asghar fahimifar

This study analyzes the cinematic apparatus as a surveillance technology and examines its role in shaping, reproducing, and critiquing power relations in modern societies. Drawing inspiration from Michel Foucault’s theories, particularly the concept of the “panopticon,” and employing a deconstructive methodology, the research reveals the surveillance nature of cinema’s classic aesthetic structure by investigating the positioning of the camera, editing techniques, viewer-screen relationships, and producer-audience dynamics. The findings indicate that cinema has been aligned with modern surveillance paradigms from its inception, transforming surveillance from a threatening phenomenon into a consumerist experience by offering visual enjoyment and fulfilling the audience’s voyeuristic desires. Conversely, a self-aware form of cinema, referred to as “surveillance cinema,” critiques various dimensions of surveillance in modern societies by utilizing cinema’s inherent surveillance structure. The study demonstrates an interactive relationship between cinema and modern surveillance technologies, where cinematic language has inspired the design of surveillance technologies, while, advancements in these technologies have, in turn, influenced the development of new genres and the complex representation of surveillance in cinema. The presented analyses not only elucidate the connection between cinema and surveillance but also underscore the significance of widespread cinematic experiences among the masses in normalizing and accepting surveillance in modern societies. On the other hand, the potential of cinema to critique and expose the social, psychological, and political consequences of surveillance is also addressed. Finally, the study suggests a future research focus on analyzing how Iranian cinema portrays prevalent surveillance within its social context.

The influence of arts on each other has been repeated in almost all time and historical periods of art. In painting, we can see this problem even in the works of great artists. In the contemporary painting of Afghanistan, the influence of the old painting traditions of Iran can be seen. For this purpose, this research aims to analyze the pictorial traditions of old Iranian painting with an emphasis on the paintings of Kamaluddin Behzad considering the contemporary painting of Afghanistan (last sixty years), with the help of tables and pictures, the manner of these influences were analyzed, compared and investigated. The investigated variables were theme and structure. This research seeks to answer these two questions: 1. What are the features and frameworks of the ancient pictorial coordinates of Iranian painting (Kamaluddin Behzad's paintings) and their themes? 2. How are the themes and structure of old Iranian painting continued in contemporary Afghan painting? The research method is descriptive-analytical with a comparative approach. The method of collecting information is field study and library-based research (using a survey tool and qualitative analysis method). The obtained results show that pictorial traditions in old Iranian painting (Behzad's paintings) have a separate identity compared to previous periods. In this way, it has been with new ideas in painting. Independent character, the activeness of the figures, the importance of motifs and the human role and facial expressions, color coordination, soft and delicate finishes, expanding the space, unique composition (generally circular), decorations, symbols and signs and mystical themes, social realism, stories, epics which were martial and the contemporary paintings of Afghanistan also indicate the continuity of these pictorial traditions. Themes and structure are equally important in the paintings of the first period. The importance of working techniques in the correct execution of images has been highly regarded, and along with the copying of Behzad's works, the creation of images based on Behzad's principles, but with a new expression was also seen. The themes in the paintings from the forties to the seventies are literary, mystical, martial, socio-political subjects with an emphasis on human, animal and naturalistic figures combined with a structure according to Behzad's structural principles, such as: fine brushwork, soft and cottony finishes, sophisticated and natural colors, the use of old motifs and traditional composition. Humans are important in these paintings. Copying of Behzad's works has also been done in order to revive old painting. Each of the elements has its own special place, and even though they have specific characteristics, it has not created a problem in expressing the subject. This is one of Behzad's characteristics and principles that is well followed in contemporary paintings. Static and circular compositions are in continuity with Behzad's style. In identical copying, the emphasis is on lyrical figures, elements of nature, and decorations. The colors are elaborate and mature. The entirety of the image space, whether in the frame or around the frame, has been used to express the subject. The size of the images is small in profiles like before, and micrography has been one of the main goals of painters of this time. But, in the paintings of the second period, the themes and structures undergo changes compared to the previous period. Themes are more important than structure. The following techniques are used to express the purpose and theme. The formats of the compositions, which are generally circular and static and sometimes combined, have formed a strong and resistant structure. The experience of new materials and modern approaches according to the role of old technical features is one of the main features of these paintings. A more sophisticated view of imitation and copying can be seen in the paintings. The role of the figure, socio-political issues with a critical, mystical, literary and fictional, epic and naturalistic approach are among the special issues of this period. Among lyric figures, popular figures, heroes and dervishes in general and in identical copying, lyrical figures, popular figures and dervishes are more prominent. Fewer decorations, and summaries can be seen more in the image space. The theme of women as an important theme in paintings becomes very important. The use of symbols and signs inspired by Behzad was observed in the works of this period more than the previous period. In general, paying attention to subtleties by using transparent colors, finishing elements in the form of dots and lines, writing, composition, choosing motifs shows the effective steps towards the revival of old painting, especially Behzad's works. Although the personal style of some prominent contemporary painters is also reflected in the manifestation of visual qualities and different themes, which has given a new identity to contemporary painting, the spirit of Islamic religious culture and the connection of themes with the literature governing the society show the existence of the rich culture of Islam and artistic traditions in this land.

Undoubtedly, paying attention to philosophical thoughts has a great effect on shaping film theory and the formation of artistic and cinematic works . The analysis of the film from the perspective of contemporary theories is derived from the foundations of nominalism and conceptualism, which cause many ontological and epistemological problems according to the philosophy that shaped it . The analysis of film representation from the perspective of phenomenology, in the analysis of different dimensions of the film such as image, sound, narrative, content, reception and perception of the audience, brings important and different results . By briefly examining the nature of artistic representation in the theory of phenomenology, while paying attention to the important components of this theory, this article tries to value the different and influential attitude of this thought in film representation, unlike traditional theories that focus on the content, structure and process of filmmaking. In this regard, with the analytical-interpretive method, how reality and meaning appear in the world of the film from this point of view and increase the audience's experience in a deep and comprehensive analysis of the various elements of the film, such as visual language and sound, time and place, space and phenomenal place . Light and color are treated . As a result, it can be stated that this phenomenological approach not only helps to gain a deeper understanding of the story and characters, but also strengthens the audience's connection with the context and story world and increases the cinematic experience for the audience . The theory of film phenomenology emphasizes that our consciousness not only communicates with scenes through our actions, but also plays a role in their construction . This role is subject to a specific logic that is not yet fully understood.

The course of historical developments indicates that "word" and "speech" have always served a basis for delivering religious messages to the people. In other words, "word" as a container has been a platform for presenting religious messages. However this concept has been seriously challenged by the unique features of the era that is referred to as the "image era" in the contemporary age. In fact with the advent of new media such as cinema, television, and Internet, messages are presented on an "image" basis.As in other religions, Islam also has restrained/prohibited the use of "images" partly throughout history, which brings up this question once more whether or not the religion is inconsistent with "image" and "imagery". This paper however claims that Islam is (definitely) consistent with these concepts for at least four reasons: (a) the place of imagery in the holy text of the Quran; (b) explaining Islamic concepts with verbal imagery; (c) image in the form of religious rituals; and (d) the place of "image" in Islamic art.

The story of Abraham’s sacrifice is one of the common chapters between the three religions of Judaism, Christianity, and Islam, and despite the differences in the narrative, the essence of the story is based on one important axis: “Sacrifice”. This scene has attracted the attention of many painters due to its narrative and dramatic importance, and these paintings can be found mainly in the religious or historical versions of the Timurid and Safavid eras. One of the basic questions of this article is: What is the dramatic capacity and pictorial conflict in the images of the altar and what dramatic elements are used for the pictorial conflict of the pictures. Depending on the tense moment of sacrifice, these elements may be focused on tying or suspending or even untying the show. One of the main goals of this article is to read Ishmael’s altar as a dramatic scene, which, like any other scene, is a place where the emotions, doubts of the characters and their conflict with each other are confronted. The method used in this article is descriptive-analytical; And the data were gathered using library resources and viewing pictures on the website of museums and libraries. In line with such a reading of the scene of the sacrifice of Abraham, firstly, the narrative elements of the conflict in this famous scene were identified and then, each element was examined in the statistical community of written images. Some of these approaches help to read, explain and understand every picture as a “text” whether pictorial, literary or theatrical. In the paintings discussed in this article, we witness the dramatic crisis, suspension and unraveling that has been implemented in each picture and the painter has drawn them with the help of the body postures of the figures, the objects of the scene and even the geographical location of the altar scene in each painting. The artist intends to draw a dramatic crisis with the help of the body expressions of the figures, such as Ismail’s closed eyes or hands, or the moment of Ismail’s tuft of hair being grabbed by Abraham. The use of objects such as knives or blindfolds has doubled the dramatic tension of the altar scene. In addition to the presence of key characters, the drawing of the figure of Satan was the artist’s preparation to show doubt in this fearful scene. The geographical location of the altar scene, which is depicted as a mountainous region or a plain with flowers and greenery, is an expression of the altar scene as a dramatic scene or a manifestation of the sacred.

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

The meaning of an illustrated story is to express a narrative formed by successive pictures, therefore, in other words, it is also Comic Strip. If we want to take a deeper look at the field of the story or illustrated narration, it can be said that their background goes back to the wall paintings of the cave dwellers and ancient paintings which, over time, in different societies, have become models for the transfer of concepts and knowledge through the use of text and pictures together, To the extent that people, whether literate or illiterate, could get more or less the author's message by looking at the manuscripts with the spice of the picture. Manga is a term to refer to a special type of illustrated story in Japan, which is a collection of sequential pictures and its roots go back to around the twelfth century. Similar to the existing background for Japanese manga, in the traditional artworks of Iran, in the same way, in most cases, text and pictures have served each other. The texts and sometimes the poems in some visual versions have been descriptive or narrators of events in some cases, it was not possible to read the work without the presence of the text, or it was difficult or impossible for the public to understand the text without the help and presence of the picture illustrated stories are still produced in Iran on a much smaller scale, but in a global comparison, it does not have a local appearance, or in other words, it does not carry Iranian traditional and cultural elements. For this reason, this research, with the hypothesis of the existence of a common visual basis in the illustrated stories of Iran and Japan, seeks to do so with a comparative study between the functions of the visual elements in the visual works of Iranian lithographs and Japanese manga. Osamu Tezuka's Buddha, which will reveal a lot of visual information, realizes the capabilities of Iranian works to produce contemporary illustrated stories as well as new artistic products such as animation and anime. The selection of two case examples in this research was because Japanese manga is printed in black and white due to its high popularity and cost savings. Also, Iranian lithographic works are black and white in most cases, not using the element of color in the two categories of works will make the matching of visual elements easier to some extent. Dealing with the topic of this research can be considered a clear example of the role of popular media in the successful preservation of some ancient cultural and artistic forms that are subject to being forgotten due to the review and influence of other works. It should be noted that research has also been conducted in line with the case examples in question, but these researches have not been comparative, referring to traditional Iranian works and comparing them with mangas, and for this reason, this research is new.

 The relationship between reality and cinema is an important factor in theorizing about cinema. According to some theorists, cinematic reality receives its validity from the structure of the mind. According to some others, it is the external reality that must be acknowledged. It can be said that the relationship between cinema and reality is considered as a relationship in which cinema has an important function: to determine the position of cinematic signifier, as cinematic mechanisms that So, they can gain their signified in the outside world, or in the mind. In this research, an attempt was made to explain the relationship between film and reality in cinematic theories and its relationship with representation, to discuss the distinction of cinematic works, and to provide a specific classification based on representation based on Heidegger's thought. How a cinematic work can be considered based on the representation and presence of the earth in the work of art. In the continuation of the research, some cinematographic works were analyzed according to the representation in Heidegger's view in three distinct groups: Representative, Beyond- Representative, and Un-Representative. Among these works, the film About Endlessness by Roy Anderson, as the Un-Representative work, reveals the presence of the earth in the work of art.

According to Martin Heidegger, the work of art reveals the truth. But this is not in every work of art, but only in a real art! But which work has the possibility of accepting the title of a real art? Heidegger himself has mentioned some of these works. But how can a criterion be extracted from The Origin of the Work of Art? A criterion that can assess whether the work has the ability to approach what Heidegger calls a work of art? Can this criterion be applied to artistic mediums, other than what Heidegger himself discussed? Medium like cinema? In this research, we have tried to provide a criterion for evaluating the film; The terms of this criterion are: non-representation, non-abstraction from everydayness and non-belonging. In the continuation of the research, just to reveal the proposed criterion, the movie The Wind Will Carry Us directed by Abbas Kiarostami was discussed and the criterion terms were evaluated for that movie. This film satisfies the terms of criterion. Based on this, it can be said that based on Heidegger's thought, a criterion can be obtained regarding artistic medium such as cinema.

As a result of introducing European art to traditional Persian painting, the multidimensional space of the traditional Persian painting tended to linear space. In other words, the Persian painting based on the positional perspective created a multi-dimensional space and another method based on linear perspective was done to create a temporal and spatial unity. The confrontation between the two methods remained challenging until the present day. Contemporary artists have used tricks to resolve that challenge, one by using new media as a modified version of the old medium. In this regard, animation as an up-to-date medium has been able to develop the traditional Persian painting narrative and aesthetic capabilities by visually adapting them. But the question that arises is what features should this type of animation have? Or what changes does the traditional Persian painting require in connection with the field of moving pictures? This research attempts to examine the principles and visual characteristics of two media, and the main goal is determining the scope of necessary changes in the traditional Persian painting based on the aesthetics of animation. Hence, it examines how this was done in "Hazar Afsan- Kerm Haftavad" as one of the new animation productions.

It is essential to understand the multifaceted relationships that are formed among the works of art and make it possible to understand the meaning of the produced work. The problem of the current research is to understand how the "accumulation" of Kurosh Gulnari's work is formed and meaningful. This work is made by gluing a large number of coins onto a piece of metal written in Nastaliq script in the shape of the word "money". So far, this work has not been an independent research subject and it is necessary to analyze and evaluate it in the context of contemporary art developments. For this purpose, Gérard Genet's theory of transtextuality, which provides the possibility of interpreting works of art in intertextual relationships, has been used. The main goal of this research is to understand the possible semantic system of "accumulation" through intertextual reading. The main question is, how does "accumulation" become meaningful in relation to other works of art of recent decades? The current research is qualitative in terms of developmental goal, in terms of descriptive-analytical method, in terms of library and documentary data collection, and in terms of data analysis, and it has been analyzed by relying on the intertextual approach. The result of the research shows that it will not be possible to understand the meaning of this work without intertextual reference to the works that have been produced in recent decades. "Accumulation" forms a semantic system by creating intertextual relationships with works of art such as Parviz Tanavoli's "Hitch" sculpture and "Persian Money Maker Calligraphy" by Mahmoud Bakshimokher. In addition to materials and materials for the construction and application of calligraphy; The intertextual aspect in this work is the self-expression of the obsolescence of art, which can be found in the text of the logic of postmodern capitalism.

After rising to power, Ardašir I made a coherent plan to legitimize his kingdom. Similar to kings of ancient times who created a new dynasty, Ardašir I faced a critical problem, which was how to legitimize his exclusive power as the newly established king. Creating various rock reliefs in different regions was one of the most significant things Ardašir I did in order to legitimize his monarchy. These rock reliefs can be classified into two major genres: first, encountering AhurāMazdā and receiving a symbolic ring, and second, victory in the battle against the enemy. These two themes also became the most significant themes in rock reliefs during the ruling of other Sassanian kings. The ring of kingship is one of the most prominent visual elements in these rock reliefs, whose roots could trace back to Ancient Mesopotamia. As can be observed in the visual traditions of Ancient Mesopotamia, receiving a ring of kingship was a symbol of divine validation of the kingship of the person who received it. Contrary to the Achaemenids, in the pictorial traditions of this ancient culture, the ring was always at the right hand of god. During the Achaemenids, however, the “ring” was in the left hand of god. Once again, in the Sassanids era, the ring was in the right hand of god, perhaps due to religious and cultural reasons. Gods illustrated in the Mesopotamian tradition often did not show a gesture of respect. In other words, they would not raise their hands as a sign of respect like the king did due to their supposedly higher status than the king. This is noteworthy, as raising the right hand in Achaemenid illustrations meant god had to hold the ring in his left hand, as opposed to Mesopotamian motifs, where it was in his right hand. This could indicate the higher status of the king in Achaemenid rock reliefs than the Ancient Mesopotamian kings. In Achaemenid rock reliefs, the ring-holding god does not have a rod in his other hand. Further, the left hand of the king, unlike Mesopotamian kings, is neither extended to the god nor on his side. The Achaemenid king holds a bow in his left hand, which could indicate his superiority to previous Mesopotamian kings. By emphasizing the status of the king, the Achaemenids were able to not only demonstrate the divine providence but also the superiority of the king to past Mesopotamian kings. By studying the relationship between the king and god and by taking over Mesopotamian motifs, they were able to illustrate a new relationship that not only guaranteed the ascension of the king but also allowed the ever presence of the superior god at the top of all the rock reliefs. According to the aforementioned, it can be concluded that receiving the ring of kingship from the supreme god and the deification of the king which were seen separately in the pictorial traditions of Ancient Mesopotamia were consciously synthesized in the rock reliefs of Ardašir I and employed to legitimize his kingship.

In the last half-century, the postmodern approach has received much attention in the world. During this era, the role and power of the people have been increased in determining their own destiny. Postmodernism has been the dominant and influential cultural situation, especially in the society of Western countries, but its aesthetic subjects are ambiguous. Postmodern thought denies reality and the truth, therefore it negates the existence and intrinsic beauty. Postmodern thought declares meaningless of human insight and knowledge, thus it doubts human judgment and intellectual ability. As a result, postmodernism is in fundamental conflict with the two major theories of ontology and epistemology. It does not offer any confirmed or convincing solution for aesthetic criteria and pays more attention to the content and influence of the context.Pluralism, as known principle of postmodernism, for multiple viewpoints and selections means paying attention to the popular culture and public demand. Popular culture is considered the spiritual heritage of ethnics and nations, which is still stable and alive. The objectivity of popular culture can be the creation of popular arts that have public acceptance and effective communication with most people.Advertising graphic design flourished in the postmodern era and with the objectives of: attracting attention, effective messaging and advertisement durability in the audience's memory has created many applications for itself. The common aspect of postmodern thought, advertising graphic art and popular culture concentrates the domination of the "popularity". Previous research has identified some features of the postmodernism and its specialization in art, visual arts, painting, and even graphic art with their own terms and interpretations by recognizing and analyzing related theorems and referents. There are many commonalities and sometimes differences in the identification of features, but none of them have attempted to analyze the "popularity" paradigm, elucidate aesthetic criteria, and then enumerate characteristics for specific application in postmodern arena. Therefore, by gathering the valid information, the achievements of "popularity" have been identified by qualitative and descriptive-analytical research methods and deductive inference. All research findings are enriched and verified by interviewing with the related experts."Popularity" is itself based on public interests, benefits and consensus and is rooted in popular culture. As a result, the creation of advertising graphic designs with "popular" preferences can have more chances to be "seen" and "prominent" among the target audiences. Thus, the most important characteristics of "postmodern advertising graphic design" based on "popularity" can be recognized by the homogeneous interpretations as: deconstruction (structure breaking, strange and unconventional, conceptual assembling), allegory (metaphor), pluralism (any multiple aspects) and eclecticism (mélange, composition, intermixture), benchmarking (copying, making its own), traditional motifs and nativism, celebrity (famous people), nostalgia (past remembering), excited (sales promotion), promotion of anti-consumption (denial of consumerism in the industrial world), simulation, hyper-reality (exaggerated) beauty, emotional, ambiguity (amphibology, skepticism, teasing advertising), humor (refreshment, ridicule), and symbolism (branding ad). Finally, analyzing the benefits of "public consensus" and the challenges of "opinion engineering", the "popularity" paradigm has been determined for postmodern the new aesthetics.

With the beginning of the constitutional movement and social changes, a new chapter in the history of Iranian painting was opened. The history of Iran after constitutionalism was full of conflicts between tradition and modernity, and the idea of modernity that came to Iran was not properly understood. In fact, the growing movement towards Western art prevented Iranian art from moving naturally in accordance with its internal conditions. In the meantime, coffee house painting and interesting spectacular curtains created by street and mall artists and anonymous ones, are the full picture of the taste, thought and art of their creators, which depict the beliefs and customs of the time. Given the high status of coffee house painting as a folk art in the constitutional period and its comparative and intertextual nature with traditional and modern art, the concept of conversation in Gadamer's thought, as an epistemological approach, can open a new window of consciousness and knowledge to recognize such paintings in front of the audience and to analyze and retrieve them. Qajar painting has a special place in the history of Iranian art, and in the meantime, coffee house paintings are significant as a prominent branch of the art forms of painting of the constitutional era in this period. During the constitutional period, according to the socio-cultural conditions and the idea of modernism and the reflection of Western culture and art, coffee house painting refers to traditional painting in order to revive Iranian-Islamic identity and culture. Coffee house painters are as the most significant contemporary painters of this period of time. The present study answers the question; to what extent is it possible to interpret and understand the works of painters of this period with the concept of conversation in Gadamer's modern hermeneutic theory? and to what extent can this concept help to identify, trace the elements, and how the coffee house painting was formed? The purpose of this study is to describe and read the works of coffee house paintings and Isfahan school murals in the contemporary era using the concept of conversation in Gadamer's theory of hermeneutics. This research has been done with a descriptive-analytical approach based on the intellectual thought of the time and the collection of research resources is in a documentary and library way. The results show that the concept of conversation in Gadamer's thought is a great help to better describe how to create coffee house paintings according to the needs of the audience. The artist has created her work by referring to and conversing with the mural of the Isfahan school in connection with the intellectual-artistic horizon of the constitutional era, which is influenced by the all-encompassing prevalence of Western art elements. Among these, elements such as time, place, audience, themes and popular usage of painting and recitation and quotation of narrators, as another side of the conversation, are important in the formation of coffee house painting.The concept of conversation combined with concepts such as social and cultural context (semantic horizon), and Gadamer's language and tradition, plays an important role in shaping the works of coffee house painters. Contemporary painting was the beginning of the revival of Iranian identity and culture, in line with the influences that had reached Iran from Western art (social and cultural context of the artist's time). Although the elements and motifs of their works are from the past, it was a new experience for a group of Iranian artists to talk to them in their contemporary language by transferring the traditions to the present, because they had a common language with them, which had its place in the heart of Iranian traditions and culture. Since the audience of these paintings was ordinary people, the artist, one of the favorite subjects of the people, and with a suitable public style, painted in his own way in line with the traditional painting style of Isfahan school as an important step to satisfy the tastes and interests of his community. Signs derived from the drawings of the Isfahan school in coffee house painting include such things as balance and movement in visual elements and colors, the type of ideal portrait painting and the display of existential existence in the figures of pure human beings and individualistic faces with characteristics. Earth in the faces of low-level people, animal-like form, diffused and uniform light on the screen, realism in the type of cover of the figures, the importance of linear design and image resolution and simultaneous display of various events, and so on are evident as well. Coffee house painters have dealt with these traditions with prejudices that pertain to the semantic horizon of their time, but on the contrary, they also gave the right to retell their words as a party to the conversation, so that the process of understanding or forming art work is achieved.

This paper attempts to investigate the evolution of the concept of photography in Iran in light of changing political discourses. Focusing on the role of ideas and organizations, the study uses discursive institutionalism as a methodological approach. Photography as a modern phenomenon associated with the rise of the middle class can hardly be detached from socio-political circumstances. Photography, which arrived in Iran only 3 years after its invention in France, has always played an important role in major historical moments such as the Constitutive and Islamic Revolutions. During the Qajar dynasty, Shah Nasser-al-din’s obsession with art and photography led to the establishment of the first royal photography studio. During the Pahlavi era, with its modernization agenda, photography found its way into magazines and newspapers as the best means of advertising. However, it was hardly considered an artistic form. In the 1960s, one could see photo exhibitions by photographers such as Ahmad Aali, Ebrahim Hashemi, and Maryam Zandi, who considered photography a form of self-expression or an art form. However, in the mid-1970s, political and social upheavals changed the concept of photography from art to a revealing document and a political weapon. One could refer to the photographs of Kaveh Golestan showing working class and sex workers in the whore houses in the south of Tehran.

In his most notable work entitled Resale-ye Sena’iye, Abulqasim Mir Fendereski (c. 1562–1640), the Hakim and philosopher of the Safavid era, examines theoretical music. In this regard, he stands exceptional among the philosophers of the period. But unlike the philosophers of the early Islamic epoch, Mir Fendereski's purpose was not to teach music technically through the written text but to employ the example of theoretical music to clarify different kinds of crafts. Using the qualitative method of text analysis and historical resources, the present paper, written with the aim of investigating Mir Fendereski's philosophical views on music under a category within the crafts, briefly reviews the time, works and ideas of Mir, and explains the theoretical basis and terms of the treatise to analyze the author’s purpose by exemplary usage of theoretical music, so that one can comprehend his true intention. The most important conclusion of musical fragments is that in this period, scholars made a clear and decisive distinction between the science and practice of music. It was likely that a prominent religious figure, despite having full knowledge of theoretical music, an ear for music, and even instructing it, might have avoided practising music and even banned his pupils from it. This fact can be thought of as an obvious indication of the separation between musical science and practice in this era.

Given the importance of the historical context in the Iranian city of Mashhad and acts of sabotage, identifying, preserving, recording, and maintaining its historic facades is important. This study aims to investigate the ornamentations of Paein Khiaban’s historic facades of the Qajar period (1304-1174) (which have been inscribed as Iran’s cultural heritage). The methodology of this study is based on descriptive-analytical, exploratory, library studies, and field research. The results show that all buildings are two-story and ornamentations often seen on the upper part of the facade. In terms of ornamentation, in most of the façades, the moarragh mosaic tile or combination of tiles and bricks were used. Furthermore, some opening inscriptions are decorated with moarragh mosaic tile, too. All of these facades are made of brick and the dominant colours of the facade’ ornamentations are brown, yellow, Ultramarine and turquoise blue, lateritious and sometimes pink and white.

Reza Abbasi, a prominent painter of the Isfahan painting school, is one of the few Persian painters who attends to the general public and society as a "public painter" and illustrates court orders and figures of kings and nobles as a "court painter" in the Safavid court at the same time. This change in the tradition of Persian painting at the end of the tenth and the eleventh centuries AH, for the first time, enabled Persian painting to have the same and equal reflection of different social voices. Until then, due to the dominant presence of the upper class in the paintings, monophony and social centralism in Persian painting was common and obvious.On the other hand, Mikhail Bakhtin, a twentieth-century Russian theorist, proposed the idea of “Dialogism and Polyphonic texts” as opposed to “Monophonic texts”. According to Mikhail Bakhtin’s theory, dialogism and polyphonic texts are often created in the context of authoritarianism and suffocation in society in order to critique the authoritarian, totalitarian and monolithic reality that has caused the destruction of dialogue in society to temporarily suspend such social and class conflicts. Thus, in some works of Reza Abbasi, it is possible to see the interactive, polyphonic and dialogic atmosphere that appears in the tradition of the Persian painting for the first time. Therefore, it is necessary to study the works of Reza Abbasi from this perspective, which has not been done so far. The subject of this study is to investigate the polyphony and dialogism concept of the Mikhail Bakhtin's theory in Reza Abbasi's paintings, and the aim is to identify Persian painting's capability to be adapted and interpreted based on contemporary philosophical theories and concepts. Research questions are: 1. What is the polyphony and dialogism in the works of Reza Abbasi? 2. How did the social situation of the Safavid era affect the nature of polyphony and dialogue of Reza Abbasi's works? 3. What is the purpose of Reza Abbasi in presenting polyphonic and conversational images? According to the aim, this research is a developmental one, and based on essence and methodology, is descriptive-analytical. The method of data collection is documentary (library based). The method of data analysis is qualitative with the approach of polyphonic and dialogic texts in the theory of Mikhail Bakhtin. Considering what Mikhail Bakhtin offers in describing polyphonic and dialogic texts, we can consider the number of these images in the total works of Reza Abbasi to be approximately equal to 15 paintings. Therefore, the statistical population of this study is 15 images by Reza Abbasi, which is in harmony with the concepts of polyphonic and dialogic texts in Mikhail Bakhtin's views. Due to the small statistical population, the total statistical population is considered as a sample community.This research shows that the most important polyphonic and dialogic feature of Reza Abbasi's works is the contradiction and duality that emerges in the structure of the simultaneous public and courtier figures. The untimely and sudden departure of the court of Shah Abbas I in 1011 AH / 1606 AD, and joining to the common people, is the most important effect that the social conditions of the Safavid era had on Reza Abbasi. According to the three great historians of the Safavid era, Munshi Qomi, Iskandar Beyk Turkman and Valeh Isfahani, this group of people either did not have a special and important social position in the Safavid era society or were completely rejected due to social and political conditions. They were hated. These social groups lived in the more hidden layers of society and their voices were not the dominant voices in the common and official discourse of Safavid society. In other words, the time periods of Reza Abbasi's artistic activity, which are influenced by the social conditions of his time, can also affect the polyphonic nature of his works. The number of polyphonic works of Reza Abbasi in the third period of his activity is more than his first and second periods and is equal to 80%. After that, the highest number of polyphonic images is related to the first period of his artistic activity (20%), and the number of images in the second period is as low as possible (0%).Reza Abbasi's goal in creating polyphonic images and juxtaposing court figures with public figures has been to express opposition to the government and the dominant power. In this way, he uses discourses outside the dominant language to critique the structure of the hierarchy and the dominant power. Just as Bakhtin considers polyphonic texts as a sign of suffocation in society and considers the time of the emergence of such works in authoritarian, monolithic and totalitarian conditions, artists such as Reza Abbasi seek to create a dialogue and interactive structure by creating their works, and temporarily suspend this class and social supremacy.

The main purpose of this research is to explore the thoughts of British philosopher Roger Scruton in the scope of aesthetics. Scruton was particularly influenced by Kant's project of critique of rational faculties, and Wittgenstein's insights into the realm of language and meaning. For this purpose, the steps he has taken in the development of analytic aesthetics (in two parts of judgment of beauty and beauty areas) have been extracted. This study was conducted using first-order library resources using conceptual analysis method. According to Scruton, aesthetics is the core of philosophy and is more important today than other branches of philosophy, even if it is dependent on other branches because of this central discipline. The most important results of this study are the reconstruction and application of two concepts of Disinterested interest and Means-End dualism, The elementary platitudes in aesthetics (pleasure, rank, attention, reason / judgment, description of object and first-hand judgments of beauty), the relationship between sacred, beauty and desires in human beauty, distinction of understanding and explanation in natural beauty, practical reason in everyday beauty and differentiation of fantasy-imagination and pattern of belonging or fitting in artistic beauty.

The wall paintings of Qazvin Chehelsotoun Mansion include two periods in the early Safavid period and one period in the Qajar period. This topic has received little attention in the field of structural studies and stylistics. Investigating these decorations in order to understand the evolution of this art and considering the temporal precedence over other murals in the Safavid period seems necessary. The city of Qazvin is located in the northern part of Iran and west of its capital. Qazvin has been the capital city of Iran for more than half a century in the Safavid era.Today only a few important monuments of that era remained. That is why they all need special attention to identify, maintain and introduce.Among these monuments, the Chehelsotoun mansion is very important because of the remaining of the early Safavid murals.Pastiglia and gilding is one of the most complex and special methods of surface decoration in Islamic architecture of Iran, the flourishing of which should be sought in the Safavid period; This architectural array, which is a combination of organic materials as well as metallic and non-metallic minerals, was processed and executed during a special process. In order to properly protect the work and also to retrieve the technical information contained in it, as well as to obtain the technical information of this type of architectural arrangement in Safavid Iran, its artistic and technical recognition in Qazvin Chehelsotoun as one of the most important buildings in the capital. Safavidism becomes important and necessary. From the first capital of the Safavid period (in Tabriz) there is no layered and gilded array and Qazvin before Isfahan was considered and appropriate measures have been taken to create architectural arrays. The present study has studied the structure of layered and gilded arrays in the two Safavid periods (Shah Tahmaseb period and Shah Abbas period) in Qazvin Chehelsotoun. This research has been done with a laboratory approach with the aim of analyzing and understanding the structure of different parts of these arrays, including the organic and inorganic structure of the pastiglia layer, as well as the golden layer used on the pastiglia layer, called gilding. In this regard, sampling was done from the layer of pastiglia and gilding related to Shah Tahmaseb period and also the layer related to Shah Abbas Safavid period, which was evaluated using analyzes (SEM-EDS, FT-IR, GC-MS) and These samples were compared. The result of EDS analysis from the surface of the metal layer indicates high purity gold. Also, the mineral part of the pastiglia layer is composed of gypsum and a type of soil with a high percentage of iron (Hormuz or Armenian mud). Examination of SEM images on the samples showed the presence of residues of organic matter used in pastiglia and gold-plated arrays. Examination of the samples with GC-MS indicates the use of vegetable oils, which due to the significant amount of eighteen carbon compounds and their oxides, it can be attributed to flaxseed oil as a gold leaf adhesive in pastiglia layer arrays and Gilding has been used.

According to the manifestation theory in Islam, the God expresses himself through the mediator, and these mediators take on the meaning of symbol in art and beauty, and use the mystery language to express their inner concepts and nature. The way that God is portrayed in a religion determines the nature of its religious art. Islamic art has chosen the form of geometry, which is inherently similar to the ideal forms, to manifest exemplary forms in art, and geometric motifs in Persian painting can be one of the examples of using geometry to represent the exemplary world. Geometric motifs in Persian-Islamic arts are one of the types of images that can help artists to express facts. It means by combining geometry and philosophical and theological aspects, as well as spiritual and sacred allusions, they use the language of mystery and allegory to express facts. In the traditionalist view, geometric motifs were not merely a form of decoration in Islamic art; rather, each implies a message that the conscious viewer must attain to the highest meaning and truth from the material form and appearance. The Illustrated manuscript of the three poems by Khwaju Kermani (Homay o Homayun, Kamal namah and Roudat al-Anwar), 798 AH/ 1395 AD, British Library, add. 18113, in various aspects, including geometric motifs used in paintings, is considered as a sample in the tradition of Persian-Islamic painting until the end of the tenth century AH. Therefore, research in this field is important. So, the aim of this article is to introduce and recognize the geometric patterns in this illustrated manuscript and analyze their numerical concepts based on the manifestation theory. The questions are: 1. What are the structural features of the geometric motifs that are used in the illustrated manuscript of the three poems by Khwaju Kermani? 2. What thematic analyses can be provided for the geometric patterns of this illustrated manuscript according to the manifestation theory in the Persian-Islamic arts? This research is developmental and done by descriptive-analytical method. The method of collecting information is documentary (library research method) and the method of analyzing information is qualitative. The statistical population of this research is all the paintings of illustrated manuscript of the three poems by Khwaju Kermani (British Library, add. 18113) which consists of 9 paintings. Between these 9 paintings, only 4 paintings have geometric motifs that have been considered as research examples. The method of selecting research samples is non-probabilistic (selective) method and the criterion for selecting samples is the presence of geometric motifs in the painting. Examples are: "Homay in the Court of Faghfor of China", "Homay Arrives at Homayoun’s Castle", "Parliament the Day after Homay and Homayoun's Wedding", "Bozorgmehr in the Presence of Khosrow Anoshirvan". Twelve geometric motifs have been used in the illustrated manuscript of the three poems by Khwaju Kermani, which have been drawn based on the numbers 8, 6 and 4, respectively, and the emphasis on these special numbers has been in order to express their themes and concepts. The number eight with 79.2% is the most frequent geometric basis in the manuscript of the three poems by Khwaju Kermani. In the Islamic thought, the number eight is related to the world of examples, and the key to passing from the tangible world to the rational world, the transition between the earth and the heaven, and the interface between divinity and immortality. It is also reminiscent of the eight bearers of the Divine Throne, the eight heavens and the eight heavenly rivers. The number four symbolizes the earth and the tangible world. It shows the active attributes of nature and the passive attributes of matter as well as the four parts of human worldly life. According to the companions, the number four is manifested in a square which vertical lines indicate the descent of mercy and its horizontal lines represent the balance of creatures and divine justice, and they use it to indicate the two mystical states of intuition and absence. The number six is ​​reminiscent of the six days of creation and corresponds to the body in the large world and is equivalent to six powers of motion in the small world. If the number six is represented as two inverted triangles, it indicates the relationship between body and soul. Furthermore, it is considered the number of perfection and mystery of the sky. According to the seven-color system in traditional chromatography, the predominant color of the geometric motifs of this manuscript is blue with % 52, which indicates benevolence, beneficence and self-control, and is often placed next to its complementary color, cream color. Also, due to the inherent correspondence of ideas and forms in Islamic civilization, most of the hexagonal patterns that are considered as symbols of the sky are painted in blue, and ultimately leads to the unity of meaning and form.

One of the concerns of religion and media domain is the question of the relation between religion basedOne of the concerns of religion and media domain is the question of the relation between religion based on discourse, image and visual media. In this article while reviewing the theoretical literature among religious programs ‘Lesson form the Quran’ by Hojjatul-Islam Qarati which is broadcast about 40 years was reviewed and sought to respond this question ‘what changes have the religious images undergone during these years and has it leaded to better presentation of the religion? The methodology of this study is semiotic which was accessed by emphasizing 5 items:’ Clothing, age and sex’, ‘non-verbal communication’, ‘movement’ ‘color and light. Samples were selected randomly, 10 selected programs were selected within years 1972-2009. Semiotic implies that firstly these programs has been gradually were placed at the position of governmental religion, secondly communication has been one-sided and vertical and thirdly by focusing on the religious type of those who are present in the programs has ignored cultural diversity of the society.

Postmodernism, as an intellectual, philosophical and cultural phenomenon, is the disobedient child of modernism, that in a critical dialectical relationship with it, based on elements such as denial of rationalism and rejection of Essentialism, denial of the domination of science, negation of Metanarrative, violation of certain duplications and deconstruction... In contrast to rationalism, Essentialism , the Scientism and the centralization of modernism, following the mental and intellectual crisis of civilized man arose in the West the aftermath of the two world wars. This cultural and philosophical phenomenon in the era of communication and through coexistence and peaceful and non-peaceful relations, the cultural and thought base in Islamic societies has entered, and many Islamic scholars have been influenced by it as a criterion for reading and evaluating texts They put their intellectual heritage. The present study uses a descriptive-analytical method and with the help of a philosophical critique, seeking to express the differences of thought and the challenges arising from the appearance of this flow in the poetry of Adonis in opposition to the thought of absolute, pious, and pyramid of Islamic foundations. The results of this study indicate that Adonis uses the postmodern critique method, without taking into account the profound cultural and civilian differences and its emerging factors, to revisit the Islamic heritage. By eliminating the boundaries of poetry and philosophy and applying postmodern philosophical thought, regardless of The function of poetry in Islamic societies provides an inaudible poetry that is far from the language, thought and culture

Iran is home to various tribes and clans, each of which has a rich heritage and a mysterious background. One of these tribes is the Kormanj people who migrated to Khorasan from the west of the country during the Safavid era and today, with the passage of time and a result of their relations with other ethnicities in the region, many changes have taken place in their culture and art. Handwoven products made by the Kormanj people of North Khorasan are among the indigenous arts of this region. For the Kormanj, bread has always been especially important as they believe that bread is blessed food and the main source of sustenance. So, women of the Kormanj nomads made special cloths to keep bread in them. Those cloths are now known as Kurdish tablecloth kilim. Originally used to store bread, today they are often used as rugs or decorative works of art. Kurdish tablecloth kilims have a variety of designs and motifs. Patterns are often formed in the minds of their creators rather than being pre-designed. The main creators of Kurdish tablecloths are women and girls who are inspired by the natural world. Although today some weavers do not adhere to old patterns and weave newer ones due to changes in lifestyle, in most cases, the patterns are still reminiscent of the early nomadic lifestyle in this region. Once nomadic, they designed these motifs based on the nature and what they saw around them. Now that they have settled in one place, they have moved further away from the original designs, but some of those designs are still visible. Semantically, the motifs of Kurdish tablecloths are derived from the beliefs of the previous generations and express the cultural concepts of a nomadic society with a visually coherent structure. There are four groups of geometric, plant, animal and human designs. Animal motifs are more frequent than the others, due to the nature of the nomadic lifestyle. Nomadic dependence on animals is a necessity of their lifestyle and this is reflected in Kurdish tablecloth motifs. Animal motifs can take abstract forms like butterflies, symbolic forms like a ram’s horn and naturalistic forms that depict different domestic and wild animals. Among the human motifs, pictures of girls appear more often, mainly because women and girls have often been the weavers of these tablecloth kilims. In terms of style, the patterns can be divided in two categories of abstract and naturalistic styles. Although old designs and motifs are changing due to the change in the people’s lifestyle in North Khorasan, most of the motifs and designs are still the same as the old ones. The purpose of this article is to introduce the patterns of Kurdish tablecloth kilim and explain how they came into being. The data was collected through field method by conducting interviews and observation. Adopting a descriptive-analytical approach, different types of designs were studied and classified.