مهران هوشیار

The history of each and every country is full of stories, beliefs and meanings which reveals the identity of that civilization. When reverse glass painting penetrated our people's heart, it started to merge with Iranian roots, culture, identity and religious beliefs, and now it is a part of Persian culture, identity and traditions. Investigating the secret layers, this research presents the roots and the cultural and artistic characteristics of Iranian paintings, and it tries to regenerate and retain the Iranian culture, traditions and the artistic roots of this country. The research is done through an analytical descriptive method and the statistical society are some selected paintings chosen from a book called "Beholder of Dreams". Searching for Iranian identity, this research analyses the painter's reverse glass paintings through semi-structured interviews with the artists and the experts of traditional arts and reverse glass painting. Mahin Azima is a modern artist with many of Iranian paintings' characters in her paintings. Colors which represent Iranian paintings, transparent colors, diffuse light and no perspective, drawing outlines, using frames within frames, painting flower and birds in a new way, using Persian paintings atmosphere, being narrative, using Iranian familiar shapes, using all parts of the frames, and having gentle thoughts are the main characteristics of her paintings.

In the Safavid period, the development of Islamic art and civilization is perceived in various fields. With the full support of Safavid kings that the artists of various fields enjoyed, Iranian productions quickly developed and reached European markets. In this era, one can perceive a renaissance occurring in theme creation by metalwork artists. In terms of aesthetics, Safavid calligraphy used rich performance skills that relied on the support of the art of illustration. Therefore, Iran's calligraphy during the Safavid era reached its peak of prosperity, even though it declined to a large extent during the Qajar era. The art of engraving has recently revived in the contemporary era so much so that an unprecedented flourishing of the art of engraving can be seen in all styles and on all kinds of metals. Due to the countless similarities of the cultural and religious context of Iran in these two historical periods, the examples of works of engraving of both periods have been studied in a specific frame. The purpose of this research is to find the structural similarities and structural differences of these works in an analytical approach.

The method of this research is a combination of historical, descriptive, comparative, and analytical. The method of gathering information includes library study (using the results of previously published articles) and field study (observation and interview). Like other Iranian works of art, the engraved works of the Safavid era are scattered in various museums all over the world. The samples studied in this research included works in Victoria and Albert Museum in London, in the Hermitage Museum in Russia, and in the Islamic-period section of Ancient Iran Museum. The existence of engraved works of the Safavid period was more in the above three museums, probably due to the broad transaction at time of the Safavid dynasty with the world, especially Europe. Also, the studied examples had superior artistic and visual values ​​compared to production and market works in the same period. Contemporary samples also belong to the works presented to “Mesnegar Gallery of Tehran.” Tehran “Mesnegar Gallery” was established in 1371 AH with the aim of presenting the prominent works of contemporary Iranian metalwork artists. This gallery displays the magnificent works of Iranian artists unique in the world. The artworks of this gallery have been welcomed in exhibitions in Germany, Italy, Canada, Japan, Mexico, Argentina, Sweden, and Saudi Arabia. The features, distinguishing Mesnegar Gallery from other galleries and persuading us to choose this gallery as a statistical sample of this research, includes the following:1) While following the authentic and traditional style of Iranian engraving, those artists who entered Mesnagar Gallery move on the border- line of tradition and modernism.
2) Mesnagar Gallery introduces famous Iranian artists by holding annual exhibitions.
 3) In the sales expose of this gallery, Iranian collectors buy the works of artists and present and introduce them in art auctions abroad.
 4) So far Mesnagar Gallery has directly or indirectly participated in tens of domestic and foreign exhibitions.

From the analysis of research findings, it can be concluded that Safavid engravings have two principles of Shi'ism and nationalism from the point of view of the theme. First, the interaction of Nasta'liq calligraphy with Persian poems created metal objects ultimate elegance while indicating the existence of artists who were committed to the land of Iran and its historical traditions; second, the engraving art explained the religious principles of the Shia by using lines of Naskh and Suls, which added to the religious weight of these works. The existence of the inscriptions of Quranic verses in the contemporary era, influenced by the government's emphasis on the unity of religions, describes Islamic themes. Shia themes are less visible in the contemporary engraving works. On the other hand, the Safavid engraving has contained Shia themes by the repeated use of the great salutations (Salawat Kabira) and Nad Ali's prayer inscription on many works. Where the Safavid artisan artists repeatedly engraved religious inscriptions on the cash-pot (in order to bless and earn a halal livelihood), a deep semantic connection can be seen between the application and the theme. The Safavid metalwork artists made the necessities of daily life in various forms of metal and, then, engraved them. This occurred despite the fact that the contemporary works have a decorative aspect. In fact, in the Safavid period, “engraving” was a kind of decoration technique that served the artisan. It was form and content characteristics and showed the unique art and literary knowledge of its creators. However, the matter in the modern period is to recreate the precious "engraving" art regardless of its use. The contemporary artist uses his ability on traditional forms gracefully only in order to revive this art. Contemporary examples have only a decorative aspect. Contemporary artists have sought less to bring these objects into people's lives. Rather, the focus has been on more skillful repetitions. In the contemporary period, there is not much semantic connection between the creation of themes and the use of art objects. The visualization of heaven and the use of abstract themes are favorite subjects of contemporary engraving artists. The contemporary engravings through nature painting, scenography, hunting and battle scenes, and showing the daily life of ordinary people and the proletariat, create works inspired by Iranian painting of the Safavid era and the periods after that, which has also been affected by Western painting art. It seems that the engraving along with the flourishing and development of subjects in the art of Iranian painting, in addition to the significant image growth, has covered the body of Iranian metalwork with new implications. In both periods, there are a considerable number of works with Persian inscriptions, which have chosen the classical poems of Persian literature and the Nastaliq script.

The Safavid engraving works were committed to the Shia matter in the frequent use of the Nasta'liq script for Persian poems and in the use of the Suls and Naskh scripts for verses, supplications, names of imams, and great salutations. These works have been completely practical. The contemporary engravings thorough nature painting, scenography, hunting and battle scenes, showing the daily life of ordinary people and the proletariat, create works inspired by Iranian painting of the Safavid era and the periods after that. Literary and mystical themes are the pinnacle of engraving implication common in these two periods.

Throughout the history of Iranian painting, prominent figures have emerged who caused a change in the field of Iranian painting through their different and distinctive art. Among these artists, Mohammad Siah Qalam is an outstanding painter of the Herat Timurid School. he has attracted the attention of art researchers due to his strangeness and specific divination. Mohammad Siah Qalam, whose identity is unknown, is a nickname for a painter who used limited colors of black, white, and brown in creating his works. His paintings are kept in three collections in Istanbul Topkapi Museum. These paintings are not similar to the usual Iranian painting style and are of a Grotesque style. Their subjects are mostly demons and blacks and strange creatures with dark colors, depicted with simple backgrounds without any perspective, often performing dramatic and ritualistic movements. Some art scholars believe the subjects of these paintings originate from Chinese and Uyghur art, attributing him to be the painter of the Timurid court who traveled to China in the 15th century as a representative of Baisanqor Mirza, along with a political and commercial delegation, documenting his experiences in a pictorial form. The purpose of this research is to investigate the relationship and how the literary text of Ferdowsi’s Shahnameh affects the writing of Mohammad Siah Qalam and tries to answer the question: What are the common features between the characters of the Grotesque painting of Mohammad Siah Qalam in his collection of demons, and the demons narrated in Haft Khwan Rostam’s stories in Ferdowsi’s Shahnameh? In his Grotesque paintings, Mohammad Siah Qalam is mostly inspired by the story of Ferdowsi’s Shahnameh. This research is fundamental by approach, and the research method is descriptive-analytical-comparative. Information is collected through document libraries utilizing fieldwork and surveys. The research results show the thematic affinity between Mohammad Siah Qalam’s fiction and the themes of Haft Khwan Rostam’s stories. In the field of thematic influence, it seems that Mohammad Siah Qalam was more inspired by the narrative of Khan V and Rostam’s battle with Olad Diu. On the other hand, there are several visual and appearance commonalities between the demons depicted by Mohammad Siah Qalam and the demons described in Haftkhwan Rostam’s stories. Given that Ferdowsi seldom details the appearance of the demons in his narratives, the probability of Mohammad Siah Qalam influencing the depiction of these characters in Shahnameh should be questioned.

The relationship between traditional art and Islamic art in the contemporary era is thought to be rooted in similar foundations regarding structure and content. This connection and integration can provide a solution for restoring spiritual meaning in a time of confusion and crisis, wherein the modern individual grapples with an identity crisis.This research aims to retell the relationship between traditional arts and the wisdom of Islamic art, seeking to consolidate this concept to once again provide a possibility to realize moral values and pay attention to the place of art as a tool to respond to the spiritual needs of humans in the digital age. The most important question raised in the meantime is how can we give a real meaning to the concept called “contemporary Islamic art” by redefining the basics of traditional arts? Although answering this question can seem challenging from different philosophical and judicial views, it is necessary to find it in the current situation and for the new generation involved in the cultural invasion and global identity crisis. This research takes a philosophical-theological approach and aims to be critiqued and investigated using a descriptive-analytical method, relying on written documents and reliable library sources. In the end, the most significant finding and result of this research show that Islamic art, if interpreted based on the principles of ruling and relying on the tradition of the Qa’ima, can become a possibility to respond to the spiritual needs of contemporary man with regard to ethical concepts and a truth-seeking approach, it will provide clear horizons in facing the digital world; And is the best defender against the invasion of computational algorithms and problems similar to the industrial revolution.On the other hand, in the relationship between Islamic art and traditional art, this wisdom, unlike modern teachings, is not a function of the artist’s taste, genius, personal capabilities, and skill. Because the beauty of this art cannot be understood only by human senses, it has a light that must be seen with the eyes of the heart and soul to remove the veil from existence and send the soul to the garden of its kingdom. All these meanings are written in texts and on paper in the contemporary era, like poetry, and are not put into practice. That’s why the new generation and users of contemporary art in the world of artificial intelligence, expect to encounter intuitive concepts. And do not understand the true meaning of life. It seems that the contemporary man has closed his eyes to the eternal truth and accustomed his heart to darkness; the pleasure of luxury and the speed of information transfer have become more attractive to him than high human ideals. The problem of contemporary man is only to see the beauty and not to understand the meaning of it. A possibility that must be deeply reviewed, and restored to reach true knowledge to turn the identity crisis caused by the distortion of the postmodern era into liberation from the shackles of technology.

From the beginning of the formation of human civilization, handicrafts, as the most vital possibility for the preservation and continuation of human living conditions, have been at the service of human beings.  To this day, their presence has served as an opportunity to explain the identity and culture of all civilizations. Handicrafts also adopt a new approach in each period in accordance with the changing living conditions and the needs of society. Meanwhile, such an approach is affected by the response it should show to the material and spiritual needs of the audience. The combination of these features, on the one hand, has made handicrafts as efficient and effective examples in the field of creative and cultural industries. On the other hand, their technical diversity and climatic extent have provided numerous (and sometimes ambiguous) definitions for handicrafts. In the meantime and according to the concepts and components of future research, none of these definitions seem to have addressed the nature of this art industry (contemporary aspect) and its impact on sustainable development. Therefore, in this fundamental research, with the approach of exploratory futures research, an attempt is made to provide a scientific, modern, and strategic definition for saving the position of contemporary handicrafts by reviewing conceptual impulses. In this way, data collected through studying the documents and library resources alongside the field method (that is, in-depth interview). The result of this research has shown that the difference between contemporary definition of handicrafts and the traditional one is based on the significant relationship they have with creative industries. In a world where the passage of time is so fast that its value cannot be understood, the control and creation of time is a gift that turns contemporary handicrafts into a solution for cultural and economic development by designing futuristic scenarios. In this case, today's generation, viewing the support devoted to the rich culture and to the value of their traditions, will be able to shape the sustainable development of this art and turn this part of the creative industry into an identity worthy of the future.

The magnificent Arts related to Islamic architecture, especially religious places and mosques, have their own conceptual and aesthetic depth. After the construction of mosques, gradually and throughout history, the decorations related to architecture were upgraded and became more diverse. Looking at the history of religious architecture in Iran from the period of the Khwarazm shahs period until today, countless and valuable examples of mosques can be listed, of which the Mir Emad Mosque in Kashan has a historical position and prestige due to the variety of inscriptions belonging to different periods. Inscriptions with different characteristics such as subject diversity, decorative motifs, performance techniques, and materials, each represent a part of the culture and identity of their era. It seems that this mosque with 32 inscriptions is a suitable case for researching the historical dimensions and explaining the cultural-political themes of the religious monuments of Iran during different periods as a statistical sample (using a targeted census method). For this purpose, the goals of this research were studied in two dimensions: adaptation and rereading of historical dimensions, as well as reading and content analysis of the inscriptions of Mir Emad Kashan Mosque. The method of collecting information in this fundamental research was based on a combination of documentary methods, objective observations, interviews with experts, and field documentation, and the nature of the analysis of the findings was descriptive-historical. Finally, the most critical result deduced from this research showed that out of the four types of inscriptions classified in this mosque, two themes in two sections could be conceived: Religious topics and Quranic verses promoting and explaining the Shia religion in the sections inside the mosque, and the decrees of kings and the rulers of the era with cultural, economic themes and social and moral issues (mostly related to the Safavid era) in the outdoor spaces. These themes are implied through the art of sculpture, plastering and painting on plaster, and the use of Kufi, Sols and Nastaliq calligraphy, each expressing part of the traditions, beliefs, and orders of the rulers of their time on the walls of this significant cultural social building in the Mir Emad complex of Kashan.

Writing and introducing university resources to improve the academic level of students is one of the most important tasks of university teachers. Meanwhile, disciplines such as handicrafts and Islamic arts, which were approved by the Cultural Revolution Council after the revolution as a discipline appropriate to Iranian-Islamic culture, have felt this shortcoming more than other disciplines of humanities and arts. Over the last two decades, some professors, in sporadic activities without comprehensive supervision, have written educational texts and books to alleviate some of the burden of this problem. In the meantime, scientific critique and analysis of textbooks will be one of the effective ways to guide the writing of authentic, credible and acceptable sources.In this article, an attempt is made to introduce the book "Introduction to Traditional Arts (3)" and to critique it in terms of its formal structure and content analysis. The result of this critical view shows that inattention to new research methods, carelessness in the method of writing, repetition of content based on previous texts and similar sources, and finally a superficial look at concepts that require an approach based on Content analysis, does not place this book for students to use in the field of authoritative academic resources.

The field of traditional sewing, as a subset of industrial arts, is one of the most important and extensive sections of applied arts and cultural traditions in all civilizations throughout history. At the same time, the industrialization of products and the indiscriminate use of machines in recent centuries in the field of textiles and clothing-related decorations have marginalized the traditional aspects of this art. Given that today, industrial arts along with historical monuments and natural attractions by recounting cultural and social features as part of the creative cultural industries, are complementary to the growth of the tourism industry, the revival of traditional sewing and production in this area with a look at the future will lead to economic development and job opportunities. Therefore, the present study aims to investigate the impact of the traditional field of tailoring on entrepreneurship, job creation and tourism and to look at the continuation of this art in the future; Recognizes the necessary conditions and facilities in the field of formal education and answers the following questions: 1. What is the effect of the presence of traditional sewing in universities and scientific education centers on productive employment, entrepreneurship and creative tourism? 2. What conditions and facilities are necessary for the presence of this field in the formal education environment and fourth-generation university systems? This research is qualitative in terms of what; It is practical in terms of purpose and descriptive-analytical in nature. Data were collected through documentary studies and library resources simultaneously with the field method (interview and observation) and based on a futures research approach. The findings of this study show that the presence of traditional sewing in future universities will provide employment and prosperity for the tourism industry and will lead to the revival of many jobs related to this art. One of the most important scenarios that can be proposed to achieve this result is the publication of a codified encyclopedia of traditional sewing as a scientific reference and teaching resource in this field and the harmonization of its teaching method in scientific centers, creating a specialized museum, holding domestic and foreign exhibitions, creating a national trade :union:. To support and guide artists and producers, the exchange of information between artists and the remove all existing barriers to research, production and sales. Production of creative products, use of target markets, correct use of modern technology and machinery, development of tourism and adequate productivity of traditional production workshops; are the result of the presence of this field in the fourth-generation universities. This is possible with the support of managers and officials from veteran and interested artists who have worked hard for years to preserve and introduce this field and have valuable experiences to pass on to the next generation.

Iranian art had its own special and unique features before the beginning of relations with Western countries. Various factors were influential in the creation of visual designs and adaptations of Western art. The invention of the camera, printing presses, and the printing of picture books were among the factors that introduced imagery into art, especially carpets." Dance of Nymph " carpet is one of the examples of pictorial carpet and works of Hassan Khan Shahrokhi Some of its designs are adapted from the tapestry belonging to Nasser al-Din Shah in the Golestan Palace Hall, related to the period of Louis XIV. This study aims to answer the following questions with the aim of understanding the structure and form of the figures and the methods used by the designer in drawing the statues in the " Dance of Nymph " carpet : 1-What are the structural features of the figures in the " Dance of Nymph " carpet? 2-What principles and methods did Hassan Khan Shahrokhi use and follow to draw the statues in the " Dance of Nymph " carpet? The present research is descriptive-analytical and collects information through documentary studies, library resources and observation of museum works. This article is fundamental in terms of purpose and qualitative in terms of what it is. The target community is the "Dance of Nymph" rug in the Iranian Carpet Museum. The result shows that the figures are in a triangular composition in the carpet composition and one of the figures is placed at each angle . There is visual balance, the existence of proportion and harmony between the various elements of a composition and the existence of a harmonious relationship of the components with the whole and with the subject of the work. Hassan Khan Shahrokhi, the designer of the " Dance of Nymph " video carpet, is one of the most prolific and stylish people in Kerman carpet design, who sometimes had to follow the current and common customs in Western countries due to the acceptance of custom and custom carpets.

The evolution of clothing in the history of the Qajar period in Iran is considered distinct due to the extensive cultural and social changes. During this period, as a result of the expansion of intercultural relations with other nations, especially the West, and the prevalence of fashion among courtiers, the desire for traditional Iranian clothing with beautiful and charming embellishments, especially a wide range of embroidery, still had its potential patrons, mostly courtiers. From this perspective, while explaining and analyzing the hidden concepts in the embroidered patterns for Qajar men and women, the following questions would be answered in this research: What concepts existed in the embroidered patterns of Qajar courtiers’ costumes? What are the differences between the embroidered patterns of men’s and women’s clothing in the Qajar era? This fundamental research adopts a qualitative approach and is comparative-analytical in its nature. The required data has been gathered through documentary studies and library resources and in some cases through field studies. The statistical population of the research has been selected by reviewing the paintings and matching them with a number of costumes in museums and private collections, left from the Qajar period. Having analyzed the findings, it could be concluded that the clothing of men and women in the Qajar court was not much different from each other and were generally divided into two categories: interior and exterior. Meanwhile, the woven ornaments would add to the dignity and beauty of costumes in accordance with the position and rank of the persons wearing them. Among the extant ornaments, motifs used were generally geometric and vegetal designs such flowers, plants and shrubs commonly seen in men’s and women’s clothing, which is mainly based on the traditional and religious beliefs of people.

The story of Noah's Ark has been a topic of interest among illustrators since ancient times due to its marvelous and unique features. The theme can be seen in works of art from the Ilkhanate and Timurid eras among others, which show the emergence of different visual elements in illustrations with the same theme, but from different times. It seems that the stylistic rules of each period and the views of the authors and patrons of these works have influenced the illustration method of this Qur'anic story. During the Ilkhanate and the Timurid periods, the support of art and culture was mixed with religious contexts. There are many similarities in the religious contexts and conditions leading to the writing of the books Jami' al-Tawarikh and Majma' al-Tawarikh. Since these two books have common features, including a historical-religious section and illustrations that are influenced by the text, and also considering that they are the first examples of teamwork among Iranian artists, the comparison and analysis of Noah's Ark illustrations in these two books can offer useful information for identifying the first examples of Qur'anic illustrations created by the tradition of teamwork of Iranian artists. This study aims to find the most faithful illustration of the Qur'anic narrative of Noah's Ark in Jami' al-Tawarikh and Majma' al-Tawarikh. The main research questions are as follows: how are visual elements (line, color, and composition) used to express this Qur'anic story in the two illustrations and which is the most faithful to the Holy Qur'an's narrative of Noah in terms of visual features. Accordingly, first, the narratives of Noah's Ark in the Holy Quran, Jami' al-Tawarikh, and Majma' al-Tawarikh were reviewed. Then, the features of Tabriz I and Herat illustration schools and also the visual elements of two paintings, as the target population, were compared in detail. The research method used in this study was descriptive-analytical-comparative. The review and data collection method was secondary research through observation and a qualitative method was used for analysis. According to the findings, the use of visual elements, and visual arrangements in the Jami' al-Tawarikh illustration of Noah's Ark do not reflect the prominent details of the Qur'anic narrative. In this illustration, Noah's Ark is in fact a boat carrying only seven people with no sign of the animal pairs. The oar and the anchor are two of its key elements, suggesting that the vessel is being sailed by its passengers. This goes against the Qur'anic narrative that the movement of Noah's Ark was by God's will. Furthermore, the foamy waters—an element of Chinese illustration—fail to reflect the violent waves of the storm or the "waves like mountain" in the Qur'anic sense. All of these go to show that the illustrator was not completely faithful to the details of the story of Noah as expressed in the Holy Qur'an. In Majma' al-Tawarikh, the illustration of Noah's Ark features more details of the Qur'anic narrative than the previous illustration. At the first glance, the use of visual elements is such that it conveys the distress and anxiety caused by the storm to the viewers. In order to express the grandeur of Noah's Ark, the illustrator has painted it such that it protrudes from the three corners of the frame, and the ark's front and sails are on the frame whereas its back is drawn under the frame. This somehow conveys the movement of the ship to the audience. In this illustration, a series of animals are depicted individually and not in pairs, which is more in line with the Qur'anic narrative compared to that of the Jami' al-Tawarikh version. The illustration also depicts Noah's disobedient son, who is hanging on to the ark as if hoping for salvation, whereas in the Qur'anic narrative he escaped from the ark. Nevertheless, the existence of this element indicates that this illustration is more similar to the Qur'anic narrative comparatively. Overall, it can be concluded that the illustration of the narrative of Noah's Ark in Majma' al-Tawarikh is more in line with the Qur'anic narrative of the story of Noah.

Stage Historical and literary evidences and texts as well as works of art of the Safavid era point to the abundance of gatherings of festivity and joy in this era. These gatherings have been a part of programs of the Safavid kings and princes on various occasions. The painters of Tabriz II School have made significant efforts to demonstrate the magnificent manifestations of the kings and princes of the court. Moreover, travel logs of this historical period serve as a valid document with regard to the historical and sociological aspects of this period. This study seeks to identify the social conditions of the governing class and the court of Safavid era and analyze its impact on the art of painting based on the theory of reflection. Accordingly, with the purpose of content and sociological analysis of the paintings of royal gatherings of festivity, effort is made to answer this question “To what extent does the paintings of royal gatherings of festivity reflect the social relations of the governing class and the kings? “The target population in this basic research involves two paintings of “Sadeh Festival” and “Feast of Breaking the Fast”. The most outstanding results indicated that the three principles of Safavid Kings, including adherence to Twelvers Shiism, Sufism and culture of ancient Iran are reflected in the paintings clearly not only as ideology but also as the three main elements in the political governance of the Safavid ruling. However, according to this approach, we observe unnatural and unrealistic exaggerations about that era in most of the paintings of royal gatherings of festivity which might be an effort to establish a semantic association between the kings and the myths of Shahnameh and the Sasanian Kings and also validation of their power and magnificence.

Explaining the basics and knowing the alphabet of each phenomenon is necessary to understand the concepts, content foundations, and existential philosophy. This is especially important in the field of humanities and has been considered by contemporary thinkers. Due to its geographical extent and semantic values, Islamic art has certain theoretical and practical principles that are very similar to the basis of traditional arts. The compiler of the book "Theoretical Foundations" has tried to explain the principles, principles and concepts of this art by combining the knowledge and opinion of experts and researchers active in various fields of Islamic art into a credible and valid scientific text. In this article, while introducing the published sections and articles, describing and interpreting the main themes mentioned in each text, it has been criticized and evaluated. The findings of this critical study indicate that the unity of existence and the existence of common and hidden beliefs in all works show a semantic continuity and dependence on a single origin. The publication of the book "Theoretical Foundations" in order to introduce the characteristics and moral, value and mystical views of Islamic art is a useful step that has been made available to researchers, students and enthusiasts in this field today as a valid and reliable source.

Content critique of scientific texts and structural analysis of available resources in the field of humanities is as complex as the main nature of this concept. This factor, along with unfamiliarity with the basics of critique and the culture of critically in society, has made the critique of published books and texts of philosophy of art and theoretical foundations less done and not accepted. However, criticism in all its structures and types is the most important and effective method for the growth and promotion of human knowledge and today in the most prestigious scientific, academic, and research circles in the world and developed countries to the extent that criticism and its principles are considered maybe they don't care about producing new sciences. The book “Interaction of Language and Art”, which is the result of symposiums of a number of experts in the field of culture, art, literature, and philosophy of the country, was published in 2000 by the Research Institute of Islamic Culture and Art. The book is available to readers with thematic content in the fields of art, literature, and architecture, including fourteen articles. In this article, while introducing the book, reviewing the motivation for holding this symposium and its content structure, an attempt is made to take a critical look at the thematic content of each article.

The advent of digital implements and techniques in the modern world, has changed the quality of the human life and also has influenced the traditional art of the nations. The traditional design as the most important step which the artistic creation take place in, has been affected by these evolutions and specially the arts like carpet are being influenced the most. Due to the two decades passing from entrance and stabilization of digital implements and techniques in Iran carpet design, it is indispensable to study their impacts in order to identify the threats and opportunities of these new tools in traditional art. On the other hand, artists and experts of this scope are the most competent references to evaluate the quality of these impacts. Accordingly, this study has been conducted to determine the impacts of digital implements and techniques on the traditional design through analyzing the ideas of the experts working in Iran carpet design scope. This is a qualitative research and its data has been collected through the library and the field survey methods by the in-depth interview with 9 persons of carpet design experts and artists and has been organized by Delphi method. Then they have been analyzed in the framework of grounded theory. The consequences of this study show that the carpet design experts have a consensus on synthesized attitude, admission of computer as a necessity or an opportunity and using it to preserve the artistic and cultural identity.

Contemporary Iranian painting, in terms of historical background and rich cultural background, has had significant influences from previous schools and works, and the continuation of this structural link is very important in preserving and surviving this cultural-artistic tradition. Valuable examples that have survived from different historical periods as a heritage of this art show the cultural and social characteristics of their time. So, in this research, efforts were made to find components of present miniature, in order to analyze structurally the expressing characteristic of this art and discovering social and cultural effects in outstanding works of active miniaturists and well-known masters. The method of data collection and analysis in this study is a combination of documentary study method with in-depth interview, with well-known masters of this art during 1990 and 2000 decades. Since the field findings are obtained in a way other than quantitative, so what the present study is in terms of what can be considered a qualitative research. For this purpose, the Delphi method will be used to organize and collect interviews and to obtain the views of contemporary artists and painters in order to be aware of the up-to-date components in their works and the importance and understanding of the social concerns of the time.. Many of the paintings created and depicted in this period, although they show the growth and excellence of Iranian painting, have changed in terms of historical criteria and adaptation to their predecessors and offer a different structure. Give. Nevertheless, preserving the identity and artistic originality of these works has proved their compliance with the formal criteria and technical frameworks of painting, showing the commitment and stability of contemporary artists in this field to the high status and spiritual value of this art. Many examples can be given as examples of this claim from the works of modern painters, veterans and professors. However, a point to consider is the multiplicity of content and themes that have influenced contemporary painters and their thought and vision to create works much different than in the centuries-old history of this art. I have witnessed it. Thus, it can be concluded that despite the valuable experiences and examples and success of contemporary painters in creating unique works throughout the history of Iranian painting, we may not easily and accurately be able to determine a specific pattern and structure such as components. Which we know in the old schools of painting, to introduce in the evaluation of painting today. The most important results will be impressive difference in face making, stippling and hatching, tools utilization and different coloring than past, also the variety of theme and subject in contemporary works shows a kind of integration between abstract and naturalistic point of view. However, some present miniaturists have outstanding success for reflection of daily social events in their works, so it seems that the contemporary miniature has more communication with general audience and is not limited to special social class.

Nastaliq script has gradually fluctuated from the beginning until the middle of Qajar era. Simultaneously with the prevalence of lithographic printing in cities of Iran, some changes were made in shape of letters thanks to limitations of this emerging industry for writing Persian texts. While majority of calligraphers persisted to use their traditional writing style, a few number of artists such as Kalhor, however, developed a new method which resulted in creation of a special style appeared in the third period of Qajar era. The present study, analyzing library sources and also applying field research techniques, has endeavored to compare the shape and structure of letters and words of Nastaliq script in lithographic print of SafarName –ye- Khorasan (book of voyage to Khorasan) and manuscript of SafarName –ye- Qom (book of voyage to Qom) in comparativedescriptive method. The findings show that Kalhor's transcription of SafarName –ye- Khorasan, which has been written with the pen angle of 64°, includes more lines per page and the beginnings of lines and also proper names have been indicated in it by some marks. The readability of the script has been considered in the process of writing the mentioned work and the features of writing style in third period of Qajar are obviously manifested in it. Moreover, the shrinking form of letters and words, which has been of Kalhor's innovations reflecting the impacts of new method of lithography, is also found in the manuscript of SafarName –ye- Qom. These and other similar reforms attributed to Kalhor or created by the effects of lithographic printing, are found in other contemporary calligraphers' works as well and have been a prelude to dominating writing style of the third period of Qajar era.

Tymurid era is one of the most outstanding illumination and miniature painting eras, which has allocated the decoration of the most of the Iranian precious facsimiles, which exist in museums and Baysonqori Shahnameh is the most beautiful facsimile of them.The historical literary importance and aesthetics of this precious facsimile caused to be noticed by inquisitors. In different eras the Shahnames especially Baysonqori Shahnameh were tended in regard to patterns. In addition to 22 beautiful illustrations, this facsimile possesses so beautiful decorations and page layout manner, which are incomparable in its kind. Because of the importance page layout in illumination and signboard (sarloh) affair in this era the harmonization and balance between the colors have been noticed and caused this facsimile to be so brilliant. Nevertheless it has less stood in structural discussion and investigation in the field of illumination and it hasn’t been pointed in specialized manner and sometimes just next to its illustrations almost a passing and descriptive look has been done on its illuminations and a comprehensive analyzation hasn’t been done on it. Therefore, this article basically aims the presentation of the structural features of Harat school’s illumination (in Baysonqori and Tymurid era).The nature of this investigation is descriptive and analytic and the required information has been collected in documentary manner and in some cases it depends on field manner, direct observation and interview with art masters and artists. Finally the analysis of the data has been done on the form, color, composition and general structure of the illuminations of Baysonqori Shahnameh version and the obtained results of this research showed that the illumination of Harat school are more geometrical which forms beautiful nodes from the grips of these drawings in each other. We can see this form in the most of Tymurid era’s facsimiles.The outstanding colors in this literary work are most gold and ultramarine, the other colors next these two colors, such as shangarf, green, orange and white outstand clearly especially green which is holly for ancient Iranians. Generally, in Tymurid era’s illuminations, the field of margin is monochrome and the arabesque and Cathay are in two separate fields, and the importance of arabesque and the pale Cathay design in it is completely obvious.The tables of these pages are so simple and monochrome, in some cases they have been decorated in Tymurid’s style with two colors and simple drawings “beside dots”.Applying seven multiple in the composition of the beginning ornamental fastening such as a seven-petal flower in the middle and seven little circles around it, the number of flower, arabesques and sharafehs are the other outstanding specifications of this Shahnameh.All of these are the multiple pf seven because seven is holy for ancient Iranians (e.g. seven cities of love, seven skies, seven books of Shahnameh …). With all of these specifications, this facsimile can be a pattern due to preservation of the art of illumination and creation of precious facsimiles because of its text, variety in page layout and its valuable illustrations.

During the eighth century, the Injuid period, Shiraz became a safe haven for continuing the traditional way of manuscript illumination with a few innovations. In this period governors of Shiraz supported the artists and under their support, valuable manuscripts were created. Many manuscripts, which is a testament to the prowess and artistry of the Calligraphers and illuminators of the Shiraz school.
Among the remaining valuable manuscripts of the Injuid period, the book called the “Tashi khatun’s Quran” is of utmost importance. Due to the high levels of calligraphy and illumination used, this copy of Quran possesses a high position in the history of the Shiraz school.
Considering the importance of the aforementioned manuscripts in explaining the place of illumination in Inju administration, in the present paper, we conduct a structural analysis about the illumination and decoration of this valuable copy currently kept in the Pars museum of Shiraz.
In this work, being a descriptive-analytical research, the data are collected through a combination of field and desk study. The study and thought put into illumination of this copy of Quran shows that the artist considered this type of illumination to be appropriate for the intricacies of the calligraphy (Mohaghegh), making the final Layout and composition coherent and harmonious. One of the other findings of this research was that the artist had used a geometric structure to organize the illustrations in this valuable Quran.