mohammadreza sharifzadeh

Comparing the paintings of the Safavid period with former schools shows that the Safavids, following the assimilation policies of the government, were looking for the trends of assimilation of the society by adopting culture through clothes, instruments, and manners. Such assimilation two thousand years after the achaemenid assimilation is unique in Iran. Also, centuries after the Sassanids, assimilation did not occur with the official single religion. During the Safavid era, when Iran was politically unified to some extent and the official religion was Shia, this point was also reflected in the appearance of the people. However, this social change was less felt in the provinces and cities due to the distance from the center of power, and this issue is evident in the study of the paintings of the “state” and “courtly” schools of the Safavid era.In this article, an attempt is made to investigate the process of “assimilation” in the Safavid society by referring to the visual sources of the schools of Herat Teimuri, Tabriz II, and the state school of Estrabad during the Safavid period.The current research is based on an analytical approach and library studies with reference to historical texts.The investigations obtained in comparing the pictorial resources of the Herat school, as a pre-Safavi school, the court school of Tabriz, and the state school of Estrabad as two painting schools of the Safavid period, show that the process of “homogenization” in the Safavid society, as opposed to “multiplicity” before It has led to the formation of a trend and a general tendency to pretend to be uniform and united in terms of clothing and even body language.

It stands for a theory that dates back to pre-Plato Greece called Mimesis. Ibn Sina, as a follower of Aristotelian thought, deals with the theory of imitation. In the view of this Muslim philosopher, imitation often means storytelling. Since the Ascension of Prophet Mohammad (PBUH) is one of the most famous Islamic anecdotes and narrations that is required by the Qur'an, and if this event has a picture, if the desire to write it by artists in different periods is a picture that can be the most prominent, They are Shahrokhi's ascension letter. Therefore, in this research, the mentioned image has been studied based on Ibn Sina's theory of imitation and this article intends to answer the question to what extent the studied image, which is one of the images of Herat Teymouri school, has the characteristics of the theory. Do the imitations correspond from Ibn Sina's point of view? The results obtained from this research show that the orthographic artist of Shahrokhi's Ascension letter, according to Ibn Sina's theory of imitation, has both imitated what it was and has used the power of imagination to make it more beautiful or ugly

Frithjof Schuon is a pivotal figure in the traditionalism movement, known for his profound insights into art and spirituality. Schuon’s artistic philosophy is rooted in the awareness of the Absolute and the symbolism it encompasses. He posits that beautiful shapes, the external or material realm, while virtue cultivates the internal space of the self. This article aims to explore Schuon’s philosophical perspective on art and its implications for interpreting the works of Sohrab Sepehri. Key elements of this discussion include the transition from the sensible to the intelligible realam, the symbolic nature of art, the absence of innovation in traditional forms, the practicality of artistic expression, and the alignment of form, materials, and symbolism with the principles of traditional art. Employing a descriptive-analytical research method, this study synthesizes fundamental theoretical frameworks and conducts an in-depth analysis of selected artworks. The goal is to elucidate Schuon’s influence on Sepehri’s artistic vision and to analyze the intellectual nuances present in his paintings. A selection of Sepehri’s works is analyzed to understand how the lack of representation, the intentional simplicity of materials, and the transformation of nature facilitate access to the intelligible realm an alignment that resonates with Schuon’s philosophical tenets. This research is based on comprehensive library data, primary sources, and scholarly articles within the realm of art theory, revealing the connection between nature and intelligibility in Sepehri’s artistic expressions. Findings show Schuon proposes a specific approach to art based on the concept of beauty as a spiritual truth, suggesting that beauty can lead to a deeper understanding of truth and existence. Sepehri has repeatedly explored this theme in his poems, using the clarity and simplicity of nature to convey profound human emotions.

Paratexts are the way to enter the text, the peripheral elements of a text that are physically or non-physically around the main text, the paratexts are the entrance threshold of a text, the first communication between the audience and the text occurs through the paratexts, and each text The mediator of the paratext communicates with the outside world. The concept of paratext was first used by Gérard Genet in the analysis of literary works, but gradually it became more widely used. As a sacred text and a miracle of the Prophet of Islam, the Qur'an has been the most important book for Muslims to write, and on this occasion, calligraphy and book design are also flourishing among them. Quran is a book for reading, reading is a physical act that affects the text. In the contemporary world, books are designed for viewing as well as reading. Even though the book of the Quran has been translated, it is widely read and seen more. In the Qur'an decorated by Hossein Zindaroodi, a contemporary Iranian painter, the arrays and decorations of the Qur'an find new roles due to this breadth of communication. that it is possible to examine the Qur'anic arrays in their new connection in a contemporary way with Gerard Genet's theory of paratextuality.

Among the Iranian artistic works and branches, the metal works have been reflecting ritual and denominational views throughout history in the discussion on traditional arts. Here, the metal works of the Safavid period are of great importance, because that period is among the magnificent eras of Iranian art, and because it created a monolithic state and promoted the Shiite denomination. This study aims at revealing the basic evolutions and transformations, embellishments and themes of the metal works in that era with ‘religious’ and ‘national’ parameters. Thus, it seeks to answer two main questions: first, “Why did the artists in the Safavid period want to use the names of twelve Imams in making metal things for expressing religious themes and social approaches?” And second, “In evolution of which formats did the Safavid rulers want to promote the Shiite themes and elements in the society by supporting artists?” This article has been written using a descriptive-analytical method and field resources of libraries and museums. The results of this investigation, in addition to cultural and artistic prominences as well as the Shi‘a themes in the inscriptions of that era, shows the typology and application of various types of plant embellishments, adjustment to previous eras, and using Farsi language and script in the Safavid period; and accordingly, the present study is founded on the hypothesis that the generalities of the structure of metal works in the Safavid period, though filled with aesthetic elements deserving propagation, is captured by the ideological thought, which must be explained in an apparent review.

Catharsis is one of the most controversial ideas presented in the realm of aesthetics and the philosophy of art. Aristotle's lack of a precise definition of this concept in "Poetics" is one of the reasons for its ambiguity. This issue has led critics and philosophers to speculate about this idea and offer various interpretations of it. In this article, we will attempt to address the most prominent interpretations that have emerged regarding this idea. From this perspective, we will examine three significant interpretations of this concept that have been proposed in three different domains: ethical (purification), psychological (refinement), and epistemological (clarity). Alongside this, we will also explore the relationship of this idea with other aesthetic concepts, including tragic pleasure, tragic flaw, and tragic knowledge. Additionally, we will review the views of some philosophers, such as Nietzsche and Hume, who have had concerns about tragedy and have written extensively on the subject—particularly those passages that have contributed to the clarification of the concept of catharsis. Ultimately, we will demonstrate that the idea of catharsis is one characterized by uniqueness and plurality, which cannot be reduced to abstract concepts of thought and cannot be confined within the framework of a singular grand narrative. Instead, it finds its meaning and specific functionality depending on the perspective from which it is viewed or the context in which it is employed.

One of the most significant theoretical discussions overshadowing macro sociological perspectives today is the issue of globalization. Globalization encompasses economic, political, social, cultural, and structural dimensions, all of which play a fundamental and essential role in the discourse on globalization. Among these, the study of art, as one of the most powerful and influential tools and a key component in shaping cultural globalization, has garnered attention. Therefore, the aim of the present study was to explore the capabilities and structural and visual components of Islamic arts in the process of globalization. This research is descriptive-comparative in nature and method, and while examining the concept of globalization, it attempts to analyze the position of Islamic arts in the flow of globalization based on structural and visual components in the contemporary world. The results of the study indicate that globalization, from the perspective of theorists and based on globalization components, is possible due to interactions and communications in light of various global cultural and artistic events, as well as the platforms for the emergence of works in virtual spaces. However, it may also involve risks. Globalization requires progress and interaction with the world, which in turn will introduce and recognize Iranian Islamic art. Islamic art, contemporary and aligned with Iranian identity, can influence the proper course of this movement. The use of Iranian structural and visual components with a contemporary perspective is one of the important aspects of globalizing Iranian art.

In this article, an attempt is made to analyze and psychologically examine the main characters of the play Mr. Asrari's Press World by Bahram Bayzaei from the perspective of the Five Factor Model (FFM) of Robert McCrae and Paul Costa. Modir and Shirzad are the two main characters of the play, whose story revolves around their actions and speech. The approach of trait psychology believes that by knowing and examining people's personality traits, their behavior can be predicted. One of the important theorists in trait psychology are Robert McCrae and Paul Costa. They identified five main factors of neuroticism, extraversion, openness to experience, agreeableness and conscientiousness for the trait.The purpose of this article is to answer these questions, how to analyze the characters of Modir and Shirzad with the Five Factor Model (FFM) of personality, and also how the sub-traits of the five main traits are shown in the formation of the two mentioned characters. This article analyzes the characters by describing the personality questionnaire of Robert McCrae and Paul Costa, as well as by examining and studying the dialogues and actions in the text of the play. The method of collecting library information is to review and read the text of the play. The method used in this research is the descriptive-analytical method in which the selected characters have been examined and analyzed according to their coordination and overlap with the mentioned psychological theory. The results show that the Modir is not neurotic in factor N (neuroticism). In factor E (extraversion), it is extroverted. In factor O (openness), he is dogmatic and bigoted. It is not consistent in factor A (agreeableness). In factor C (conscientiousness) he is conscientious. The character of Shirzad in factor N (neuroticism) is neurotic. In factor E (extroversion), it is introverted. It is experiential in the O factor (openness). It is consistent in factor A (agreeableness). In factor C (conscientiousness) he is conscientious.

Merleau-Ponty, like other existentialist philosophers, believes that every human being has a special situation, position and existence in the world, that this existence is a product of being-in-the-world, and on the other hand, man, from his point of view, is a special situation and being-in-the-world. - Experiences the world. And the body makes the living man find himself and his existence. In this article, an attempt is made to evaluate Merleau-Ponty's attitude about the two previous concepts in the works and the attitude of the Impressionists and the works of Claude Monet as an example. Monet's works express Merleau-Ponty's conscious body experience, which portrays the situation he perceives based on living and being-in-the-world. In fact, this being in the world, in Merleau-Ponty's interpretation, is the same way of life that the impressionists use for illustration, and it has become their painting style. The main question of the article is that considering that Merleau-Ponty believes that human connection with the outside world is based on sensory perception, and on the other hand, art, especially painting, is a manifestation of sensory perception, is the attitude of the Impressionists, including Claude Monet, also in drawing the outside world? Is it like Merleau-Ponty's attitude or not? Because Claude Monet also achieves a special kind of sensory and visual perception of the outside world by using light in his paintings, and this makes Monet aligned with Merleau-Ponty's thinking.

In the historical books, Tabarstan was considered one of the three main areas of Iran's exquisite carpet production, and the art of weaving continues in the highlands of this region. But there is little information about the famous hand-woven patterns of Tabri. The geographical location of Tabarestan and its distance from the central government have preserved the cultural characteristics of this region in different historical eras, therefore, identifying the woven motifs of Tabarestan can be a platform for knowing the visual elements and cultural identity of the region. The aim of the current research is to identify the traditional motifs of the native handwovens of Tabaristan region. This research is of a qualitative type and has studied the data in a descriptive-analytical way. Pattern information was obtained by sampling traditional handwoven fabrics in the historical areas of Tabarestan. Documentary sources were used for analysis. The research findings show 150 valuable roles. These motifs can be divided into vegetable, animal, geometric and abstract motifs in terms of shapes and themes. Many traces of ancient motifs can be seen among these motifs. Such as: bergamot-like shapes, four-feathered flowers, mutual birds, symmetrical tree and swastika pattern. The presence of ancient motifs in Tabari handwovens and their comparison with the motifs of early Islamic art crafts in Tabaristan shows that these motifs were used in Tabarestan textiles before Islam and during the Sassanid period. Their use has continued until today in the handwoven fabrics of the Alborz highlands in Tabarestan.

The spread of the corona virus has affected many aspects of human life around the world and has led to drastic changes in all aspects of human life. Due to the extraordinary importance of such a situation, which is unprecedented in the history of the world, it is necessary to document its various dimensions for the benefit of future generations. Therefore, during the spread of the Corona virus and artists living at home, in addition to the official narratives that will be recorded in this regard, individual artists, such as Kambiz Deram Baksh and Seyyed Masoud Shujaei Tabatabai, have written their individual narratives that are most similar and compatible. Compared to other Koronanegar artists, they have recorded this disaster together, so that it will be available for various studies in the near and distant future. In the process of researching the Covidgraphic works of Iranian artists, the works of Kambiz Deram Bakhsh and Seyyed Masoud Shojaei Tabatabai had the most similarity and compatibility with each other, and the visual signs of their works created a discourse in the text and the audience's mind that helps to form a common concept of Corona. Semiotics deals with everything that is considered a sign, words, sounds, images, gestures, etc. can be signs. The subject of research in this article is the study of signs, analysis and comparison of the meanings of the works of these two artists using the theoretical approach of Umberto Eco in the application of art in a certain statistical population, and the purpose of this article is to analyze the process of formation of meaning through the study of signs by using visual symbols of Eco in the works of Kambiz Deram Bakhsh and Seyyed Masoud Shojaei Tabatabai. This is then followed by the following questions: 1- In the works of Koronanegari (Covidgraphy) by Deram Bakhsh and Shojaei, how did they create discourse in interaction with each other? And 2- What relationships do Deram Bakhsh and Shojaei's works of Covidgraphy tell in their underlying layers of meaning? The research method of this article is based on semiotics, and the information was collected in a library-based manner, and by matching the ten codes of Eco with the details of the 8 images of Covidgraphy by Deram Baksh and Shojaei, we will recount the discourse view that these signs provide. Semiotics is the semantic study of texts, which includes artistic texts in its various branches. In reading an artistic text (Covidgraphy as a text), signs are not seen as separate elements from each other, but in an interactive and confrontational manner. And in a discourse with the space inside and outside the text, they are considered to study the sub-layers and the process of formation of signs and to challenge them with each other to enter discourse semiotics and to study the texts. The necessity and importance of the upcoming research comes from the fact that despite the importance of recording and writing the events that happen in the present time, so far the collection of works of the chronicles of Kambiz Deram Baksh and Seyyed Masoud Shujaei Tabatabai has not been comparatively studied from the point of view of semiotics. The answer to these questions is based on the research necessity to analyze and investigate the collection of dramatic and brave chronicles based on the semiotic method and the approach of Umberto Eco's image code theory. The results of the research show that the cartoons of the two mentioned artists with the caricature language, which is the shortest means of messaging in the world, have presented a social, iconographic and descriptive view, influenced and emphasized on cultural and social roots, in the representation of Corona, and it is possible to express layered signs. Moreover, visual codes have provided the possibility of a special reading for the audience to create meaning in this discourse process by placing signs next to each other. The main and central points in the visual message are conveyed through symbolic signs and reproduction of some of the conditions of perception that are related to normal perceptual codes. In fact, we find a series of images that refer to certain codes. Here, the analysis of the artist's works was done by using visual signs and reading them according to Umberto Eco's ten codes, which can be said that these ten codes were not used in Kambiz's works of drama, sensory, identification, transference, and tone. And, the theory of expression is seen more, while in the works of Shojaei, the sensory codes, recognition and tone are completely evident, and only transferable codes are not seen, and all of them inspire the audience with the hope of destroying the dreaded corona virus with all kinds of available ways.

Ornaments constitute a broad category of cultural artifacts that serve decorative, luxurious, and occasionally functional purposes. Beyond their material and financial significance, certain types of ornaments fulfill everyday, ritualistic roles, symbolizing the cultural identity, beliefs, and the ideologies of societies while they reflect the craftsmanship and aesthetic sensibilities of artisans across different historical periods. Among these regions, the city of Shushtar, formerly the capital of Khuzestan province, has historically been a significant center for ornament production. Due to the cultural diversity of its inhabitants, the city's ornaments exhibit a distinctly multicultural character. This research seeks to examine the factors contributing to the development of this multicultural perspective in Shushtar’s handicrafts. It also explores the nature of the ornaments produced within this context, aiming to identify the decorative elements and shared cultural meanings embedded in Iranian craftsmanship with a particular focus on Khuzestan region, Shushtar, and its surrounding areas over the past century.

The present research is categorized as a qualitative and ethnographic study. One characteristic of ethnographic research is the detailed description and analysis of culture in its broadest sense. Among the various approaches to ethnography, this study adopted an interpretive and participatory approach. Data collection methods included listening to conversations—following the communication ethnography model—alongside field observations, visual documentation, interviews, and library research. Furthermore, artificial intelligence tools were employed in line to explain and enhance the theoretical framework with the latest APA style guidelines. Both in-text and external citations adhered strictly to these standards. Analysis of the conversations revealed that multiple factors—such as environmental conditions, the multicultural nature of the region, and the beliefs of its inhabitants—have significantly influenced the development of various types of ornaments in Shushtar. Consequently, relying on multicultural theory, the findings of this research are presented through descriptive and analytical methods, supported by visual evidences and a semiotic analysis of ornaments within their cultural contexts. The sample was selected purposefully, comprising a total of 55 items to ensure a comprehensive exploration of the subject matter.

The city of Shushtar, which served as the center of Khuzestan province until the early 1300s in the Persian calendar, boasts a rich and enduring cultural history alongside its urban legacy. This heritage is exemplified by landmarks such as the Sasanian water management system, the renowned production of exquisite fabrics like silk and brocade, and the city’s authentic architecture and traditional urban fabric. Due to its central position and extensive internal and external interactions throughout history, Shushtar has been a hub for the movement of people and the flourishing of various arts and crafts, including handicrafts and ornaments. The trade relationships of Shushtar’s inhabitants, particularly with India in earlier centuries, remain prominent in the collective memory of the city’s ancestors.The convergence of diverse ethnic groups, especially Bakhtiari and Arab communities, with their distinct and profound cultural roots has played a pivotal role in shaping the city’s cultural and artistic identity. This multicultural environment has led to the creation of ornaments that appeal to the tastes of Shushtari, Bakhtiari, and Arab communities. These ornaments, some of which are introduced in this study, highlight not only the exceptional craftsmanship of Shushtar’s jewelers but also the cultural convergence evident in the production and consumption of both durable and decorative goods. This cultural synthesis preserves the intrinsic values of each contributing culture while fostering shared artistic expressions.The ornaments reflect the dynamic and ongoing interactions between the core and peripheral cultures of the region, which resonate deeply with the inclusive and collaborative spirit of Shushtar’s people. These interactions have resulted in the creation of enduring adornments that embody cultural exchange and harmony. Examples of these adornments include the Ben-nay, Chalaab, and Hand Bracelets specific to the Bakhtiari, Arab, and Shushtari communities, respectively. Additionally, ornaments used jointly by Bakhtiari and Arab communities such as Zagour and Khokhe as well as other unique items like Chaf al-Badeh (Abuloozeh), earrings under Shileh-Dala'eh (crafted in gold or silver with colored beads), Azmam, Gatar, Gabkab, Shaa'eh (Arun), Tawg, Maskereh, Qabchi, and Zamen, illustrate the rich tapestry of cultural artistry in Shushtar.

The residents of Shushtar are a blend of diverse cultures, including Shushtari, Bakhtiari, and Arab communities, who have coexisted in the city and in its outskirts through various fluctuations in history. As the center of Khuzestan until approximately a century ago, Shushtar’s illustrious history in fabric and garment production and trade significantly influenced its artisans, particularly its ornament makers, establishing their reputation as highly skilled craftsmen. These artisans, adhering to traditional practices, created a variety of decorative items, life necessities, and objects imbued with dualistic or religious significance. These included talismans and evil-repelling artifacts, tailored to the diverse tastes of the city’s multicultural populace. This population, shaped by a fusion of cultures partially influenced by the region’s geography, embodies what theorists describe as cultural integration. Over time, these communities have cohabited and cultivated shared traditions. In this sociocultural milieu, ornaments like the Bannai, Chelab, and Hil bracelets—used respectively by the Bakhtiari, Arab, and Shushtari people—or shared items like Zagur and Jorkheh, exemplify the multicultural demands of Shushtar. The production of these ornaments underscores the concept of ‘cultural convergence,’ highlighting the blending of distinct cultural practices into unified expressions. Beyond their decorative functions, many of these items served as talismans to ward off evil or misfortune. Examples include pins with both aesthetic and protective purposes, handkerchiefs, clip pins, and tekke bands. Additionally, body ornaments such as bracelets, earrings, chestpieces, anklets, and rings often carried dual roles, combining decoration with symbolic or protective functions. Ornaments affixed to clothing also demonstrated a remarkable variety. Even seemingly minor and insignificant items were crafted with meticulous detail by Shushtar’s ornament makers. These types of adornments appear to have been primarily used by the urban population of Shushtar. While reflecting the dominant cultural tastes of the Shushtari, Bakhtiari, and Arab tribes within the city or in its surrounding, the individual artistry and stylistic preferences of the ornament makers often prevailed. Some of these ornaments bear names that are less familiar today, a testament to Shushtar’s multicultural roots. Furthermore, the presence of ornamental designs on seemingly trivial objects such as footstones or the metal components of fans, attests to the enduring tradition of decoration in Iranian art. This tradition, rooted in the cultural convergence of Shushtar, has ensured the continuous demand for and the appreciation of artistic embellishments in this unique multicultural city.

In recent years, artificial intelligence has created significant developments in various artistic fields, including architecture, cinema, music and other artistic fields, by providing innovative facilities, tools and techniques. Especially in the field of visual arts, it has caused the creation of significant works of art, whose nature requires a more detailed evaluation and understanding. Therefore, like any other transformative technology, the integration of artificial intelligence in the world of art and its undeniable role in the creation of works of art raises many questions and considerations that may not have been carefully examined until now. Among the most important of these questions comes back to the performance of artificial intelligence in creating an original work of art. Specifically, the question of whether artificial intelligence can create works equal to human works of art? Since AI is algorithm-based and often trained on existing art, can its output be considered a creative and authentic work of art?Therefore, the main goal of this article is to investigate the performance of artificial intelligence in the production of original works of art. Artificial intelligence is closely related to behaviorism, as one of the most important theories of philosophy and psychology. The emphasis of this theory is on performance or "observable behavior" as the main focus of understanding and analysis. Therefore, in this research, the performance of artificial intelligence is evaluated based on this approach at the level of behavior. For this purpose, the approach of behaviorism and its connection with artificial intelligence will be briefly discussed at first. Then the Turing test is described as a central test in the field of artificial intelligence. This test provides a behavioral criterion for measuring the intelligence and creativity of the machine. In the next section, two categories of works of art will be evaluated according to the behavioral criteria of the Turing test and considering the main elements of original works of art. These two categories include works produced by artificial intelligence and works created by humans. In this way, by using different sources, data related to art works from artificial intelligence are collected and described in a qualitative way. Then these data are compared with the elements found in human works of art and are analyzed based on the main criteria of the Turing test. This review provides a good basis for evaluating the machine's performance compared to humans.As mentioned, in the present research, in order to investigate the performance of artificial intelligence in creating an original work of art, firstly, the approach of behaviorism and its relationship with artificial intelligence is explained. Behaviorism is a school of thought in philosophy and psychology that claims that mental states such as thoughts, feelings, and beliefs can only be understood in terms of their relationship with "observable behavior". According to behaviorists, behavior can be explained based on causal relationships between environmental stimuli and behavioral responses. The focus of this research is on philosophical behaviorism. Philosophical behaviorism, also known as logical behaviorism, is a theory about the nature of the mind. Behaviorists in the field of philosophy also believe that mental states can only be explained in terms of behavior. In other words, mental states are only descriptions of certain types of behavior. This approach originated from the works of philosophers such as Gilbert Ryle and Ludwig Wittgenstein.From the 1950s until now, the connection between behaviorism and artificial intelligence was formed. Although these two may seem different from each other, they both pay special attention to "observable behavior". The initial research of artificial intelligence was influenced by the principles of behaviorism. For example, the Turing test, which is one of the most popular artificial intelligence tests, is basically a behavioral evaluation. Just as behaviorists consider the only valid data for studying the mind to be "observable behaviors," the Turing test also shows that a machine can be considered "intelligent" based on its "observable behavior" regardless of its internal processes or understanding. Therefore, this test provides a suitable criterion for measuring intelligence based on performance and "observable behavior".The Turing test is conducted through a question and answer process. A human evaluator or judge asks an unseen audience, either a human or a computer, through a text and with a computer, and based on the answers, he must determine whether he is talking to a human or a machine. If the judge cannot distinguish the machine from the human in the answers he receives, it is said that the machine has passed the test successfully. The results of this test depend on how much the machine's answers to the questions are indistinguishable from the answers given by a human or how similar they are to human answers. In this section, the performance stages of the Turing test are formulated as follows:Input behavior: the evaluator provides data to the machine and asks for an output from it.Output behavior: Then the machine responds to the input. This answer is "observable behavior" in this context.At the end of this section, in order to take advantage of the main criteria of the Turing test in order to evaluate the performance of artificial intelligence in the creation of artwork, a new formulation of this test in the field of art is presented, which is as follows:Input behavior: The programmer provides data related to the creation of the artwork to the machine and asks it for an artwork.Output behavior: Then the device produces the artwork in response to the input data. The output of the machine is "observable behavior" in the context of art.In the next section, first, the main elements of the works of art created by humans are listed as "observable behaviors". These elements provide criteria for measuring the artistic performance of artificial intelligence and include: form, content, style, context, intention, impact, innovation and novelty, complexity and depth, adaptation and evolution, individuality and uniqueness. These elements can interact in complex ways to create a rich and multifaceted work of art that engages the viewer's senses, emotions, and intellect. Therefore, they can be evaluated as "observable behaviors" in the works produced by artificial intelligence and compared with human art.In the following, the main components of a number of works produced by artificial intelligence are compared with the components in similar works of art created by humans. In this section, according to the main criteria in the theory of behaviorism and the Turing test, which only focus on "observable behaviors" rather than mental processes, it will be evaluated that the elements of the works of artificial intelligence as "observable behaviors" to what extent and in what ways are similar to the elements in human works of art. In addition, to what extent artificial intelligence has been successful in creating a human-like behavior in order to create a work of art.By comparing the work of Tom White and Wassily Kandinsky's machine, it can be seen that both of them turned to abstractionism in the creation of works of art, and with this method, in their works, they revealed new concepts in relation to visible reality. By taking a creative approach, Gene Kogan and Jackson Pollack have abandoned the usual traditions to create original works of art; They have found art in many things that are not in the art scene or do not even call themselves art. Obvious’s machine and Caspar Netscher consider realism in their works. Light is considered one of the basic elements of their images, as its intensity and angle of radiation emphasize the inner power of the portrait in their paintings. paintings by Robbie Barratt’s machine and Claude Monet are both in impressionism style. The elements in their works have vague and often abstract lines. The colors have been combined with each other in such a way that they have created a soft surface and cover, and the way of using natural light in their paintings has made them attractive.To pass the Turing test, the only thing that was considered was how close the answers of the machine are to the answers of a human. In this research, just like the hypothesis that was raised in the Turing test, by evaluating the similarities between the works of artificial intelligence and humans, it is shown that machines have the same "observable behaviors" as human artists in creating works of art. to be Therefore, they pass the Turing test successfully. Therefore, they can be considered intelligent. In the present research, the result is that artificial intelligence can express itself effectively and with a distinctive style in terms of "observable behavior" in the creation of artwork and create original and creative works, just like human works.

As one of the important occupations, cloth weaving played a significant role in the economy, culture and social conditions of Iranian society in the Safavid era. Due to the support of the court and rulers, this profession experienced significant growth and development. The expansion of textile workshops and the gathering of artists in these workshops caused valuable textiles to be remembered from this period. These textiles were often used to supply the clothes of courtiers, luxurious curtains, and royal tombs. Textiles that seem to be neglected today and forgotten after the Safavid era. Based on this, the aim of this research is to identify the weaving method of a sample of Safavid period fabrics kept in the Metropolitan Museum. To make the weaving method of this fabric a technical analysis. The collection of information in this research was in the library and field. To achieve this goal, it has been done using a descriptive-analytical method.The findings of this research show that in the Prince and Asir fabric, for the implementation of the pattern, the atlas-finish type of weave is necessarily used, and the method of pattern implementation is in the form of a train. (Rupport 1/2 Rotating Adjective).

In the 20th century, the changes that occurred in the field of art along with the advancement of technology and technology provided the ground for the presence of contemporary art. Today's art world requires a different expression. Contemporary art was formed in contemporary society with regard to new concepts and without relying on common traditions. The field of culture, art and industry is constantly influencing each other and the change and evolution of each one has a direct effect on the other. In this research, the relationship between art, culture and how contemporary art works is examined from the perspective of the theory of formation and reflection to answer the question of what is the effect of contemporary art on cultural formation and the effect and action of these two categories on each other?

The research method is based on descriptive-analytical nature and the method of collecting information is library.

The results show that contemporary art can have the aspect of creating culture and awareness in the society and at the same time express the problems of the society and existing social concerns.

Therefore, it can be posited that, based on the attributes of this form of art and the presence of a reciprocal interaction with society, it serves as a reflection of societal norms and holds sway over both the viewers and the development of cultural norms. Indeed, this art form originates from the core of society and exerts an impact on its inhabitants.

Globalization has various aspects and fields, one of the most prominent aspects of which is the globalization of art and culture. Meanwhile, the investigation of contemporary art is of interest as one of the most powerful and influential tools and one of the components of cultural flow in the context of globalization. In the contemporary era and in line with the phenomenon of globalization, the definitions and interpretations of art have completely changed. The purpose of this article is to study the importance of studying the ability of contemporary arts in the discourse of cultural identity and to answer the question of what role Iranian contemporary art has played in the cultural discourse in the field of globalization. The research method is based on the descriptive-analytical nature and the method of collecting information is library and documentary. The method of information analysis is also qualitative. The results show that Iran's art has a high economic potential so that it can play an important role in increasing the national GDP. Based on this, the global cultural supermarket will take the place of local cultural elements by offering different cultural and media goods, and the cultural identity will become the identity of the market. The feeling of belonging to a nation or tradition, with the idea of free choice in the market economy. is replaced Of course, it should be noted that languages, personal relationships, and religious, ethnic, and political ties stand in the way of the expansion of global integrated culture, and it must be said that cultural globalization affects popular culture and political culture. It is on each other and has the ability to play an important role in the globalization of contemporary Iranian arts by influencing the discussion of cultural identity.

What makes a new ontology essential for today's theatre is the need for fundamental change in all aspects of this phenomenon. To respond to this need, side reforms do not help preserve theatre's status as a liberating art. This new ontology, addressed here as divergent theatre ontology, attempts to provide a new abstract intellectual framework for this issue before making any differences. To form such an ontology, mathematics can be used. In this method, mathematics can be used as an ideology framework. Considering that mathematical variables can be transferred from the field of symbology to the field of semantics, by turning into macro-theatre situations, each of the mathematical situations, allows the possibility to propose new hypotheses for theater by using mathematical theories.  This research aims to primarily present a specific form of an ontology of today's theatre as convergent theatre and to additionally express the new form using the mathematics of divergent theatre ontology and ultimately showing that any liberating aspect in theatre requires an infraction of the rules of convergent theatre and achieving some kind of divergence in theatre.

Aesthetic architectural reading refers to the interpretation and analysis of an architectural work or architectural concepts. This process involves understanding and interpreting the multiple elements of architecture such as form, space, material, light, and structure. Architectural reading is not limited to describing and interpreting the physical characteristics of structures and buildings; it also encompasses an understanding of their role in social, cultural, historical processes, and even their relationship with the natural environment. Contemporary architecture based on object-oriented ontology pays special attention to the human experience of the environment and space. In this approach, environments and structures are considered as central objects in architecture and have a profound impact on human experience and behavior. Contemporary architects strive to design environments and structures in a way that influences human interaction with them and enhances the architectural experience. In this approach, architecture is introduced as a means to create sustainable interaction between humans and the environment. The importance of this perspective lies in making the relationship between humans and the environment more experiential and emotional in architecture. Environments are designed in a way that allows humans to establish a close connection with them, and in interactive environments, they can experience engaging and unique experiences.

The contemporary world is characterized by the emergence of new media, marking an era in which media has become an indispensable component of human existence. In today's society, the pervasive presence of novel communication technologies has bestowed significance upon various facets of life. Notably, new forms of artistic media hold a crucial position in the realm of art education and the advancement of culture. Modern artistic media, encompassing video art, layout, photography, conceptual art, digital art, performance art, and more, play a particularly pivotal role in the realms of education, presentation, and the introduction of artistic works and culture within society. This research endeavors to examine the role of new artistic media in cultural education and the promotion of urban society, aiming to address the following question: How do new artistic media contribute to cultural education and the advancement of urban society? The objective of this article is to enhance our understanding of modern artistic media and evaluate their efficacy within the realm of education and culture in society.

Employing a descriptive-analytical research method, this study relies on library and documentary sources for data collection.

The findings indicate that, facilitated by technological advancements and the ability to reproduce artworks, new media possess the potential to exert a significant impact on education and culture within society. This research can serve as a valuable tool in increasing the visibility and public awareness of new artistic media, thereby fostering improvement within urban societies.

By recognizing the capabilities of new artistic media, we can progress towards the production and development of culture, education, and the overall prosperity of society.

Fritiouf Schwan (1907-1998) with the Islamic name of Sheikh Isa Nuruddin Ahmed, is a Swiss thinker of German descent and one of the most important figures of the traditionalism movement. Schwan's artistic image originates from the awareness and encryption of the absolute. Shuan believes that beauty shapes the external or material space, but virtue creates the inner space of the soul. This article tries to examine Schwan's philosophical view of art from the perspective of the transition from the tangible world to the sensible world in the works of Iranian painter and poet Sohrab Chachri and tries to answer the question of the perceptible world and the sensible world according to Schwan's interpretation in Sohrab's works. How does sepehri appear? This article is of the type of fundamental and theoretical studies, and in terms of the data analysis method, it is descriptive and analytical; In fact, this article tries to describe Schwann's opinions about art, then Sepaheri's works (poetry and painting) by focusing on the concept of the transition from the tangible world to the sensible world in appeal to metaphysics, ontology, anthropology, the beauties of existence, and prayer. analyze In this regard, selected samples of Sepehri's poems and paintings have been randomly selected.

Problem statement: 

The increasing use of artificial intelligence in the field of visual arts has led to the creation of innovative and diverse works of art. However, despite the widespread interest of artists in using this technology, its place and importance in creating an artwork has not been carefully evaluated. Among the central questions in this regard is the role of artificial intelligence in the formation of original works of art.

The purpose of this research is to investigate the role and importance of artificial intelligence in creating original works of art. For this purpose, the works of Harold Cohen, who is one of the pioneers of using artificial intelligence in the art of painting, will be evaluated. Therefore, in the first part, the concept of artificial intelligence is briefly stated. Then the Chinese room thought experiment, which is one of the most prominent tests related to artificial intelligence, will be used as a tool to check the performance of the machine "AARON", created by Harold Cohen. In this test, "creativity", "awareness" and "experience" will be evaluated as the main components of producing original works of art. In the following, problems related to the role of the mentioned components in the performance of AARON will be listed. Finally, an attempt is made to present a new formulation of these fundamental concepts, despite the flaws in the works produced by AARON, it has an undeniable role in the creation of the artwork.

In order to evaluate AARON's performance in the formation of the artwork, this research considers John Searle's approach and his Chinese room argument.

Artificial intelligence plays an important and undeniable role in the production of original, innovative and creative works of art.

In the shadow of the attention of the Safavid kings, various art schools were formed in Iranian painting; The first painting school of this era in Tabriz, with its background from Herat, led to the creation of many illustrated manuscripts, including the Shahnameh of Shah Tahmasab. In the light of the security and attention of the government of Shah Abbas, the city of Estrabad became prosperous and prosperous, and although it could never achieve the prominent position of the art schools of the important cities of that time, it was noticed by the masters of art and became the owner of its style and school of painting. In the Estrabad school, significant works of painting have been identified, most of which are in the British Museum, Topqaposara Museum of Turkey, and Indian Museum, and of course 15 paintings from a copy of the Shahnameh were also found in the Malek Museum of Tehran, which have not been identified and researched so far. The current research aims to identify and investigate the above paintings, in addition to identifying and introducing environmental elements in the paintings of the Estrabad school, some examples of them are evaluated and compared symbolically with the paintings of the Safavid Tabriz school. The present research employed a qualitative method. Selective sampling was employed to choose the samples and data were analyzed descriptively and analytically. The question that current research seeks to identify environmental factors that contributed to the formation of Estrabad school. The selected samples, including five of the 15 paintings in the Malek Museum of Tehran, were examined and compared with the paintings of the same subject as Tahmasbi’s Shahnameh. The results indicate that the Estrabad school has grown though it has been faithful to the experiences and traditions of its predecessors, and besides its unique differences with other art schools of the era, it shows the Safavid intellectual trends in showing glory, power, greatness, and natural gifts. Major environmental elements in the Estrabad school distinguish it from the Safavid Tabriz school and have its distinct environmental characteristics.

Problem:

 A look at the history of the presence of art in public spaces shows that with the change of the paradigm of public art from artist-oriented art to the creation of society-oriented art and audience-oriented art, the choice of the type of public art and the environmental qualities affected by it appear more important. What threatens urban spaces today is the weak connection between the building components of a place, which cannot meet the needs of citizens.

Target: 

The current research aims to investigate the effect of visual art on environmental quality and tries to create the necessary environmental quality in the design of future urban spaces by experts.

This research is developmental-applied in terms of type, and in terms of method, it has a nest-to-nest combination. To answer the research question, the qualitative research method is used in a nest-by-nest quantity. The statistical population is divided into two quantitative and qualitative parts. In the qualitative group of the statistical population, there were 14 experts who were selected by the snowball method. In the statistical population of quantitative research, the sample size is 180 people based on Cochran's formula and random sampling.

The analysis of the results indicates that according to the results of multivariate regression, the component of visual richness with the value of (1.000) has the highest factor contribution, in the second order, the component of enjoying the environment with the value of (0.920) And the lowest is related to the component of improving the individual sense of belonging with the value (0.244). The special attention of urban designers regarding the structure of spaces and the use of extraction measures from the impact of visual arts components in urban spaces in different scales can increase the quality of urban environments.