فریده آفرین

By studying the system of arts in the views of a philosopher, the criteria for examining the relationships between the arts become clear. Additionally, the relationship between the arts and the differences in their degrees is defined based on their material in relation to that criterion. Accordingly, one can answer the question:How can Deleuze consider the novel and painting from the perspective of common issues? How do these issues correspond with his ontological problems? Through a descriptive-analytical method and a focused study of some of Deleuze's works, one can establish the concept of the "ritornello" as the foundation of this thinker's theory of art.In Deleuze's view, the original novel and painting create a ritornello. The ritornello has several aspects, such as melody, motif-counterpoint, and theme-harmonic variations. These aspects are not developmental points; rather, they are modes of a single phenomenon. The basis of the relationship between characters and figures in the novel and painting is vibration, which creates a monophonic melody. Characters and figures relate to the landscape and animality in both external and internal ways, forming multi-voiced melodies or territorial counterpoints and rhythmic characters based on the intensity and mood of the melodies. Based on sensing the pure intensity, they undergo harmonic changes and open themselves to infinite intensity, and the infinity of intensity.Many of Deleuze's aesthetic issues, such as intensity, affects, percepts, and pure sensation, which make territorialization, deterritorialization, and re-territorialization, seem to correspond as the basis for explaining the Ritornello with the way of life of beings.

The goals of the research are to clarify the way to reach the definition of thinking according to Deleuze. To reveal the difference in his definition of thinking compared to other definitions. To realize these goals, the following question is asked: What is problem-oriented thinking according to Deleuze. with the descriptive-analytical method, the result is that, Thinking in philosophy occurs when the presuppositions of dogmatic thought face chaos. The flow of those presuppositions is interrupted. This calls for new concepts. Unthinkable is the condition of thinking; takes it out of the territory; constitutes deterritorialization. With new concepts, it returns to the territory of philosophy. The process of territorialization, deterritorialization, and reterritorialization for thinking in philosophy replaces the movement from the unknown to the known, and the logical level of recognizance is close to Kant. Horizon-oriented, path-oriented and questioning thinking has paid attention to the recalling of signs in Heidegger's view. The force of the problem of deterritorialisation and reterritorialization in Deleuze adds to Heidegger's discussion. As a result, Deleuze, by defining philosophy as a logic of multitude instead of a single and unique logic of Being, changes thinking from the the possibility of fact into the fact itself.

This study investigates the views of Fārābī and Descartes regarding beauty in music and the quality of emphasizing the consonance and dissonance of intervals between notes and their perception by listeners. In order to compare their views around beauty in music, the authors have adopted a descriptive-analytic method. The findings of the study indicate that both of them, while commonly focusing on Greek philosophy as the foundation of their philosophical and mathematical endeavors, believe that the harmony between sounds and Man’s natural feelings underlies the sense of beauty in music. However, they have defined the criterion for this principle differently. The main difference between them is that Fārābī, in addition to his formalist approach to beauty in music, also pays attention to its perception by listeners. In fact, he follows a social approach to music. He maintains that the perception of beauty helps Man and civil society to attain happiness. Nevertheless, Descartes follows an individualistic approach and believes that the ultimate end of listening to music is utter joy. His reliance on mathematics led him to propose the consonance of the third and sixth intervals for the first time after confirming the dissonance of the fourth interval in contiguity, which Fārābī also agreed with. On the other hand, Descartes’ mathematical view prevented him from making any suggestion regarding the introduction of the consonance of arrangements so that composers and musicians would appreciate it. Unlike him, Fārābī, based on his own practical experience in the field of music, introduced some arrangement of notes that enjoy more melodic features.

The purpose of this article is to create a link between ontology and musical forms. To achieve this goal, Heidegger's fundamental ontology is posed against Deleuze's differential ontology so that the possibilities of this contrast can be used. In this article, with a descriptive-analytical method and a comparative approach, we tried to explain the two types of Heidegger's and Deleuze's ontology by applying it to two musical forms: one fugue and the other ritornello. Thus, Heidegger's world is a fugue that presents the same despite all the variations of the performance of a main musical subject (or a singular voice). Being in this attitude is homogenous and unique. The difference in this way of considering the phenomenon is considered secondary to Being. In this ontology and related concepts, experiences of becoming other, subject movement, becoming a subject due to deterritorialization, the possibility of active participation of people in the whole destiny, and the possibility of changing and reforming the way of life of people are limited. Deleuze's world brings the most different people together in his ontology by resorting to the rhythm and musical form of ritornello. So that at the same time they harmonize, their tonal differences are preserved. Being is the differential. In Deleuze's ontology, with the possibility of territorialism, the way to the subject movement and the possibility of becoming is available. A subject movement in society based on rhythm creates changes in the individual and social relations in which one can expect active participation in determining the destiny of all people. Conditionally, a society is created where people can correct their way of life. The results of this reading and connection show the different social functions of the ontology of the two thinkers.

According to Heidegger, death is a form of existence that man accepts immediately upon his existence. He introduces man as being-in-the-world. The type of Dasein’s existence in the world is not like other objects in the world. The meaning of possibility is something that Dasein has the ability to become. Dasein stands in the possibility of possibilities, constantly engaging with what it could be. Death is a situation where a person answers the question of who they are. According to Heidegger, Dasein can dominate anything, but death is the only thing that cannot be avoided and always overcomes the power of Dasein. Heidegger believes that Dasein is strongly influenced by death, which is an event that only affects humans and not any other beings. He considers existential death as specific to human beings because humans are the only ones capable of thinking about death; other beings simply perish. Thinking about the event of death is a unique and original act that frees a person from ordinary and mediocre thoughts. Existential death is still a unique experience for each person, one that cannot be taught or repeated. Authentic Dasein also takes into consideration the fact that death does not happen only after the end of life but is an inseparable part of life itself. Being-in-the-world is a way of being, and this inherently includes being-toward-death. Heidegger claims that death is different from the end, which is a kind of transcendental matter. Anxiety causes Dasein to face its true self, and it is determined by what we are anxious about and against. In the phenomenon of existential anxiety, the things that make us anxious seem to vanish, so we appear to be anxious neither because of anything nor against anything. When Dasein is immersed in the people and the world in which it lives, this immersion causes it to escape. Escape is the act of evading the fall from the “being-in-the-world” that it deserves. Therefore, anxiety and falling are opposites. In anxiety, the world is introduced to Dasein in such a way that it loses its previous significance. For this reason, Dasein turns inward, adjusting to its introspective being. Anxiety occurs when all the possibilities of Dasein appear insignificant, and its way of living in the world is revealed as a movement toward death. Japanese cinema is one of the largest and most important film industries in the world, with over a hundred years of history in this field. Directors like Shōhei Imamura and Nagisa Oshima are very prominent in the third generation of Japanese filmmakers. Hayao Miyazaki, a celebrated director and animator, is also a key figure in this tradition. Studio Ghibli, best known for Miyazaki’s work, is behind renowned films like Spirited Away, Howl’s Moving Castle, and My Neighbor Totoro. The studio has officially released 21 animated features. Other prominent works by Miyazaki include Ghost Land, Ponyo, Laputa: Castle in the Sky, Princess Mononoke, and others. Japanese cinema, like other film industries, strives to balance industrial and artistic cinema. Within this context, Japanese animation, or anime, has managed to recreate a world similar to live-action cinema while offering unique narratives. Japan’s animation industry, which combines traditional and indigenous Japanese arts such as Ryukyu and manga (comic books), holds a distinct place in global cinema. In the past, animation in Japan was called Doga, meaning “moving pictures,” but since the 1950s, this term has shifted to “animation.” Osamu Tezuka, initially known as a manga artist and cartoonist, was instrumental in shaping modern Japanese anime. His contributions to the industry were extraordinary, and he is credited with making anime what it is today while popularizing it internationally. Tezuka’s influence continues to inspire creators even after his death. Due to Tezuka’s unexpected passing and Hayao Miyazaki’s subsequent rise, Miyazaki gained the title of “Japan’s Disney.” Miyazaki directed his first film in 1981 and has since created stunning works that explore many philosophical, sociological, cultural, and psychological concepts. In the article discussed here, Howl’s Moving Castle is analyzed based on Heidegger’s philosophy of death and how it is represented in the animation. This study seeks to address the following questions: How is the concept of death defined by Martin Heidegger in Being and Time? How can this view be analyzed within the context of Howl’s Moving Castle? What visual and narrative elements in Howl’s Moving Castle are used to explore existential death? The research uses theoretical and qualitative methods, with data gathered from library documents. A review of existing studies in the Persian language revealed that similar research is lacking, especially in categorizing death based on Heidegger’s philosophy. Existing studies mostly describe Heidegger’s views or compare his ideas with those of other philosophers or poets. Research on Howl’s Moving Castle often focuses on its technical aspects or character analysis from a psychological perspective. However, this article combines both technical and content-based analysis, specifically examining the animation through the lens of Heidegger’s concept of death. In Howl’s Moving Castle, the protagonist, Sophie, experiences existential anxiety and learns to live authentically through her confrontation with death. Sophie initially imagines she has plenty of time and avoids acknowledging her mortality. She continues her life according to predetermined patterns of common reasoning because this way of living feels safe. Sophie avoids anything unpleasant, maintaining her distance from her true self. However, her transformation into an older woman forces her to confront her mortality and the finite nature of life. Sophie begins to realize that she does not have much time to waste. This awareness causes her decision-making and behavior to become more deliberate, responsible, and meaningful. By accepting death, Sophie brings her life to a resolution. The analysis shows that Sophie’s existential death arises from a failure to understand herself. Her aging serves as a reminder of the limited time she has, pushing her toward authenticity. Sophie realizes that the path she had been following is no longer viable, and she must face the anxiety of choosing a new, more authentic path. The journey of Sophie’s character is visually reflected in the animation through her physical transformation. Sophie is depicted as young and energetic at first, then as an old, stooped woman with a wrinkled face, and finally as a revitalized and motivated individual. These changes are accompanied by shifts in the animation’s visual style. Smooth and stable lines transition to curved, broken, and hedged lines. Similarly, the bold and vivid colors that initially dominate the scenes give way to neutral and muted tones, emphasizing the emotional and existential transformation Sophie undergoes. This research concludes that in Howl’s Moving Castle, existential death is closely tied to Sophie’s character development. Her journey toward authenticity is marked by her confrontation with death and her transformation into someone who embraces life with newfound purpose. The visual and narrative techniques employed in the animation effectively depict the themes of existential anxiety and death. By analyzing the animation from Heidegger’s perspective, the study offers a new approach to understanding Howl’s Moving Castle while contributing to the broader discourse on the intersection of philosophy and animation. This research not only highlights the depth of Heidegger’s ideas but also demonstrates how these ideas can be applied to contemporary cultural and artistic works like Japanese animation.

This research analyzes the concept of death in the animation production of Coco by Lee Unkrich. According to Martin Heidegger’s perspective of being, death and time, the characters of this work correspond to this viewpoint.The problem of the upcoming research is how to analyze the dimensions of the animated characters of Coco (Lee Unkrich, 2017) with Miguel as the center, according to Martin Heidegger's discussion and concepts about the types of death. The research questions are as follows. Which one of the types of death and fear of it in Heidegger's being and time is more consistent with the viewpoint of this animation towards death? What components does this animation add to the dimensions of Heidegger's death? What topics about death and what aspects of the characters do they reveal in this animation? To answer these questions in the research, relying on library sources and analytical-applied method, types of death, finding the present corresponding to them from Heidegger's point of view are studied and the selected characters of animation are analyzed in such a way that the form and content of types of death in Coco are conformity with Heidegger's opinions should be determined.The results of the study of Heidegger's types of physical death and existential death in Coco indicate that most of the characters entered the world of the dead due to physical death. The characters (Hector, Delacruz, and Imelda) entered the world of the dead mostly due to physical death (demise). In the world of the living, apart from Miguel who temporarily faces existential anxiety and existential death, we do not face deep existential death. Therefore, physical death is considered more in this animation. It seems that in the celebration of the dead, the Mexicans show that death should not be feared and the death of awareness is the recommended way. Not being afraid of physical death and welcoming it is a kind of conscious death, despite the fact that they know they are going to die, they do not sacrifice their lives for this event, but they hold a celebration of the dead every year so that no one has any fear of eternal forgetting and knows the value of time. Although Heidegger did not discuss the fate of Dasein in the world after death in existence and time, and only talked about the ways of living death in this world and the types of fear, but in this animation, by showing the world of the dead, its quality and ways to deal with deep physical death, by resorting to pictures and remembering it every year and by holding a celebration, depicts the world of the dead and the communication bridges of the living with them, as well as the ways to fight against the real death of humans. It also shows the dead living in the world of the dead after physical death. Finally, through some characters, it promises that one can live better with awareness of death and one can try ways to deal with the fear of death in special ways.

The problem of the upcoming research is that two thinkers, one Kant from the 18th century and the other Deleuze from the 20th century, with different ways of thinking, with what criteria and how do they look at the system of arts? What results does this approach reveal about their relation to philosophical issues? The results of the research, based on the descriptive-analytic method, show that the most important criterion for Kant as a transcendental idealist is the expression of the aesthetic idea in the arts. Artistic painting is spatial, its perception is visual. The symbols provide an opportunity to think about the aesthetic idea. In terms of expressing the idea, it creates a hierarchy that is placed first in poetry and then painting with its derivatives. Kant validates the effect of arts on the audience of the artistic work with the criterion of aesthetic idea and presents the system of arts based on that. With Deleuze, as a transcendental empiricist, an inter-artistic concept like rhythm is considered. Due to this concept, painting is a temporal art. Deleuze discusses forces, that is, the intensity of matter. Receiving such an affect is done with a body without organs.  In his opinion, one can think with painting, not through symbols to be connected to another field, but through the specific logic of painting, visual concepts, diagrams, or the relations of forces that emerge from the heart of the catastrophe based on the disruption in painting. With the criterion of rhythm, force and intensity and  sensitivity of the forces as the material of the artwork, Deleuze simultaneously emphasizes how the artist's artistic creation and the place of the audience in the field of the artwork's force. His attitude to the arts is not hierarchical, so he regulates the gradation of the arts.

Problem statement: 

The mathematical and dynamic aspects of sublimity challenge the size and power capabilities of human faculties and it seems that most instances of sublimity can be found in the thinking of the 18th-century intellectuals before Kant. It appears that painters of the 18th and 19th centuries in England and Germany also relied on sublimity as a prominent theme. Based on this, the main research question is: What is the distinct aspect of German and English Romanticism in terms of sublimity?

The objective is to study the relationship of sublimity in the ideas of 18th-century intellectuals and the works of Romantic painters in the 18th and 19th centuries in Germany and England to examine the differences between German and British Romanticism in terms of sublimity.

The research is qualitative in nature. The method involves the descriptive-anlaytic study of artworks. Data collection was based on documentary and pertinent literature.

Grandeur is the inherent feature of the sublime and the prominent features of sublimity in paintings include greatness, vastness, infinity, ambiguity, boundlessness, and the destruction of natural forces. The study of artworks by Romantic painters of the 18th and 19th centuries such as Friedrich, Achenbach, Turner, Martin, and Danby reveals that German Romanticism has focused on the vastness and greatness of nature and the terrifying aspects of nature, but it has also considered the spiritual and symbolic aspects of nature. In English Romanticism, the dynamic aspect of sublime fear and the terror of destructive and violent forces of nature are emphasized with greater intensity. Therefore, it can be considered to be one of the prominent themes and distinct aspects of English Romanticism.

This study investigates the essence and manifestations of nature in the works of Romantic poets such as Lord Byron and Emerson, as well as painters like Thomas Cole. It then explores the components of literary tourism in Romanticism to answer the question: What positive aspects does Romanticism’s perspective on nature have for tourism. This study aims to examine the common characteristics of the Romanticism school’s approach to nature. The data and images were collected and analyzed through a descriptive-analytical method, utilizing library studies and document analysis. The dimensions and meanings of nature in selected Romantic poems and paintings encompass untouched nature, wild and untamed nature, grand and awe-inspiring nature, the supernatural, the inner and human soul, nature as a human construct, emotional and exquisite landscapes, sublime and heavenly landscapes, accompanied by explorations of caves, forests, roaring waters, waterfalls, and mountainous landscapes. The positive results of Romanticism’s perspective on nature for tourism can be observed at both the general and individual levels. At the general level, governments and stakeholders plan and prepare national assets based on remarkable natural places, regions, and landscapes depicted in literary and artistic works. At the individual level, there exists a beautiful cognitive path where tourism is seen as an accepted social form based on notable regions and landscapes depicted in works, serving as a search for emotional, intellectual, and reflective experiences. Consequently, the attention, perception, and Romanticists’ approach to nature contribute to enriching and diversifying the perspective on nature in the tourism industry.

Philosophers have always tried to provide a suitable answer for the question “what is the nature of death?” Death, like any other phenomenon, has various spectrums and has been studied with different approaches and depicted in different ways in works of art. The aim of the research is to examine the relationship between death and Being in this animation, considering the theme of the story, in order to answer these questions: The concept of existential death can be analyzed in relation to what concepts and with what intensities in the work? What formal features have helped to show the existential death and connected concepts of the characters? The current research is theoretical and qualitative in terms of type, and it was written through descriptive-analytical method and documentary research. Its approach is based on existential death and its related concepts in the book of  Bein and time, which considers the impact of death on the meaning of life, parallel to the discussion of boredom in The Fundamental Concepts of Metaphysics by Martin Heidegger, a German philosopher. Examining the necessary concepts makes it possible for each of the characters to know their existential dimensions more through the analysis of activities, anxiety and degree of boredom and intensity of existential death. The results of this article show that the main characters of the narration, experience existential death on the way to reaching the character arc. From the investigation and analysis of the character arcs of the main characters of the mentioned animation, it was concluded that the existential death of the Parr family is caused by the legalization, severe laws, identity crisis, and their absorption in everyday possibilities. By feeling the types of boredom, anxiety and intensity of existential death, i.e. impossibilities they succeed in finding their existence or knowing who they are. Without a sense of existential death and the dependent concepts, they are deprived of who they are and their true power. At the same time, by becoming who they are, they can experience existential death as a found for rising to possibilities in new light and color. In the same way, the design and the formal features of the body and the colors of their clothes will change.

This article employs the descriptive-analytical method and explores the interplay of faculties and ideas associated with the beautiful and the sublime to investigate the pedagogical dimensions of Kant’s third critique. The educational implications of the beautiful and the sublime for human talents and faculties will be explored. The human-centric aspect of the third critique is illuminated through a range of pedagogical (Bildung) ideas and aspects connected to the beautiful and the sublime. These include nurturing faculties and the soul, fostering the soul in the presence of natural and artistic beauties, relying on rational ends, and establishing harmony between understanding and imagination in relation to the beautiful. Additionally, the article delves into forming a conception of the whole in the mathematical sublime, achieving harmony between reason and imagination, finding consolation and sympathy in such experiences, and developing faculties through harmony amidst their strongest disharmonies concerning the dynamic sublime. It further discusses nurturing faculties in alignment with the development of natural and moral talents unique to the human species, whether in direct or indirect connection to ideas. The article also touches on preliminary moral training in harmony with the moral ideal related to the human end and preparedness for sociability based on the pleasure derived from the beautiful and the recovered sublime harmony with others. Other aspects covered include disciplining one’s taste, recognizing common sense as the foundation for comparing judgments, and correcting errors in judgments regarding beauty and sublimity. The article concludes by advocating for the promotion and enhancement of faculties engaged in encounters with the beautiful and the sublime.

Examining the national emblems of Iran, with an emphasis on visual metaphors, revealed several aspects of them. Identifying the types of metaphors and their mode of presentation is an effective factor in detecting the level of tension between their origin and destination and a way to identify the level of communication in them.Examining the practical and communicative dimension of metaphors and their effects on the audience can be used as the main indicator of logo design.Through this study, it is possible to consider the greatest impact on the audience through metaphor-making and illustrate the level of communication with them. The study of synthesis and proximity metaphors in two emblems revealed that the sign of lion and sun needs less explanation and elaboration in order to understand due to their destination in the world and benefits from less complexity than more composite visual metaphors. Therefore, it is easier to understand the concepts in this sign, and it is easier to communicate with them. Analyzing the concepts reveals the themes and national meanings that can be extracted from the sign of the lion and the sun, which include: the importance of Shiism and the place of imam Ali (peace be upon him) in the beliefs of the Iranian people, the power and sanctity of the king, courage and protection of the country, unity and victory. Blessings, fertility, peace, etc.The emblem of the Islamic Republic is more intense compared to the lion and the sun, and for this reason it will be more difficult to understand and the relationship with it is more complicated, but it needs less explanation and elaboration due to the mode of display of . Metonymy. In the national emblem of the Islamic Republic, the following topics, meanings and dimensions can be understood: the importance of Islam, religion and monotheism in the country, guarding and defending the country, the important position of the Qur'an and the Prophet of Islam as the bringer of the book, the desire to learn Islam in the world, etc.Finally, the study of signs in these two periods indicates the simultaneous use of two types of metaphor and metonymy through principle of constitution and syntagmatic one . The use of metaphors helps to convey the required concepts and purposes to the audience through images and to make communication possible through them. Comparing the two emblems of the Qajar and the Islamic Republic from a metaphorical perspective, shows the difference in their attitudes in choosing the type of governance. The Qajar rule, a government with the rule of the kingdom and the Islamic Republic,has placed God's rule in the center of its circular emblem. One is interested in the domination of the monarchy, and the other is the desire for the universalization of Islamic rule throughout the world. The communication of one is faster and more immediate due to relying on more familiar elements, and the second requires more explanation and elaboration from the angle of combined metaphors.It communicates later and is still more effective.

Delvoye, a Belgian artist, exhibits his varied works all over the world. Delvoye sometimes combines the elegance of decoration with smooth and polished surfaces resulting from industrial beauty and makes a magnificent set. The examples can be seen in loaders and heavy machines, which are decorated with the elaborated motifs of Gothic churches. He cuts stylized plant patterns on the tires of the heavy machines. Delvoye’s precise laser cuts produces objects without defects. In a collection of sausage, he makes geometric patterns and fills surfaces with them. The geometry of motifs with spiritual colors has a lot of appeals, but filling these patterns with physical sausages can cause sudden repulsion. This artist twists the metal statue of Christ and his cross, so that when we see the twisted statue, we can also see our own distorted image. The attraction of the polished metal and the repulsion of our distorted image are intertwined. The simultaneous attraction and repulsion twist the aesthetic appeal of the icons of Christ and carry itself to the endless Rococo desire for shining metals. But Cloaca (2000) is a device that produces turds. The problem of the research is this: What characteristics bring this work to the threshold of ugliness? Does ugliness have a negative value compared to beauty? In the following, we will study Cloaca to introduce the process of participation of this work in shaping the aesthetics of ugliness. According to the objectives of this research, so far, no paper has been written about Cloaca by Delvoye, nor has a wide and extensive commentary been devoted to it. The results show, and clarify these points: the human body has been considered as the focal point of contemporary art; the contemporary art studies the body itself through technology. The aid of technology brings out the internal process and transforms it into the machine. Cloaca has the anti-conceptual characteristic and fights against the domination of philosophical concepts.  Regarding the interaction of science and art, it disturbs the exploitative relationship between philosophy and art. In the form of neo-avantgarde, the institution has made art dependent on economic models, institutions, and capitalist advertisement. The value of Cloaca doesn`t depend on the special formal, artistic, and aesthetic (related to positive) features.  Its behavioral characteristics and reactions are metaphorically norm-breaking. Basically, the aesthetic features of Cloaca fluctuate between the two spectrums of beautiful and ugly. Cloaca's aesthetic characteristics include formless, shocking, artificial, soulless, boring, spectacular and contemplative, norm-breaking, and ambiguous, which include negative degrees and push it to the threshold of ugliness. As a result, according to this research, ugliness is not a disvalue and has an aesthetic significance. The research confirms  that ugliness and beauty are two maximum poles of the single scale of aesthetic value. The interpretation of the aesthetic features is the introduction of the dimensions of the work that enters something to the threshold of ugliness, but it is worth investing for capitalism.

What opinion does the Qur'an have about art and the position of the artist, and what classification does it provide regarding the hierarchy of arts? To answer this question, we need a measurement. We have chosen this criterion since the 18th century, which is rightly called the century of taste. Everyone in the field of aesthetics believes that the special issues of this field are being formed in this century. We learn to discuss the problems of each field from its experts and we use it in a descriptive-analytical way to look and get a perspective in the Qur'an.The result of looking through Kant's glasses is that Kant's classification of fine arts includes the art of speech, poetry and oratory, visual arts, plastic art (sculpture and architecture) and painting (garden arrangement and decoration), the play of sensual affection and music. And art is the play of colors, the combined arts of drama-dance. The Qur'an's classification of arts includes the art of words and verses, which is verbal art, the art of seeing and hearing, the art of eloquence, the art of painting and illustration, and manual arts also fine art, which include carpentry, architecture, the arts related to making armor and fabric decorations, and in the next stage, sculpture. Kant considers the criterion of importance to be the free play of understanding and imagination, which is based on form. Such works of art are also divided in terms of expressing ideas. It seems that the expression of ideas is important in the Quran, which is derived from moral concepts. In this section, the importance of verbal arts, with this emphasis, are at the top of the hierarchy of arts.

The aim is to study the dimensions and meanings of Bildung in Kant's theory of genius in the third critique with a descriptive and analytical method.

On the other hand, genius is designed to resolve the gap between the beautiful in art and in nature in the third review. On the other hand, the presentation of genius is considered a way to turn from aesthetics to the philosophy of fine art in this critique. When studying Kant's theory of genius, we realize that the role of imagination and aesthetic ideas under a certain concept of a product as an end in it is stronger than the direct intervention of understanding. Considering the harmony of faculties in the discussion of genius shows the harmony of imagination and understanding. The induction in the theory of genius in the metaaesthetics of the ideal of beauty in art is determined from the point of view of the creative artist. The goal related to beauty in art supports the formation and agreement of imagination and understanding. The study of ideas in the third critique shows that the idea has multiple aspects. The third aspect is found in genius: a positive, secondary presentation of an idea that is implemented through the creation of "another" nature, which here is the aesthetic ideas. The description of the connection between the aesthetic idea and morality in genius reveals that artistic beauty and morality come together. The beautiful thing in art is not less than the beautiful thing in nature, but "is a symbol of morality." In this way, the separation of two types of beauty, i.e. natural and artistic beauty, is overcome. The explanation of the socialization or grouing experience of genius consists in calling and expecting the harmony and agreement of genius faculties in another genius. In genius, without losing the exceptional and unique character of genius, he/she gives universal and general value to the agreement it produces and must be able to transfer its power and life to other powers of the audience. Taste and judgement have a disciplining role in genius and a part of education and training in human faculties. Art is the product of artistic genius, which has an educational aspect in terms of technique and style. Genius is not a teachable talent in terms of the expantion of ideas, amazing substance, metamorphosis and transformation o genius. In addition, in order to reach social results in the sense of Bildung, we can address the subject and his social role in an emerging civil society according to Kant, whose first step is taken in the face of beauty and common sense. This critique places taste in a larger context than human society. Humanity is characterized by a sense of sociability and the capacity to convey pleasure and thought. Beauty in nature and in art, a central role in fostering social connection between different people; And it is closely related to the cultivation of moral sense.

The study of the theory of genius in the third criticism based on the meanings of Bildung shows that this term was more than ideal educational perfection for Kant. According to Bildung meanings, genius has the following aspects:1) Formation of the harmony of imagination and understanding; The common sense of genius and the agreement of the audience's faculties in accordance with the faculties of genius, which is coordinated with nature. 2) Cultivating faculties, cultivating the mind, spirit of a genius and calling other geniuses, 3) Educational role of the product of genius in terms of technique and style, 4) Form; receiving the reflective form of beautiful art or the product of genius by imagination, 5) Bilde/image; Beautiful art as an image through the aesthetic idea as a mediator of cultural meanings and values, 6) education; propaedutic in cultivating  faculties of mind and moral training of the audience for higher and superior moralability, 7) preparation for social community based on a common sense in the path of culture development rely on consensual agreement (individual faculties and people together).This research shows that the issue of creating a work of art and the genius of a creative artist is placed in the path of Kant's anthropology.The research suggests to focus on the harmony of faculties among all the meanings of Bildung for genius. In this case, the condition of supersensible unity of faculties comes from the unconscious substrate in the Leibnizian sense; That is, the place that maintains the relations that the subject establishes both internally and externally; A place based on free, indefinite and unconditional relationships. In this case, the formative pattern of agreement between powers in genius comes from that substrate and shows the extraordinary unity of all faculties together as a living unity. As a result, Kant's debate on genius is directed towards expressive process of individuality, individual difference and individuation; It opens up to the future philosophy and finds its own educational paths and training results.

Through the genesis, which means deep harmony at the farthest distance, the meanings of Bildung in Kant's Third Critique will increase and intensify.  Deep harmony at the farthest distance means, it is possible to defend the doubling of the intensities of faculties with different functions when the hierarchy of faculties loses or messes and again harmonizes them based on the degree of their intensities.

The problem of the research is that what is the characteristic aspect of Goethe's attitude towards nature and the depiction of nature in the works of German romantic painters? Therefore, the specific aspect of their attitude towards nature is analyzed in a descriptive-comparative way. Goethe, especially in his youth, in addition to the influence he received from Rousseau, Herder and the stormy and stress pre-romantic movement, had a more romantic attitude towards nature, and in general, nature for him, in his poems and some works, means the life of primitive societies, simplicity and untouchedness in front of civilization. (Rousseau), the spontaneity and immediacy of perception of nature of nature related  to people's life and art, is beautiful nature and God, all of which are considered a kind of romantic perception of nature. Although he also defends classicism, Faust seems to be influenced by the visual point of view of romantic artists. This research comes to this conclusion from the study of Friedrich and Runge's attitude towards nature. It is more romantic. Friedrich moved from the conventionalistic symbolism of his early works to a more refined and poetic naturalism based on Goethe's mood and considered the perspective of the subject to nature in his paintings. Despite Goethe's advice, in his short life, Runge showed the romantic concept of "Hieroglyph of Nature" as an essential element of language and culture.

The aim of the research is to analyze the critical discourse in the Qajar and Islamic Republic emblems based on the relationship between emblem and discourse. The research method is descriptive-analytic and the analysis approach is critical discourse. National emblems are the visual dimension of political discourses. The differences of emblems as a part of the discourse or the visual effect of a discourse may return to the specific way of that visual effect or be interpreted as a certain political tendency. Discourses consistent with the symbol of the lion and sun are patrimonial, royal, and national identity discourses based on historical past and religious identity. This emblem is indicative of the ideals of ideological traditionalists, as an attractive visual aspect of religious discourse. In this way, any emblem that represents the visual dimension of the discourse of Sunnis or other religious minorities is removed, or rejected by displaying this symbol in the ministries, press, publications, etc. The discourse of the Islamic Revolution is a reaction to the absolute modernism of the Pahlavi period. The discourses that arose in the Islamic revolution included strategies and conflicts such as class struggle, exploitation, and struggle against imperialism and colonialism. This discourse resists the field of power that the Orientalist and Middle Eastern discourse that Westerners create. The comparison of the Qajar and Islamic Republic emblems shows the difference in their attitude in choosing the type of governance. The Qajar rule wants to dominate the empire and the other wants to spread Islamic rule all over the world.

The aim of the research is to study the structural elements of the Pahlavi emblem and the Republic of China through descriptive-analytical method, based on comparative studies, and content analysis. By means of reflective schemas to determine the extent of the application of symbols and meanings and concepts called to find common themes and ideals or to extract the cultural differences and political covenants of these two countries within a comparative approach in a determined period of time.Since the two countries of Iran and China have had extensive communication and significant cultural and artistic relations through the Silk Road, and the perceived integration between Buddhist and Islamic arts, the attitude of the two countries on the basis of several thousand years of civilization, in choosing and designing their prominent national emblems in a specific time frame, can be significant and offer important insights.The question is How and to what extent have these two countries used symbols for the design of national emblems, for the purpose of directing political covenants and moral themes, etc., in the same period of time? Results In the present study, it was determined that national emblems are representative image sources of a country that are influenced by its history and culture. In this research, the structure of reflective schemas and meanings of symbols in the emblems of the First Pahlavi and the Republic of China based on the importance of such schemas, have been examined. According to reading of Kant, reflective schemas are extracted from reflection on spatio-temporal dynamism or dynamics of a being, animal, tree, etc. Considering the existing structural similarities between the two emblems, it is possible to compare them.Both emblems are made of natural elements - heavenly bodies, mountains, plants and animals - and tools; Lion, dragon and Feng Huang as animal elements, oak branch, olive and rice as plant elements, heavenly bodies such as the earth, sky and sun, moon and stars are also depicted in national emblems of Iran and China. Besides these natural elements, sword, crown, axe, Zongi (golden cup) etc. are among the tools incorporated in the designs of these emblems. Therefore, there can be structural similarities between the two.Although both emblems share similar structural elements, but the Chinese national emblem showcases more ritualistic motifs, more natural and animal elements, and contains allusions to the Chinese astrology by depiction of elements such as fire, water, wood, metal, plant, and earth; the earth in the form of a mountain, rice embodies water etc. Mythological elements and ornaments of the imperial dress can also be seen in the Chinese national emblem. In lion and sun emblem of the first Pahlavi, religious elements are depicted, but compared to the Chinese counterpart, it has less natural, animal and plant elements. The earth is not included in the Iranian emblem. Apart from the sword, which can be a sign of the crescent moon and of course Islam and Shiism, there is no trace of other heavenly bodies. Oak and olive can be considered as symbols of plants and water. The crown is the symbol of the king on the top side of emblem. In the Pahlavi period, the feminine power is not showcased in the design of the emblem.The study goes on to compare the meanings and concepts in the two symbols. In the sign of lion and sun, for example, the element of lion can be seen as a reference to the power of the kingdom. But the two animal elements, dragon and Feng-Huang, refer to two royal characters, the king and the queen, which show complementary forces of yin and yang that are eternal. Meanwhile, the sun in the lion and sun emblem again, refers to the king, and there are no feminine symbols to compensate as the queen. Also, oak and olive plant branches in Pahlavi's emblem represent concepts such as longevity, unity, security, victory and peace, but the plant element of the Republic of China, which is the rice spike, is a reference to the importance of earth and agriculture in Taoism and rice’s crucial significance in Chinese culture, and the work, effort, toll that goes into the production of rice as the singular most recognized product of China. Although the sword in the sign of the lion and the sun is associated with guarding and protection, it also refers to Shiism and the revered regard for Imam Ali (pbuh) among Muslims. The axe is also associated with the concept of grains and their protection. Also, Zongi, in Chinese symbolism, can carry meanings such as purity, spiritual growth, and is a symbol of the emperor's virtue in loyalty and filial piety. In examining the lion and the sun, several concepts such as resistance and authority, unity, the importance of royalty have been revealed. In the Republic of China’s emblem, the induction of concepts such as the importance of religion, the importance of earth, agriculture and natural elements in accordance with Taoism, unity, blessing and fertility can be detected.Therefore, it can be concluded that both signs, while referring to numerous material concepts, have also placed religion and moral themes in the center of attention. The lion and sun motifs is a declaration of nationalistic goals such as the importance of the king and the royal position, the importance of religion, ideal concepts such as security, unity, longevity, victory, peace, hope, blessing, guarding and protecting the country. The national emblem of the Republic of China also shows similar messages as the emblem of the lion and the sun, although more, which include the special position of the king and queen, the importance of opposing yet complementary forces, the sacred position of Taoism, and ideal concepts such as authority, blessing, immortality, unity, happiness, longevity. Both emblems have showcased cosmic symbols. Both bring to life the concepts, topics of morality or religious principles. The emblem of the Republic of China, is inspired from the old decorations of the traditional imperial dress, which in turn depicted the emperor as the symbol of the son of the sky, and referred to the teachings of Confucius and his twelve moral commandments that the emperor embodied in order to be a just ruler. Therefore the emblem of Republic of China implies that a good prosperous country with instructive policies is achieved only through an authority that follows moral codes as its principle policy. In first Pahlavi’s national emblem, such moral symbols are not much showcased, but mostly concepts such as chivalry, bravery, and good fortune and good omens are emphasized, with a focus on Imam Ali (pbuh) as the embodiment of morality and courage.

Considering the importance of metaphors in the design of the second Pahlavi royal emblem of Iran and Britain, the question is: What is the impact of visual metaphors on comprehending the final beauty of the two royal emblems? The goal and path is based on the analysis of structural elements to advance towards identifying the type of visual metaphors and their aesthetic features. It is a comparative  research with a descriptive-analytical method that enumerates the similarities and differences. The method of data gatherig is library information collection. The research approach is based on the theorists in cognitive and aesthetics field of research. After considering several elements in the royal emblems of the two countries, the similarities between the two emblems are as follows: in the center of both emblems, the image of a shield can be seen, which consists of four parts. In the second Pahlavi emblem, the national signs of the Achaemenid, Sassanid, Islamic, Qajar  periods can be seen around the first Pahlavi one. The British royal emblem also shows the image of the three lions of England in the first and fourth quarters. The Scottish standing lion also belongs to the second quadrant and the image of the Irish harp also belongs to the third quadrant. The use of crown and lion is also one of the similar points between both Iranian and english emblems. Both of them use mythical animals or hybrid creatures such as phonix, Farvahar and unicorn. Both of them have supports or ribbons with a royal slogan placed in the below section of the emblems. Justice in the second Pahlavi emblem is like a divine gift to the king. In the British emblem, the kingdom is a kind of divine entitlement from God, which is given to the king as a judge. The differences are as follows: the emblem of Britain uses its belt and along with the buckle instead of hanging on the cross or Mary's ascension. It can be seen in the Pahlavi emblem by means of a chain, and also the vine leaves around the shield, the torpedo mouth arabesques, and the flower motifs are among the decorations of the Pahlavi emblem. Thistle (symbol of Mary's virginity and Christ's crown), Theodore's rose (symbol of the union of the houses of York  and Lancaster) and clover (symbol of St. Patrick) are among the decorative elements of the British emblem. The rising sun in the center of the Pahlavi royal emblem is not seen in the British. The final difference can also be stated in the placement of two guard lions around the Pahlavi emblem and the placement of a unicorn and a lion in the British one. The second pahlavi emblem has more  hybrid creatures, while the unicorn is the only mythical creature of the British emblem. In the emblem of Britain, the helmet of the knights can be seen and it suggests a human whose body seems empty, while in  the second Pahlavi one, it is more difficult to recognize such a thing due to the lack of leaves to suggest hair. The origin of metaphors in the second Pahlavi royal emblem shows the following purposes in order. Crown implies the material concepts such as royalty and kingdom power, shield  states guarding the country and the sword indicates spiritual concepts such as the importance of Shiism. The lion shows the purposes such as protection, courage and Imam Ali (peace be upon him). Farvahar means divine and spiritual forces and indicates the Achaemenid period, phonix (simurgh) states the cosmic and supernatural forces and suggest Sassanid era, Damavand implies the mythological and Pahlavi era of Iran. Blue, yellow, and red colours, respectively, choose the brightness and spirituality; wisdom and blessing;  happiness and prosperity as their destinations. Origin of Metaphors in British Royal emblem show the purposes as follows: crown implies the spiritual growth and enlightenment, golden helmet indicates the Royal family and chivalry, standing lion means the king and guardian of the worldly force, the horizontal lion implicates the power of the kingdom, the unicorn indicates Christ and Patron, the belt shows the power-covenant and ascension to heaven, three horizontal lions decision making- foresight, also is the sign of England, harp shows spiritual growth -Irish Gods and country, the Standing Lion indicates broad-handed and long-armed, also indicates Scotland, full shield; is a sign of Great Britain and the United Kingdom. Metaphor in white, red, yellow, blue, green, red and white colours, respectively, implies purity and innocence; lordship and virtue of ruling; The power of the sun and blessing-kingdom; spirituality-spiritual growth; life and immortality; The union of the kingdom (York and Lancaster houses in past and two other contries in present) is the destination.From the common purposes of the two emblems, the need to confirm religion, guarding and protecting, and the importance of the kingdom's power on earth, and the importance of the king are inferred. In the Pahlavi emblem, different historical eras and their unity are understood, while in the royal emblem of the United Kingdom, the united countries are more important than the historical period of England itself. The spiritual dimension is more prominent in the emblem of Britain. It is as if more universal concepts are needed to unite different countries. In the second Pahlavi emblem, the historical dimension is more specific, because the Pahlavi period brought together all the proud historical periods in the emblem. The results show that the similarities of structural features is greater than the differences between the two emblems. From a content dimension, the emblem of Britain is more fruitful in terms of the multiplicity of elements. The meanings of each of the elements in the emblems are affected by the political and religious conditions and the cultural and historical precedents of that country.The comparison of the beautifying characteristics, shows that the more visual metaphors, the more complex the design seems to be, and the audience faces more tension and more defamiliarization. The greater the unity or harmony, the greater the possibility of entering to the threshold of beauty. In the emblem of second pahlavi, substitional metaphors are almost equal to combinational metaphors. In terms of unity, the repetitive designs such as damavand, lion, sword, yellow, and colours like blue show the Pahlavi emblem as coherent and unified. In this design, complexity is more important than unity. In the emblem of Britain, the substitional metaphors are less than the combinational type. The combinational metaphors cause the unity of discrete parts or components.For example, in the emblem of Britain, the helmet, the shield and the belt together evoke a royal body and there is less tension in finding the final destination. In this emblem, unity as a beautifying charactristic seems a little stronger than complexity. The results show that the discussion about beauty is not solely dependent on the harmoy of the shape and form and colours of emblems or works of art. The conceptual and meaningful dimension also plays an important role in the distinguishing of beauty. The harmony of whole composition and holistic content is realy determinant.  The beauty of visual  metaphors includes both harmony and complexity of formal and content aspects. The historical precedence of the design and construction of the emblem of Britain (from 1837 up to 1952), the structural similarities between the two emblems, reveals the possible influence of the second Pahlavi emblem from the of Britain, although in the design of both emblems, different components with historical, cultural and political themes are understood. Through the study of emblems, it becomes easier to identify the direction of their relation in the future due to important agreements and goals from structural, content and aesthetic aspects. Finally, the study of the royal emblems of two countries makes it possible to identify the perspective of the today goals and future covenants.

This study aims to address the works of the contemporary art which has allusions to the motifs of Qajar court painting and its adaptation to the effect of artistic discourses related to legitimizing the Qajar dynasty, to reveal the extension or rupture of dominant discourses in it.
The method used in the research is analytic-comparative. Also, according to the theoretical framework of the research, the approach used in presenting the research is part of Greenblatt's new historicism, which studies the discontinuities within the uniform flow of Qajar court painting and determines the direction of contemporary painting towards it. In general, it can be concluded that contemporary artists, by presenting a new look at the visible forms of the Fath Ali Shah Qajar, move towards a process that in some works, follows the visible forms confirming the monarchy. They do not return the Qajar and lead to its rupture as much as possible. But in some other works, by continuing the visible forms of the kings and the Qajar court painting discourse, they seek the discourse of identity with a new interpretation. In addition, some contemporary artists tend to be in the stream of globalization besides the Qajar court painting. According to the new historicism, one might say that some contemporary paintings with the new Qajar trend bring out the contradictory and sometimes paradoxical aspects of Fath Ali Shah’s image. Regardless of this aspect, some artists’ works are in the same orders and visual norms as the Qajar court painting. It can be said that sometimes what did not have a proper place to display in the Qajar period, for example the realm of folk art in the contemporary period, emerges. In this apparition, different effects found in the works of contemporary artists such as Saeed Khazaei and Hamed SadrArhami, and according to Greenblatt, a new text of history is textured. The context of history as a text emerges from the New-Qajar-oriented images, some of which are unbroken by the rules and principles of the visual norms of Qajar court painting, and some of which are to some extent broken. In addition, the impact of globalization shows national characteristics by emphasizing examples of specific cultures and art.  Therefore, examining the motifs of kings and the structures of royal-ruling power provides a good opportunity to analyze contemporary art by emphasizing this motif and identifying the factors that lead to it. Some contemporary works are in line with globalization and post-pop preoccupations.  As a result, the history and visual traditions of the Qajar kings in New Qajar art are not in opposition to the globalization of contemporary art, but in the hierarchy of its framework. However, as Fath Ali Shah's motif was the representative of order in the center of Qajar court painting, today it becomes the sign of pluralism.

The world bank estimates that almost 20% of industrial water pollution is caused by textile industry. Chemical dyes have used in dyeing industries once they have good fastness properties, are resistance, and show wide range of color shades. Considering the environmental concerns, these colorants have certain disadvantages such as they are toxic, non-degradable, and carcinogenic. On the other hand, fabric and clothing industries are major sources of environmental pollution especially in developing countries such as Iran. The mass consumption of clothing and also their common methods of design and production have led to increased environmental pollution due to the disposal of vast amounts of non-biodegradable wastes, ultimately faced the country with several problems. As a result, new approaches are going to be developed to renewing the use of scrap and waste materials in clothing production aimed at safeguarding the environment. The use of waste agricultural dyes is also an environmentally friendly alternative, since they are non-carcinogenic, less toxic, biodegradable, and produced by cleaner production processes. The question that arises is whether clothing design and production processes can be improved based on the facilities of the country in accordance with the sustainable development principles. It appears that empowerment of women in sustainable development topics can be an ideal solution for achieving this goal. What support this idea is the women impact on the sustainable source management, social communication, and the country’s education system. The purpose of the current research is to design and produce the women social clothing by using the fabric scraps and agricultural waste dyes. In terms of the type of study and in terms of the practical purpose, the method of present study is a descriptive-survey way and its purpose is an "applied" one. The instrument used for data collection was a questionnaire. In this way, this work was produced four women social clothing by dying the fabrics with chamomile colorant and the peels of pomegranate, walnut, and onion and also by using the fabric scraps. The reflection of this design method was examined among the female students of BA and MA courses in carpet, textile design and printing, art research, and handicrafts industry from the art faculty of Semnan university. A sample size of 102 students was chosen using a simple random sampling. SPSS software was used to analyze the data. The findings obtained from this study showed that women has a positive and important effect on the sustainable development in environmental issues and the increasing women’s awareness and capacities in this context is necessary. This research also indicates that the components of designed garment exception of the body characteristics are accepted by the statistical community. The results also show a positive relationship between the girls' awareness of the principles of sustainable clothing development and their satisfaction with the designs done.

Here, an attempt is made to answer this question in a descriptive-analytical way: Baumgarten is known as the German founder of aesthetics, But Can he properly justify the independence of aesthetics from other fields? In order to achieve this goal, instead of considering the historical course of his treatises, we have followed the discussion according to precedence and conceptual order. Among this conceptual arrangement, the focus is on the discussion of "perfection". Also poetry as the central issue of Baumgarten's aesthetics is considered. For Baumgarten, perfection is an object of inner coherence. Perfection in the subject refers to the perfected degree of sensible high when arousing sensible representations. In fact, Baumgarten believes that beauty and perfection are intertwined. In this way, beauty is in the chain of sensible perception. According to Baumgarten, perfection and beauty do not just depend on objective Cohesion and coordination in the object or artistic work, it is perceived through the subject. The subject receives the sensible effect as the degree of pleasure and displeasure. Beauty is, intuitively and undistinguished moral and, indirectly related to moral concepts through symbols (or signs). Logic is correlated to rational principles and rules over the aesthetics. With Baumgarten's effort, taking into account the more flexible function of rational laws in reason, a regin is opened to accept aesthetic due to the relation with moral domain and etc, rules Despite Baumgarten`s deeply efforts, the field of aesthetics is not autonomous.

The Mannerists are always measured in comparison with the artists of the high Renaissance and, of course, the creation of such a style dates back to the period of Michelangelo's wall paintings in the Sistine Chapel. European Mannerists have always received both positive and negative criticism, such as an emphasis on artist individuality and genius, and a cultural crisis. In this study, the intention is to study the works of one of the Mannerists, namely Giuseppe Arcimboldo, in a descriptive-analytical method to find aesthetic, perceptual, and cognitive values. To study these works, the theoretical foundations of Gestalt psychology have been used concerning the views of Wertheimer, Arnheim, and Gombrich. During the study, we gradually realize the artistic values of the works, and therefore the methodological path from aesthetic (sensory), as well as perceptual and cognitive steps, leads to artistic ones, and we seek to answer the question of whether all the values of Mannerist`s works can be found in one which Summarized artificial and they make lead to the deviation from Renaissance`s classicism? Are Arcimboldo's works, as they seem at first glance, ornamental works? Giuseppe Arcimboldo created the most artificial Mannerist works in the 16th century. His works are a combination of fruits, foods, fishes, infants, books and roots, and tree trunks. Their contemporary audiences recognized the famous Protestant reformer also, a familiar librarian, cook, gardener, and even Rudolf II in the form of Vertomenus, in Roman mythology. These are the images created to test how humans perceive and how the recognition is happening. The artist has worked in the courts of Vienna and Prague for twenty-five years, so he is a court portrait painter who has painted others in this way with the ability to accurately and intricately identify inanimate objects and nature to show their personality. The faces in his works are not only beautiful and he has also used unattractive creatures or elements so that the figures which he has created have their infections, one (the gardener), has a very big nose, one (Cook) has a very flat face and the other (winter) is a bit badly composed. In addition, the artist has used his imagination to a great extent and has used surrealist methods to combine simple objects and things to allude to deeper meaning. In such a way he has created a metaphorical and meaningful whole from the proximity of insignificant objects. Another point that draws attention to Gestalt principles is that he transformed individuals and their personalities such as gardeners, cooks, lawyers, and librarians into what they produce or deal with. Perhaps in this way, one realizes the alienation of the producer during the production of the product.This study suggested the formation of aesthetics and its intertwining with psychology until their separation from each other and thus the inclusion of psychology as an approach to aesthetics. After explaining the psychology of perception and the role of Gestalt in it, the results of the study of Archimboldo show that he made an effort to elevate himself from an ordinary painter to an excellent and creative painter. He preconsciously used the visual principles of organization as well as the Gestalt principles of perception. In Archimbold's works, most of the portraits are in the center and there is a self-made decorative frame inside the frames, in this sense, they are accompanied by Renaissance paintings, but there is no effort to apply perspective due to their necessity. Also, the colors are closer to real things and the details of things in the world. In these works, there is no dominant color area to focus on, but the dark background color affects the light of the colors and reduces their intensity and their shining. Gestalt is one aspect of the story, the other aspect is the principles that dominate the process of visual perception. Therefore, the process and direction of perception and recognition of things in these works are very important. This process should be done simultaneously without pausing and focusing on the constituent elements of the general boards. After that, the audience can pay attention to the details of creatures, plants, trees, flowers, fruits, animals, etc. What this artist found can be seen differently in the works of Escher, Matisse, and Dali. The artist has created a meaningful whole from the proximity of small and insignificant objects. Perhaps it is because of this closeness and accompaniment or the composition of the whole we can understand the metaphorical aspect of the surrealist figures of his works. In his works, the aesthetics of food, flowers, and plants are also at the center of the painter's attention and many artists still imitate him. He was a court portrait painter who painted others with the ability to accurately and intricately identify inanimate objects and nature by moving in the path of physiognomy. In addition to the principles of Gestalt, he also used the main idea of caricature or cartoon, so that due to his prominent personality, familiar people were known and recognized by his contemporaries. Looking at the faces, we realize that they are not just beautiful in some works. Therefore, the aesthetics of ugliness is another emphasis of his artistic measures.Another point that draws attention while drawing out Gestalt principles is that he transforms the individuals and characters into what they produce or deal with in some paintings. In this regard, he pays attention to the alienation of the producer during the production of his product or work. Gestalt principles, in addition to the holistic view, lead to harmony, balance, symmetry, and closure, which have been associated with the laws of visual perception concerning beauty in the classical sources since ancient Greece. This perception of beauty has occurred in some of the works of this artist. With this two-aspects approach, it can be said that in Archimboldo's works, conscious perception of the form as a whole is effective. Through the principles of Gestalt, the perception of beauty related to form sometimes occurs and realizes the beauty of still lifes, the beauty of nature itself in flowers, plants, and animals, the aesthetics of ugliness, and the aesthetics of “the everyday life” and his works to some extend, show the tendency to physiognomy. Despite his deviation, he succeeds in invoking different aesthetic styles, schools, and genres of art history. Finally, it is necessary to point out that all these results stem from an analysis of the process of formation of these paintings according to the gestalt principles. The artist according to these Gestalt principles could pass the skills in the perspective and visual illusion in drawing flesh, and skin and apply the tromp l'oeil to struggle with the audience's visual perception. Although this study does not fully attempt to evaluate how the Gestalt principles were applied to Arcimboldo’s works, it can say that the artist could have worked more creatively on the principle of ground and figure. Everything in them has been calculated and carefully selected. The relationships of the elements, components, objects, animals, plants, and flowers have been used with great delicacy and it has replaced the acumen of performing scientific perspective and the delicacy of performing human flesh. Hence, there are no opportunities for coincidence in his artistic action.

The aim of the current study is to clarify different definitions of criticism and metacriticism in art critique. The method of data gathering is descriptive-analytic. The researcher has analyzed different definitions of art criticism from various domains and by adopting a descriptive-analytic approach, the following definitions and functions of criticism became clear: evaluating the advantages or disadvantages of the artwork, evaluating the piece by deduction and induction, or even on the basis of personal taste, translating visual signs to linguistic ones, unveiling the ultimate meaning of a work, decomposing the piece to its elements and analyzing the elements, making a part-whole relationship in search of meaning, regarding the viewers’ expectations, emphasizing on the value of reception, understanding the work of art and interpreting the multiple meanings of the piece. Metacriticism has also different definitions including, explaining the limitations of artistic systems such as visual systems, clarifying the norms, studying criticism, and analyzing methodologies and their pitfalls.