model of recognizing. With this in mind, the present study investigates the opinions of the third generation of critical theory in this regard and compares them against the moral aspect of environmental contradictions in artistic activisms. Supposing the resemblance of the direction of attempts to recognize the social reality of environmental crisis in artistic activisms and recognition theory (according to Axel Honneth’s reading), we adopt a descriptive-analytical method to study the discourse and reading of the representation of the concepts of environmental justice in contemporary subject-oriented art. Thus, we should admit that the social competence of artistic activisms in pursuing social demands is in agreement with the attempts to recognize (legal relationships and demand for social respect) within the framework of third-generation critical theory. It is thus assumed that artistic activisms propose a social agency for recognition in the field of environmental justice which conforms to the demand model of recognition in the third-generation critical theory. As a result, in order to realize public and meta-generational good, it seems necessary to explain the contemporary art in terms of environmental justice as an analytical approach which leads to conflicts between power inequities in understanding and challenging environment injustice. Given this, we shall adopt a descriptive-analytical method and describe the concepts of critical theory, Honneth’s reading of the issue of cognition, and the notion of cognition in environmental justice. Next, we will discuss the situation of contemporary art and eco-art and elaborate on activism in contemporary art in two cases, namely, opposition against an artistic institution and a petroleum company and interventions in the actions of gas pipeline companies.  In Honneth’s theory, ‘cognition’ in the sense of ‘social solidarity’ can be extended to art activisms that are presented collectively, which will be identification of disrespect and demand for social responsibility. In art activisms, a form of collective will complaining of ‘lack of recognition’ represents the dimensions of environmental degradation in the social, cultural, artistic, and economic structure of societies under the banner of hegemony and power. In the actions of the Liberate Tate, recognition of social conflict in the legitimation of the sponsorship of the artistic institution and the environmental degradation from the Deepwater Horizon disaster is represented in the form of disrespect and abuse of nature with interventions performed by activists. In the performance of the Blued Trees Symphony, too, the demand for recognition through legal registration of the work of art is pursued in environmental support. On the one hand, it questions the moral consequences of human being’s exploitation of nature and, on the other hand, it pursues the desire to be emancipated from the power system by targeting and criticizing the dominant ideology.

With the beginning of Safavid rule from the tenth century AH, the innovative creation of rugs with a different structure (design and weave) from the past took place in the first hundred years. Rugs in all original samples have a specific structure based on context and border. Borders are the most stable and regular rug spaces; consisting of repeating decorative qualities due to their spatial restrictions. Arabesques are one of the most frequent motifs in Safavid regional rugs and their borders. The samples searchable in this study, based on the existing identity and related to the rugs of the tenth century, belong to the six regions of Tabriz, Garabag, Bakhshayesh, Kashan, Kerman and Herat. It is obvious that the strong history of these areas in the field of culture, politics and art has turned them into centers for the production of works of art such as exquisite Safavid rugs.It is necessary to identify and present the most effective motifs and decorative patterns inspired by them in the borders of old urban rugs with a focus on products from different regions of Safavid Iran to be able to push the current traditional design towards the use of the artistic treasures of the past and to strengthen the design of current products based on the promotion of traditional and indigenous principles of the regions. Receiving stable decorative examples in the Iranian original traditional design and how artists use them in different spaces of works of art (case study of rugs’ border) are the main purpose of this article and answer the following two questions;1-How is the arabesque motif in the borders of 10th century AH rugs from the point of view of traditional carpet design in terms of types, decorative structures and placement?2-What is the distinguishing feature of the use of arabesque motif in the rugs’ border of the (quintet) weaving areas of the tenth century AH?In this paper, the research method is comparative analysis and data collection based on library and internet information (Metropolitan Museum Portal, V&A Museum Portal and MFA Museum Portal). It is also a tool for collecting information, studying, observing and preparing linear images of samples in the mentioned sources. In the first hundred years of Safavid rule, carpet weaving had a considerable growth in quantity and quality. Based on this, the rugs of the tenth century AH have been selected as the statistical population of this study due to their high diversity and local weave of which, 22 samples with the focus on the existence of arabesque in their decorative patterns were studied. Also the borders of studied samples should be free of damage and accordingly, sampling in the present paper has been done in a non-random way to achieve representativeness or comparability. In this method, the researcher seeks to reach a sample that represents a wider group of samples. The method of data analysis is qualitative with a structural content analysis approach. In this way, the authors categorized the three qualities based on arabesque usage in the border of the rugs based on the linear images extracted from the samples to be able to describe the distinctive features of the motif in productions of different regions.By analysis of 22 samples of the 10th century AH rugs from six rug weaving regions of Iran, with the focus on arabesque application in the border, the questions of the article were answered. In answer to the first question, by analyzing the linear images of the borders, the five types of arabesque are simple, floral, cloud band and dragon mouth, and six decorative systems including Sainak (Ghalamdani), reciprocating, floral arabesque, meander arabesque band, arabesque frame or symmetrical combinations, free cloudy arabesque and their application in three separate parts, main and sub-border, main border and sub-border were registered. In answer to the second question, most of the applications of arabesque motif and its types belonged to Tabriz and Herat rugs and in terms of decorations compression, the Tabriz, Herat and Garabag rugs were in the forefront. Examples of Tabriz and Herat were distinguished by the benefit of a variety of decorative structures. Also in Tabriz, Garabag and Kashan rugs, arabesque had been used in all three border areas. Therefore, the borders of Tabriz and Herat rugs were in the forefront in benefiting from the three qualities of arabesque motif.

The hope of the emergence of a divine person and salvation at his hands in the apocalypse is one of the most thoughts of the mankind. The promised Savior will appear to spread justice and salvation in the world, which is presented to the people with signs. In modern times, we see the arrival of these saviors in the context of computer games. Apart from the importance of knowing the promised savior, the onslaught of apocalyptic debates, especially in the millennium of computer games, and the lack of codified information on the subject make it necessary. Until the researcher examines the savior among religions and religions with a categorized look, then searches for the role of savior among computer games. Every ordinary person can be a savior, and the prevailing idea of games is in complete conflict with the promised saviors in religions. This article is a fundamental type that examines the idea of the promised savior among religions and sects in a descriptive-analytical method based on library sources and then analyzes the desecration of the savior character among the selected games with the apocalyptic situation. The goal of the creators of the game is the birth of various saviors who follow a pattern contrary to the pattern of religions, and this is in line with the goal of the countries that support them. In the meantime, they desecrate the character of the savior and ultimately create a bass in public opinion.

An important part of the ontology of Persian painting goes back to its mythological themes. Among these, Ferdowsi's Shahnameh is one of the most important texts and literature that is full of mystery from the point of imagination view and visual aspects of poetry. In Ferdowsi's exaggerations, first of all, the issue of imagination is seen in the strongest way, and for this reason, its artistic aspect is tangible. Among the myths in Shahnameh, this article deals with the myth of nature. It is worth mentioning that the most obvious example of the myth of nature is the existence of the four main elements of water, fire, wind and soil. These elements have a unique position and a transcendental and symbolic identity. The concept of "existence" or being is a mental thing, obvious and opposite to the concept of non-existence. Existence; is a truth that always comes true and in which life flows. Ontology is the science of existence because it exists. In this field, the nature of objects, because they are substance, is investigated regardless of the phenomena. Ontology deals with the nature and characteristics of the determined and definite existence and structure of reality, which plays an important role in the analysis of works, including works of art. Iranian sages and philosophers had a special view on existence and ontology. Mulla Sadra believes that existence in art is formed from secret and is revealed from within. According to him, the world of art is God and the current divine creation is considered artistic. God is absolute and creates from nothing, and human being, who is the work of God, is from nothing relative and creates a relative being. Mulla Sadra has a completely artistic and aesthetic view of the world of creation. He knows all these worlds on the one hand, face and image, and on the other hand, he knows the word and the book. In fact, it is the speech and writing of God. Regarding beauty and art, he believes that instead of the ontology of art and beauty, we should focus on their ontology. Art has themes that need to be considered. These themes relate to the ontology of art and are not subject to the acceptance of a particular theory of art. In fact, the association of Iranian culture with wisdom and books causes poetry, music and painting to become religious; that is, to spread his beliefs about Islamic culture and wisdom in art. Persian poetry is understandable music, when music becomes poetry, poetry is created in the artist's mind and then becomes sounds, fictional poetry is processed, but when imagination becomes objectivity, it becomes a painting, in fact, painting is the same as illustrated poetry.  There is a special relationship between Iranian art and poetry, both based on Iranian wisdom. Iranian painting is an art that has been influenced by literature more than other arts, especially Ferdowsi's Shahnameh. From mythology; the four elements of nature in Shahnameh have symbolic and symbolic features in the mythical world that the creation of the world begins with the emergence of these elements of existence. By rotating themselves, these four elements preserve the system of nature and the essence of creation, and with their mythological and symbolic concepts, create the existence of poetry and its affected works, including Persian painting. Aware of the sacred and life-giving background of these elements in Iranian culture and civilization, Ferdowsi has given these elements a transcendental and symbolic identity. In his masterpiece, these elements are not just one substance, but all have an identity with a soul and an authority beyond the algebra of nature that help the hero in various stages of his life. They rush to their aid and protect them from evil agents. One of the best and most superior examples of Shahnameh during the history of Persian painting, a great masterpiece; is Tahmabesi Shahnameh. The Persian painter is a creative painter who has avoided mere imitation of the manifestations of nature and has presented his paintings in an allegorical way in a heavenly and transcendental atmosphere. In fact, the way of existence of these works is different from the way of existence of real lords, and their existential foundation is not only in pure consciousness, but they are derived from imagination and the world of allegory. The present study is one of the four elements of existence in nature; the transcendent wisdom has dealt with the two elements of wind and soil, which have more complex symbolism, visually and aesthetically, as well as analyzing and applying their symbolic meanings influenced by the principles of Islamic mysticism. Wind; It is one of the elements of existence in nature and the air in its active and violent aspects, and because of the connection between the creator's breath and exhalation, it has been considered as one of the main elements. Wind is the most delicate and imperceptible element of the four elements; it is the only invisible element that has great power on which the life of all beings in the universe depends. The wind is the most intense and at the same time the most invisible element of nature. In air painting, like a breeze, it is a refreshing manifestation of an imaginary and mythical world in spring weather. The air is the same as the wind, the most obvious manifestation of which is the painting of the same element of the cloud. Cloud in Iranian paintings is majestic, beautiful, fluid, dynamic and circulating, and is a sign of fertility and growth and an allegory of occult relief. In Iranian painting, clouds are usually innovative and unnatural in terms of visual aesthetics and are seen with a twisted and wavy state. Among the four elements, soil is the most immobile and effortless element. The soil is dry, cold and dense, passive and heavy. It is a symbol of fertility. The earth is a symbol of maternal duties. Gives life and takes it back. The earth is the place where plants grow. The Iranian painter inspires space on a two-dimensional surface without a linear perspective. He depicts a wide horizon with colorful flowers, plants and shrubs that have grown all over the earth, creating an imaginary and legendary atmosphere. In some mythological paintings, the mountain is also the abode of dragons. They live in valleys and mountain crevices or caves. Sometimes it is represented in light purple or blue to imagine the atmospheric perspective in the background. The purpose of this study is to discover the existential factors in the drawings of this Shahnameh and to study the concepts and symbols of these elements of existence in the studied drawings. The article's main question is that firstly, what is the relationship between Iranian and mythological aesthetics and ontology from Mulla Sadra's point of view and painting? Secondly, what is the meaningful relationship between the mythological elements of wind and soil with the ontologies of the Shahnameh? The present article is compiled by comparative-analytical method on pictures from Tahmasbi's Shahnameh by collecting materials in a library and analyzing the pictures. The findings indicate that, visually and symbolically, in these paintings, mythology and characteristics of nature as well as Islamic wisdom and mysticism have been used in order to conceptualize the story and give existence to the paintings, and the painter using this Shahnameh And also the deep concepts of Iranian wisdom and Islamic literature and mysticism of that period have given a symbolic effect to existence in painting by projecting the elements of existence.

Problem Definition:

 The structure of commercial advertising messaging is determined according to the type of reception and acceptance of the social culture of each country. The culture of society can play a decisive role in commercial advertising style, production methods, and metaphors. In this research, the commercial advertising style in the two cities of Tehran and Baghdad from Iran and Iraq, as two different societies, is investigated, and the relationship between the forms, the method of selection, and composition of some of the advertising works of these two cities are investigated. Moreover, this study seeks to answer the following questions: «What is the distinctive feature of the visual elements that comprise the commercial advertisements of Tehran and Baghdad?» and «Considering the common cultural background in calligraphy and writing, and the common religion, what characteristics in these two societies are reflected in the differences and similarities of commercial advertisements in Tehran and Baghdad?»

By examining the elements of commercial advertising, the present research seeks to know the effect of culture on the output of advertising forms in Tehran and Baghdad.

The approach of this research is qualitative and its presentation method is descriptive and analytical, relying on field data and library sources.

The findings of this research show that the text in the advertisements of Tehran has played a significant aesthetic role in the advertisements and the letters are a kind of unity in the fonts used. While in the advertising of Baghdad, the emphasis is on the dominance of the image in commercial advertising, and this issue has a significant effect in creating attraction toward the practical and aesthetic goals of advertising. Also, both cities are visually and culturally influenced by modern advertising and its trends.

In Iran, there are more than 290 branches of handicrafts, which according to statistics make Iran the top country in the world in terms of diversity. Artistic and cultural values, along with high added value and high foreign exchange rate, make handicrafts an ideal export commodity. Considering that a large part of the raw materials are domestic, the industry can prevent the export of raw agricultural materials such as cotton, leather, wood and silk and turn them into added value instead. Since the main places of production of handicrafts are the rural areas, export can contribute to the economy of these areas, maintaining the rural population and preventing migration to cities. Strengthening rural household jobs is not only economically important, but also in terms of psychological and sociological, by empowering rural women, their sense of belonging, creativity, importance and usefulness increases.The dollar value of each ton of exported handicraft goods is 27 times the average price of each ton of exported goods in the year of 1400, while such a high added value constitutes only 0.04% of Iran's total non-oil exports in this year.Considering the long history of production, inexpensive human resources, local raw materials, recognition of Iranian handicrafts in the world market such as carpets and other products, what problems does the export of Iranian handicrafts face under the sanctions and what are the solutions to fix and improve these issues?What compelled the researcher to conduct a field study to answer these questions is the difference and variety of opinions in the reasons given by the producers and exporters. Each of them, based on their own experiences, put forward reasons for the small share of handicrafts in Iran's exports and offered some solutions. This low share is rooted in several weaknesses, and this research attempts to draw a general picture of these issues.The method of the present study is descriptive-analytical and practical in terms of purpose. The collection of data has been done through the library method, questionnaires and interviews. The statistical population of the study includes handicraft producers, handicraft exporters, university professors, and cultural heritage experts. According to the data saturation level, 10 of them have been selected via typical case sampling for semi-structured interviews as well as 10 published interviews in newspapers. Thematic analysis was used in 6 steps to analyze and categorize the data. The first step was to familiarize oneself with the data by reading the texts several times. Then, in the generating initial codes step, short meaningful pieces of texts containing the obvious or hidden meaning of the interviews were collected. After the initial coding, searching and recognizing the themes was conducted, the codes were divided into several groups, and the similar groups were put together and formed the primary themes. Consequently the primary themes were recognized, the review and control of the themes was done by extracted codes, and the network of themes was drawn.In the fifth step, theme network analysis, themes were named and defined, and then the theme network was described. In the final step, which was compiling the report, the network of themes was summarized into 4 main categories with a brief description of each one of them interesting examples were presented and important quotes from interviews were extracted , to form the final body and conclusion of the study.According to the findings, the biggest problems of Iran's handicraft exports are summarized in 4 main themes: "Domestic sanctions against handicrafts", " The troubles of foreign sanctions ", " Commerce, the missing link of export" and "The Traditional and modern duality".In the first main theme, i.e. the domestic sanctions against handicrafts, the problems are divided into three sub-groups including legislation as sanctions, poor management and weakness of the administrative organizations. By domestic sanctions, this study means the decisions and resolutions of the government and parliament, and management impediments and incompetence of organizations in charge of handicrafts, and in general, the mismanagement that has been created on the basis of problematic legislations or against the required laws, and lack of any demands for reconsideration from the corresponding administrative organization.The sub-theme of legislation as sanctions consists of 3 main code groups, which include problematic existing laws, lack of required laws, and internal organizational regulations such as the Post Office, transportation, and some solutions are offered. In the sub-theme of poor management, there are sub-categories of goods departure, supply of raw materials, distribution of raw materials, slogan of support and supervision. This theme is more focused on how to implement the existing laws and management, while the previous theme focuses on the laws themselves. It can be said that all the mentioned cases, both in terms of management and laws, can be solved with a strong demanding body. An organization that conducts pathological researches and after identifying the problems and with the support of experienced experts consults with various departments including the Central Bank, Ministry of Industry, Mine and Trade, Post Office, Airlines, Insurances, Transportation, etc. and prioritizes solving the problems of handicraft exporters in all cases.Some suggested solutions according to the mentioned problems and issues are as follows:Solving the conflicts of existing laws, removing problematic laws, strengthening the administrative organization and making demands through it, defining the duties of the bodies and organizations related to handicrafts, synergy between multiple claimant entities, facilitating the departure of handicrafts from the country, providing export incentives, providing funds through private sector, supplying raw materials and distributing them through syndicates.The second main theme, the troubles of foreign sanctions, is divided into two sub-themes, sanctions glass half empty and sanctions glass half full. The half-empty glass of sanctions includes the effect of sanctions on raw materials, money transfer, exchange rate and high prices, tourism, the internet, and the export of handwoven carpets. In the solutions section, cases such as the cooperation of the producer with export companies and merchants to bypass sanctions, creating virtual tourism infrastructure, using third parties and companies based in other countries for online sales, the use of cryptocurrencies, the transformation of handwoven carpets into global brands and capital goods are suggested.Marketing, branding, export strategy, virtual and real markets, the taste of the audience and many other concepts that are raised in the pathology of export are all small pieces of a bigger puzzle called commerce. One of the problems that can be seen in most of the producers' interviews is that the producer himself exports and sells abroad, and for many reasons, including incognizance of international trade, lack of an export marketing strategy, the necessary resources and communications to move money and products, etc. they experience losses or are not successful in their ventures. There are not enough export companies active in handicrafts, and these few are not even known among the producers. In the third theme, the effects of the lack of specialized merchants in the five sub-themes of merchant, buyer, survival in the market, online sales and neglect of branding and advertising are discussed. In online sales, the problems in 6 groups of online marketing, online shopping platforms, entering the market, human resources, content production and sending export goods have been categorized and analyzed.Among the solutions presented in this section, education and training of brave and active businessmen, separation of production and export, specialization of exports, prevention of excessive import of parallel products from competing countries, correct identification and selection of the target market, can be mentioned.Finally, the fourth theme the personality of the artist and their production, and the struggle between the traditional and the modern, is discussed. Handicraft is an art-industry that comes from tradition and uses tradition in design and production methods and even in human interactions in workshops. The master-student concept that still exists among artists in this field is a clear example of it. Such strong traditional roots can be both strength and weakness at the same time. In the modern world, designing products in a way that preserves its historical and cultural roots while being relatable to the consumers of this day and age, somewhere between traditional and modern, is of great importance. In the solutions section, renewing the old traditional designs, training and facilitating the entry of the new generation of artists into the handicraft production sector, updating the designs and work methods, using new science and technology, and making the goods practical are among the suggestions that have been offered.In the end, it can be said that in order to overcome the current problems of handicrafts, each of the three sectors, the custodian, the merchant, and the artist, need to change and reform. Proper export is possible during the sanctions, provided that we first overcome the internal embargo, the lack of active and expert merchants, the obsolescence of designs and products, and the mental barriers of artists in this field with the help of training adequate human resources in all three aspects and fundamental strengthening of the administrative organization in charge of handicrafts.

The progress of photographic technology, in addition to facilitate the registration of events, provides the possibility of fast and vast sharing of images and increases the interaction about them. This condition can lead to major social movements, public awareness and tremendous development; as we were witnessed social opposition with Trump immigration policies or informing and attracting public opinion toward dimensions of the massive oil leakage in the Gulf of Mexico. By arriving the golden age of photography between the years 1930 to 1950, new subjects such as ethics, privacy and honesty of the photographer were raised in the photographic world and the photographers' population showed their adherence to these concepts based on various regulations.But with the arrival of amateur photographers who, - thanks to the digital age and the expansion of technology, got the chance of attending in this field –adherence and ethics were challenged. This challenge can be investigated from two directions, ignorant and non-dominance of these amateur photographers with management of the image content, and different readings that audience may have from an image. Hence, recognizing and examining different readings of a photo can help photographers, media and content producers for better transaction of the message and restrict other possibilities (meanings). In this research, the main and most basic question is about the variety and affecting factors of audience readings from news photos. It should be taken under consideration that is news photo consider as an artistic photo? How far can these photos affect the audience and start social movements? Can these images have a different reading from the real message of photographer and its published media?Hence, in this research five photos among the most controversial news photographs of the decade (2010 - 2019) has been selected and analyzed by analytical - descriptive method, the audience reading of the pictures has been examined by using Stuart Hall's theory. These five photos are 'The crying Girl at the Border' (John Moore, 2018), 'Venezuela's Crisis' (Ronaldo Schemidt, 2017), 'Captured Bird in Oil' (Charlie Riedel, 2010), 'Aisha' (Jodi Bieber, 2010) and 'Assassination in Turkey' (Burhan Ozbilici, 2016).Stuart Hall's theory of receiving in the article ‘Encoding and Decoding in the Television Discourse' (Hall, 1973) states that the meaning of the text is in a place somewhere between the transmitter and the receiver of the message. The transmitter encrypts the concept in his / her message in a particular way, but the receiver may decrypt it in a slightly different format. Hall classifies different readings into three categories: Hegemonic (Dominant) reading, Negotiated reading and Oppositional reading. In his view, the media encrypts its works according to the target community and social contexts of that group, but the audience (receivers) is far from the media's goal and behaves differently while facing the messages. So, despite of the media's attempt to induce a message and impose it on the audience, the recipient of the message shows different readings according to his or her way of thinking and social class in which he lives. The audience, who trusts the media, receives Dominant reading of that product. The audience, who trusts the media but reflects on the message and compares his perception with it, receives Negotiated type of this product. The audience who is unreliable to the media and believes its messages are manipulated receives Oppositional type of reading.Also, in order to analyze the content, semiotics and composition, Pierce's opinions have been used to investigate the factors affecting the diversity and plurality of readings. Charles Sanders Peirce has provided the most complete classification for signs. He examined and categorized a sign from various aspects. His classification is the most important type of classification in semiotics science. His views have special emphasis on 'implication', so recognition of signs, interpretation and subject are of the foundations of his theory. In this study, three groups of signs- iconic, indexical and symbolic -have been selected from a variety of species explained by Pierce that are more used to study media and cultural phenomena.The researchers in this study first examined the narrative and marginalization associated with each image, and then examined the composition and semiotics of it, and at the end, different readings received from each item collected by library method, and classified in three categories : The Dominant, Negotiated and Oppositional according to the results obtained from the research, it can be said that the news photo has characteristics that distinguishes it from the other types of photos, such as photography in a very short time interval, without prior knowledge and reflection of reality without any siding; but despite all these differences, news photography can be considered an artistic photography as well. News photos can cause movements. News photographers are at the forefront of the struggle to maintain the free flow of information and publish the most unseen events to the world. These photos can trigger a common sense, such as sympathy or anger, and accompany the audience in the shortest possible time and create a challenge against the current situation. The value of news photos, despite the very momentum nature of them, has a great deal of dependence on proper composition, impact and meaningful elements, speed of photographer and his choices.The ambiguity of the image, focusing on wrong subjects, choosing inappropriate shutter speed, wrong depth field, and so on can push a photo away from its true value. If in each of these parameters, an inappropriate or wrong selection happens, the photo cannot transmit its message clearly. Each news photo, despite the purpose of the photographer and the publisher media, can have different readings from the audience side. In other words, each photo – after its publication - starts its free way to inform and acknowledge, and the publisher no longer has the authority on the message which has been received by the public; but this route can be guided by the conscious selection of the photographer, paying attention to the proper composition and layout of the visual elements in the photo, better framing, attention to color and optical spectrum, appropriate focus point, minor correction and editing. The message transmitted from the photo largely depends on the number of Dominant or Oppositional audiences. Nowadays, the message of the photo is determined by the interactions of the audience on the internet and social networks. Although by promotional techniques and public opinion guidance, these views can be partially guided, however, the more fans of one of these groups to the other, the more the message will be directed to their category. Even though this reading (message receiving) is in conflict with the main purpose of the photographer. Few news photos can be found where there is no conflicted type in it. Therefore, the relevant photographer and media should limit any side view by selecting right picture and right edition.

From the earliest centuries in Islamic civilization, illumination was used in manuscripts because it was used in conjunction with calligraphy. So Muslim artists have paid attention to it. One of the exquisite and artistic copies produced in the middle of the ninth century AH (846 AH), during the Timurid period in Harat, is the Nezami’s khamsah (Add ms 25900), which is preserved in the British Museum. This manuscript has been studied many times by researchers due to its excellent illustrations. Some of them are attributed to Behzad. This manuscript has 316 folios and its Dimensions is (leaf): 19.1 × 12.1 cm. This manuscript has been written by nastaʿlīq script and it has 19 miniatures and 5 Illuminations.Although this manuscript has a lot of great illuminations. But unfortunately the illuminations of this manuscript have not been specifically analyzed up to now. Therefore, the aim of the authors in this article is to show the approach of the artist or artists in designing the illuminations in this manuscript by showing the amount of diversity used in the structure of illuminations (390 inter-text panels) in this manuscript. As a result, these questions were raised to achieve this goal. 1- Considering that there are many decorated panels in this manuscript, how much variety is used in these panels? 2- Is the date of design of the illuminations coincides with the date of writing the manuscript (Timurid period ninth-century AH)? 3- How can small intertextual panels in this manuscript (390 panels) be classified? This article has been done by descriptive and analytical method, and the necessary information has been obtained from library sources and study of manuscript illuminations.This manuscript has four full decorated pages at the beginning of the manuscript. At first glance, they look similar, but studies have shown that they are different in detail. This manuscript has five Title pages, four of which were decorated in the Timurid period and one of them (Sharaf nameh section) was decorated in the Safavid period. The decoration of each of them is different from the other. In addition, this manuscript has 390 panels in the text. The first study was done on the size of these panels. The length of all these panels is equal to two of the four columns of the text, but in contrast, their width is different. 50 inscriptions (panels) were randomly selected from the beginning to the end of the manuscript and the ratio of their length to width was determined. The length of the inscriptions was a fixed number A and the width of the inscriptions was a variable number B and the ratio of a to b in each inscription was considered to be N. The numbers obtained for N were divided into three groups: Inscriptions whose n is less than 3: wide, Inscriptions whose N is between 3 and 3.99: Normal, and Inscriptions whose N is more than 4: Narrow. Results of the study: 7 inscriptions less than 3 (wide inscriptions), 12 inscriptions more than 4 (narrow inscriptions) and 31 inscriptions between 3 to 3.99 (ordinary inscriptions). So the percentage of inscriptions will be equal to: wide 14%, narrow with 24% and ordinary inscriptions 62%. Studies have shown that the width of the inscriptions varies, although a large group of these inscriptions (62% of them) are about the same size. In the second part of this study, the panels were classified according to their structure, Patterns, and colors. For example, 22 inscriptions without medallions: 21 inscriptions of Arabesque ornaments only, 1 inscription of Khatai ornaments only. 368 inscriptions with medallions: 64 incomplete inscriptions. 304 complete inscriptions: 164 inscriptions with Arabesque theme only. 131 inscriptions with Arabesque and Khatai background design and 9 inscriptions with Khatai and ... Studies and comparisons showed that the decoration of each panel is different from the other. It is necessary to mention that panels in the Sharaf nameh section remain incomplete and they also belong to the Safavid period. It was also found that Arabesque ornaments were used much more than foliage (Khatai) ornaments in illuminations, and ultramarine color uses more than golden color.Prior to this research, some researchers had noted the diversity in the design of frontispiece. But it is important to observe this amount of variation in the small textual inscriptions in this manuscript. It is very important to see the great variety in the panels of this manuscript. Because the illuminator or illuminators, due to the large number of panels and manuscript papers, could easily execute many panels like each other without the audience noticing the similarity. Therefore, this attempt to create different frames and panels in this manuscript can be considered as originating from the thought and worldview of the decorator or the decorators of this manuscript. By studying other examples, it is possible to attribute this kind of attitude to other illuminator or illuminators in Islamic civilization.

Graffiti is the art of conveying a message by drawing letters and pictures on the walls of a city. Early humans painted images and drawings on cave walls for hunting and as magic, but today these images are used by artists to express political, social, and cultural issues. Graffiti art has a long history in many American and European countries, but in Iran it is not very old and is not considered a legal art. This study examines the text in some of the graffiti in Tehran to determine its relationship with the art of calligraphy. This descriptive-analytical research, and by collecting information in a field method, tries to examine the position and relationship of writing in graffiti with common lines to determine whether they have an aesthetic or semantic aspect that is the purpose of this research. The present article examines the impact of calligraphy, calligraphy and western calligraphy on writing in Iranian graffiti art as the question of this article. The result of this research shows that these writings are an arrangement of letters that has an aesthetic aspect, while some have a text that reflects the conditions of society. Therefore, writing in graffiti has aesthetic and semantic aspects. Graffiti writing is also associated with lines in traditional calligraphy, calligraphy, and Western calligraphy. These works are similar to traditional calligraphy in appearance, but due to the non-observance of their basic rules by graffiti writers, they have made changes in these lines and have invented new lines.

 The border of a rug asa frame of decorative systemsisindependent of its context and is a result of repeating a set of motifs with considerable visual capacities. The stable presence of borders with distinctive features in Safavid rugs can indicate the styles which define the context of each region’s productions. Therefore, the differences of borders in any of the weaving regions can be considered as the product identifier. In this regard, two questions have been answered; What styles do the decorative elements of 10th-century rugs represent in productions of different regions? How doesthe cultural-artistic situation of the weaving areas relate to the dominant styles on the borders of the rugs?

This study attempts to fill the gap onthe classification of rugs based on their borders. The main purpose of this study is to present the stylistic analysisof the rugs in the 10thAHcentury based on the borders’ differences to present the patterns of the original borderof each region to contemporary designers,who deal with regional rug designs.

This is qualitative research using structural content analysis based on library and Internet data. Fifty-seven Safavid rugs belonging to the 10th century (the period of Shah Ismail and Shah Tahmasb kingdoms) were selected from documentary sources in a purposeful and non-random manner. Based on the most frequent linear structures extracted from the borders (thirty-eight samples), the styles in association with them were defined.

By analyzing the visual systems governing the borders of the rugs, the dominant styles were introduced based on the dominant motifs (floral arabesque, cloudband arabesque, and animal fights) and dominant composition Ghalamdani, Pictorial,and Mayegan Herati). The continuity of a decorative motif or structure with various forms in the productions of different regions reinforced the idea that visual systems are identifiers influenced by the cultural backgrounds (religion, politics, and art) of the regions in which the art product has been developed.

Culture–which is considered as social actions- is comprised of a set of behaviors that generate meanings or transform other meanings, and is always alive, dynamic, and changing. Image is known as the shared language relating to the culture and has long had a fundamental role in establishing a connection between humans and transferring information. This has expanded even further today due to the global era and expansion of information, resulting in changes and transformation made by media in graphic arts, which has had both positive and negative results. Images convey different symbols, meanings and influence one another in today's communications. The connections formed by images provide sources to maintain the interaction between the producer and audience of the image. Among the positive results of this procedure, one could mention the generation of global standard models, concept homogenization, and image heterogeneity which results in visual traditions in the works of art. many images are shaping that have shaped and become tangible in the minds of artists by media, the understanding of which would not lead the audience toward knowledge of humans and their culture in any specific period. The prominent presence of the media and image transmission could be considered a replacement for the distinct and ancient culture of each region in many cases, ideas and thoughts can be observed in the works of art which are not reflections of the current situation of the artist's society but rather a reflection of the images delivered at a global level by media; in fact, the experience of access to image sources contains information that is being delivered homogenously and on a broad expanse. Image and graphic arts that interact with the audience and one another at the international level can result in the cognition of the current situation of the present era’s humans. These images convey concepts relating to individual and collective culture and mentalities of a specific place or culture in many cases, while sometimes images are created that illustrate different and contradictory viewpoints for viewers and analysts.This study is a qualitative survey in nature, employs a descriptive-analytic method, uses desk research to collect data by referring to library documentation, and seeks to answer the question of whether images and their transmission by media can provide us with cognition of the contemporary human and his culture. Meanwhile, the study addresses the pathology of the generated images by reliance on Hans Belting's image anthropology approach as well as the position and aspects of the image. According to Belting, visual arts are made up of the interaction between the three components including object, image, and media, the result of which is individual and collective cognition in both mental and external forms. Hans Belting’s theory was proposed in German philosophical anthropology and inconsistency with Kant's viewpoints seeking to study images regardless of the prevailing historical constraints. Besides, he believes that the study of the image relies on an anthropologic approach since every image will eventually need an anthropological interpretation. In his anthropological study of the image, Belting considers the dual symbolic content of the image and believes the image to be an external as well as an external phenomenon. This dual characteristic of the image reveals the foundation of his anthropological viewpoint. Images are created based on both individual and collective cognition. Belting's viewpoint regarding the image could be summarized in the statement that he considers no distinction between mental and external images and considers such a distinction as the result of a false duality. Both these images are interacting so that the external images are under the influence and control of mental images and are generated based on the individual and collective imagination. Besides, images are constantly being exposed to new interpretations the reason for which is the use of a new medium.According to David Hockney’s viewpoint regarding image indicating that each image is a narrative of looking, the formation of similar works of art could be considered as the result of similar perceptions and the power of image in media. According to this, narratives are no more formed by the structure of an individual viewpoint and unique mentality but are being generated by the viewpoints being exchanged between transient participants. Each image can have an internal and external aspect that the artist uses to create the work; In the meantime, due to the dominance and power of the media, many mindsets created collectively and individually will not give the necessary knowledge and awareness of the desired reality; Because many images are made by the artist as a slice of reality and the artist has the option to choose by presenting the existing reality. Sometimes the artist destroys a familiar experience to create a contradiction with existing works; Destroying that is to establish values ​​in the mind of the audience. Visual arts are an intermediary between what is engraved in previous works and what is valuable and sought after by the audience. These values are often presented at international events by art institutions. Thus, in many cases, artists consider the social reality to be recorded, which has the desired value by the audience of that particular work, and their repetition and continuity cause visual signs over time; Thus, there are repetitive faces that have been transferred to mindsets only through the power of the image in the media. conceptions are formed by faces; without content representation. So that sometimes it seems like distorting the content or changing it. In some cases, the artist represents what is displayed, even though the representation is only a slice of the desired reality, and to be affected by them, one must also examine the hidden content aspects of the subject to be able to Communicate cultural and intended concepts more clearly. The presence and display of images that originate from reality are directly related to the culture of a particular region that is interacting and transmitting due to the expansion of communication; This introduces many concepts and images in world culture.

The public art term is the work of arts presented in public places to access for ordinary people and audiences, and also it tends to communicate and contribute to people and public audiences. Public art will have positive consequences for the audience due to its direct communication with the audience. One of the subsets of public art is urban sculptures settled in public and busy places, and they are converted to social structures. The present study intends to examine the relationship between urban sculptures as a factor for teaching creativity to general public based on the audience’s direct experience by using descriptive-analytical method and referring to the library documents, and answers this question: What is the relationship between transmitting and teaching creativity to the general audience, in light of the experience contrasting public art? The relationship between the audience and work of art can increase the audience’s understanding, awareness, and creativity; today it is believed that creativity is considered as the basic essence of all social processes. In this regard, the education theory of John Dewey, the American theorist and philosopher, was used. Findings and results of the research prove that if experience arouses curiosity, the audience’s initiative will strengthens and a motivating force will created which leads to the emergence and learning creativity; this will expand the scope of the audience’s imagination. The present paper is about the sculptures installed in the city of Padideh Shandiz, and represent as a creative element in the public space and in relation to the general audience.

Today migration is not only described as geographical phenomenon but also as a cultural one which encompasses themes like identity, language, alienation, nostalgia and roving. These experiences can effect on the process of creating an artwork. The art of immigrants due to displaying important themes and issues is well known worldwide. In this context migrant artists of Islamic countries could demonstrate their artwork in many aspects. One aspect of culture that evolves during migration is language, followed by script. The script is an important part of artworks created by Islamic countries artist’s. In fact, its relevance to the language has made various functions. Among immigrant artists, women artists have also chosen calligraphy as an important element of their work. The main question of this article is that what is the reason of using script by women migrant artists. By surveying artworks, it is clear that women artists of Islamic countries use the scripts to display their identity and their otherness. Mikhail Bakhtin is one the most important philosophers of the twentieth century. One of his theories encompasses Otherness. He believes human being has always needed another human, in other words human looks to herself/himself in the eyes of the other. This research which has been prepared by descriptive analytical method and by using library sources considers Bakhtin point of view to analyze artworks. Between many works by migrant women artists from Islamic countries: Iran, Iraq, morocco, Egypt, Palestine and Algeria, then 3 artworks by Moroccan, Iranian and Iraqi artists have been selected to be surveyed specifically. Selected artists are Lala Esayyadi, Shirin Neshat, Havy Kahraman. These artists create their artworks in the position of otherness and they want to highlight their otherness also their identity.

Certain vicissitudes are generated in the relations between photography and painting by the artists and theoreticians in their investigations about photography and its interplay with the art of painting. Early during the advent of photography, no artistic value was attached to the photographs insofar as it managed to find a home among the rest of the arts, and a long way was taken to attach an artistic value to the photographs in the courts of justice. Nonetheless, painting always predominated as fine art and a symbol of wealth, culture, and civilization. Primarily, a periodical journal printed Gustave Le Gray’s photographs entitling them as artistic pictures. Photography gradually adopted an artistic language and expression, such that today it holds a critical role in modern arts, especially land art and installations.This paper mainly seeks to investigate the course of development in the position of photography and its rivalry with painting and even its access to progressive art with a new language and expression. The main question about the position of photography versus painting is on its invention until the modern era and post-modern art. We attempt to examine what new frontiers the historical race between photography and painting artists are introduced in contemporary art. The present paper attempts to examine the position of photography in the art, and evaluate its status in reciprocity or competition versus painting by making references to the works of the artists up until the contemporary era, with an approach towards the views of the twentieth-century theoretician – Walter Benjamin (1892-1940) – about the reproducibility of artworks. Apparently, due to its flexible character and since it creates innovation, photography is turned reproducible and into a new instrument in postmodern art, such that it could be regarded as a separate art with a novel expression and as the establisher of many art styles.Since its advent, triggered by Louis-Jacques-Mandé Daguerre (1787-1851) in 1839, photography entered a special rivalry with painting, which has been marked by many of the philosophy theoreticians, since this visual medium or art is way too occult and constantly separating itself from the rest of the arts and outreaching them as the most important medium of expressing artistic concerns. Some artists regard photography as being specific to a certain group. However, since the advent of photography in the nineteenth century, it turned more popular and accessible than painting, meaning that many walks of people could make a self-portrait in the photo studios. Yet, painting art was still in use and accessible by the better-to-do class of society. On the other hand, many painting artists including Charles Negre (1820-1880) and Edgar Degas (1834-1917) used photographs in their paintings. This made photographers such as Edward Steichen (1879-1973) and advocates of pictorialism liken their photographs to the romantic and sometimes imaginary atmosphere of paintings to produce an identity for their works and getting them closer to the world of art.Lewis Frederick Meyer (1822-1913) and Pierre-Louis Pierson (1822-1913) were two photographers who left a significant impact on the process of turning photography into art since they accused some photographers of stealing their photographs. In that period, copyright laws were enforceable only to works of art. Therefore, it had to be proven in the court of law that photography is an art. At last, the French court ratified that photography is entitled to the same rights attributed to a work of art like painting. Pierson and Meyer published the book “Photography” to consolidate the position of photography among the rest of the arts. According to them, photography stopped groundless and uncreative painters working.Therefore, the present paper reviews the history of photography and the advent of various photography schools inspired by the painting schools and vice versa, examining the course of evolution and interplay of these two arts. From among the various views of the painting or photography artists and the relevant theoreticians, Walter Benjamin speaks seriously and severally about the newly emerging arts of his time – photography and cinema – in an essay titled “The Work of Art in the Age of Mechanical Reproduction”. In this essay, he investigates the power of reproduction in the modern age and enumerates its impacts on the arts and the popular masses. More than any other art, the power of photography and reproducibility of photographic images, attracts attention in this context. In Benjamin’s opinion, works of art have always been reproducible. “Everyone can copy works of others”. In his opinion, photography has altered the substance of art.In part seven of his essay, he explicitly emphasizes the historical disputes as to the reciprocity or competition between painting and photography, dubbing it as “devious and confused”. He believes that this dispute is a historical transformation the universal impact of which was not realized by either of the rivals (Benjamin, 1998: 216). Today, the impact of photography on the contemporary arts – some of which we have laid down in this paper – is evident to all, and it has further increased despite the technological changes.Since late in the 1970s, the work of the postmodern photographer - Cindy Sherman – called “Untitled Film Stills” (1954), and Andy Warhol’s “The Death and Disaster” painting silk-screens from 1963 to 1964 made the critiques and artists pay attention to photography as a media element in the contemporary life. In the 1970s, photography was used as a medium in many contemporary art styles, especially in the works of land art and its various principles. On the other hand, photographers also independently tried to get attuned to the postmodern artistic values - especially in the topic of the environment – by the realization or documentation of their surroundings. Modern topography images are included in the category. The impression and impressionability between photography and painting in their various styles are manifested in the works of photographers and painters, insofar as photography leaves effect in creating an artistic style like photorealism as an independent and powerful medium according to Edward Lucie-Smith as he has conceived in his book “The Globalization and the Modern Art”.In response to the study of these two arts’ position, and considering the views of Benjamin and the artistic styles emerged especially in the postmodern era, it seems that we would arrive at the answer that photography may hold a significant role in the postmodernist art by its capability of dynamism and universalism. Walter Benjamin’s views explain the importance of photography during the age of mechanical reproduction or duplication among the popular masses and its increasing role in rivaling painting in contemporary art, pointing out the extinction of originality in the art. Photography is an art that impacts other arts every day, especially in the postmodern era, and is an inseparable part of postmodern art, since splendid artworks may be created even out of the cheapest photographs, referring to the works of painters like Gerhard Richter (1932). As Walter Benjamin maintains, photography universalized the art and brought artists a novel attitude based on which one may say the art has rerouted from the concepts of originality and specialty and belonging to a certain class of the society to the direction of popularity and accommodation to the popular masses. It seems by analyzing his views that Walter Benjamin does not look at photography as something void of art, but he regards its universality as a forerunner for its artistic application. More specifically, he points to the works of Eugène Atget (1857-1927) – the nineteenth-century French photographer – who has reduced the last of the cult values of the photographs - the human portrait - and has increased its exhibitory value by taking photographs of deserted urban spaces with no human portraits and figures (Benjamin, 1998: 215). Indeed, it seems that Benjamin thinks more about the importance of the invention of photography and its impact on art and its impression on the value of art in the eyes of the popular masses. Today, the impact of photography on the contemporary arts is publicly evident and has increased more than ever despite technological changes. In Benjamin’s view, the art has lost its sanctity due to the technological advancement of photography alongside the loss of the sacred undertone of the photographs, gradually becoming accessible by the popular masses. In other words, photography has been effective in the loss of the personification undertone as an instrument of the mechanical age of artistic reproduction.Aside from Benjamin’s views, one may depict that photography worked like a catalyst in its age and managed to bring about abundant changes in the attitudes of the painters and painting art styles. It managed to dissolve and attach the antagonists to itself. Precision in details and shooting the seconds or “capturing the moments” with the help of light is a possibility painting has never been able to take benefit of in picturing the imagination, but using photography. The sanctity of the moment in daily life is undoubtedly precious, and shooting it and eternizing “a moment” that no more exists is way too valuable, and this amazing thing is difficult to be done without the medium of photography.