محمدرضا عمادی

In our country, a lawyer as a representative is listed under an establishment, and it is necessary to distinguish between the profession of legal representation and other ordinary representation. In western countries, these two are separated and the simultaneous use of two models of representation is prohibited. This research has been done by analytical-descriptive method. Its purpose is to compare the Islamic-Iranian model of advocacy with its western model. It was concluded that the common law of most western countries did not provide a definition of representation and left this important to the executive process. Therefore, at the place of execution, the difference between the two types of attorneys is evident and the simultaneous use of judicial and civil attorneys is prohibited. As a result, the possibility of lawyers abusing their powers has decreased, which is considered a preventive measure against crime. Influenced by the Islamic-Iranian model of our country, according to the respectable jurists, a definition of advocacy has been implemented, and there is no definition of the profession of advocacy in other legal sources. Therefore, in the first place, it is necessary to state the exact definition of legal representation and then separate their nature and legal effects from each other. The executive system of our country is not able to influence the subject's rights like the western executive system.

The connection between the climatic features and the physical dimensions of the place and urban space is one of the important factors in the process of designing to the implementation of mural painting, which, especially in historical cities, can play an effective role in the decoration, harmony and unity, continuity and spatial continuity with the historical context. In the last decade, murals have been executed in the city of Isfahan, which in a field study, due to the lack of attention to physical and non-physical dimensions in the mentioned process, has caused adverse effects in the formation of a desirable urban landscape with a historical texture. The purpose of this research was to identify and compile indexes and sub-indexes related to non-physical and physical dimensions of mural painting in urban space, which the researchers identified and compiled the mentioned items through a descriptive-analytical method based on the sustainable place model. The obtained results show two main indicators: 1- The type of climate and the effects of weather, which includes sub-indices: A- Types and climate patterns that are related to seasonal changes of weather in the four seasons and B- Climate stability, which monitors the coherence, stability and adaptation of the climate; And 2- Fabric materials, which include sub-indexes: A- Sustainable ecological possibilities, which refers to all kinds of natural, mineral and organic pigments in addition to natural pigments in mural painting, B- Considering the color palette of the wall painting that matches the color of the environment and is in line with the climatic features, and C- Connection with the natural and artificial environment and its reflection in the visual features of the mural.

Persian painting has been influenced by European art since the Safavid era, resulting in a painting style that became known as Farangi-sazi. Although some of the engravings used in the Farangi-Sazi have been identified in recent years, it seems that research has neglected visual distortion caused due to transferring images and printmaking process up to now. Most sources and studies on Farangi-Sazi have focused on Western art and cultural influence and to lesser extent on European painters at Safavid court. This article, adopting theories of Ernst Gombrich and Kendall Walton, analyzes the process of influence and effects of imported prints on Iranian painting by looking at three works in Farangi-sazi style as samples. The research, by using a descriptive-analytical method, seeks to answer whether some of the features of Farangi-sazi can be attributed to the transfer of painterly image via reproductive pictures. First, by using Walton’s ideas, three Frangi-sazi paintings and their source gravures, distortion in perception of genre besides the effects of losing data on perception of execution techniques are analyzed. Then, by using Ernst Gombrich’s method, appropriation and matching from European painting focusing on schema, technique, color, scale, contrast, style and ornamental designs have been examined. The result of this study suggests that encounters with European images from different periods, popular to high art, combined with unfamiliarity with Western painting genres, styles and history may have impaired the understanding of Western art. Furthermore, after distortion in some data during printmaking, Iranian artists have combined or substituted those items with elements of Iranian painting.

The murals painting designs have always had a interwoven relationship with place and the citizen. In the current period, the murals paintings in public spaces of Isfahan in most cases triggers on the citizens’ sense of place as the main audience for this kind of work which is not in conflict with the principles governing the structure of their historical background. For the same reason, in this research with the objective of studying the painting form and content, in the mural painting art, the versatility offered by the identity component of the public spaces of Isfahan in the current period is given to the citizens. Therefore, the main question is how to adopt the identity component place with mural painting designs using mural paintings; and the other question focuses on the respondent’s perception of values. For this purpose, by utilizing the intertextual approach, the relationship between the polygonal wall painting depicting the location and the citizen’s perception of the environment is addressed by analyzing the range of prior texts and intertextuality.
The findings indicates that a major part of the citizen’s perception is related to their surronding and constituent elements, like the mural painting designs which are taken from the ideas that directly linked with concrete and tangible realities in the physical environment, nature of activities, individual, and social relationship. For the same reason, lack of adaptability of most mural painting works in designing and implementation of designs suiting to a location in the current public spaces of Isfahan is rooted in conflicts causing form and content disruptions in the place identity component, like prior texts and intertextuality in time synchronization.