فرم

Even though there are existing capacities in the idea of referentiality based on the notion of index to establish a relationship between the concept and the three components of form, content, and context, a comprehensive study in this field has yet to be fulfilled. Thus, this study aims to develop a codified theoretical framework based on the idea of referentiality, whose indicators can explain the references of architectural concepts.

  Using the logical argumentation method, through a qualitative and documentary study, the existing models related to the formation methods of architectural concepts were examined and compared. Data were collected through a systematic review of the literature. Data analysis was performed based on an analytical-interpretive qualitative procedure that included two stages of extracting descriptive propositions and text analogy.

The result is a theoretical framework with 42 indicators categorized into three main components: form, content, and context, as well as six sub-components: formal composition, transformational evolutionary process, meaning aspects, spatial program, the natural potential of context, and man-made potential of context.

If the architectural concept is regarded as signified and the determining agents as signifiers, then the effective agents in its development can be thought of as references that can be explained using indexical interpretations. According to this explanatory system, the determinate agents that progress the process of conceptualization can be explained as formal-references, contentual-references, and contextual-references in a major classification.

"Ajaibnamehs" are one of the conventional traditions of Islamic historiography rooted in the oral culture of the people and are considered a kind of visual encyclopedia. The statistical population of this article is the two copies of Ajaib al-Makhluqat and Ghareeb al-Mujudat Qazvini (11th and 10th century A.H. versions) from the Organization of Records and the National Library of the Islamic Republic of Iran and the National Library of France. This article, in line with the goals, seeks to answer these questions: 1. How many types of strange creatures are there in Qazvini's two versions of Ajaib al-Makhluqat and Ghareeb al-Mujudat (11th and 10th century AH)? 2. Aspects of commonality and formal difference (taking into account the classification in question 1, what are the two versions of the research subject? The results indicate that the types of creatures in the manuscripts under study include: humans, animals, plants, constellations, divine stories and narrations, and strange and bizarre creatures (combined). The similarities and differences between these two manuscripts in terms of color, the way of drawing elements in realism and moving away from realism, visual details, the use of imagination, the style of penmanship, the use of narrations in the text of the original manuscript, and fidelity to the text can be traced.

The Al-Ghadir Mosque in Tehran represents a unique type of modern mosque in Iran that showcases a transformation in architectural styles. This study aims to explore the factors and dimensions of this transformation in the Al-Ghadir Mosque. Utilizing a descriptive-analytical research method, the analysis was conducted using SPSS software and multivariate regression testing. The findings reveal that the form transformation of this mosque has created a flexible space usable for purposes beyond just a mosque. Additionally, the adherence to principles of past architecture, without considering contemporary needs, is a design weakness that has been overlooked. The results indicate that the design principles of the Al-Ghadir Mosque represent an intermediary model between traditional and modern architecture.

Architectural concepts have been continuously reviewed and critiqued throughout history. Form, as a fundamental and primary concept of architecture, has always had a direct impact on architects' designs. It reflects the value system and is considered one of the foundational aspects of architecture. The term “morphing” originates from the word “form” and refers to the transformation form from one shape to another while maintaining continuity and adopting a new state. In fact, morphing signifies the transition of geometric shapes. The Porto Music House, designed by Rem Koolhaas, is considered as a case study for examining the morphing architectural style. Koolhaas is an architect known for embracing the impossible, as well as designing and executing diverse buildings in different styles. The Porto Music House is his most successful work and is critically reviewed in this research. This study highlights the significance of exploring how educational services redefine the way audiences interact with cultural institutions and, more broadly, with artistic performance and creativity. The current research investigates morphing architecture and the factors affecting the formation of the Porto Music House. The current research will be redeveloped with descriptive and integrated method of "quantitative" research from theory to case study, "qualitative" from study sample to theory of concepts. The analysis carried out between the morphing principles and the Porto Music House reveals that the design of Casa da Música represents morphing architecture. The elements of this style —such as transformation, continuity, complexity, and integration— can be clearly seen in this building.

Problem statement: 

Bergson’s Duration is adding a qualitative aspect to the perception of time and in fact, removing the quantitative aspect and space of time. This view of Bergson prompted Deleuze to show a narration from Bergson’s Duration from classical cinema to modern cinema in two books, “Cinema 1” and “Cinema 2”, with a historical look at cinema as an image of modern man. He shows how classical cinema indirectly and modern cinema directly can do this narration. He did not make a distinction between form and content elements in explaining how this narration is happening. The article tries to evaluate this narration by separating all cinematic formal elements from each other and only emphasizing formal elements in Bela Tarr’s cinema.

The article seeks to reach the possibility and manner of narrating time as a Duration through the formal elements of Bela Tarr’s cinema.

After explaining Bergson’s theory with Deleuze’s interpretation of it, which was made using library sources, and after seeing all the Bela Tarr’s works, the article isolated (Epoche) all the formal elements of his cinema from other formal elements with a phenomenological method, and the effect each of these elements has been measured on the narration of Duration.

The article shows that Bela Tarr’s cinema has the ability to narrate Bergson’s Duration due to its purely formal elements. These formal elements are two categories: structural and non-structural. The non-structural formal elements in Bela Tarr’s cinema activate Artistic devices that in the first step, provide a foundation for the narration of Duration, and in the next step, due to the existence of the Boredom Artistic device and non-structural formal elements that lead to this Artistic device, they make it possible for the audience to perceive time as the Duration.

Reviewing Iranian dramas shows a constant effort to create new narratives, but clearly, the results do not completely fulfill their goals due to two major reasons: First, they provide examples which are not within our literary and cultural boundaries (which, at best, has no achievement other than repeating the same western narrative forms and is not very compatible with the taste of Iranians); And more importantly, they try to choose a so-called non-native theoretical framework and apply it to Iranian storytelling, even though the Iranian mindset is completely different from Western epistemology in analyzing and explaining an artwork. Regarding this problem, the current research intends to take a step toward presenting a new strategy for creating an Iranian narrative or drama. Adopting a descriptive-analytical method, we will first build a theoretical framework based on the opinions of one of the prominent local experts, Qasim Hasheminejad, who has made a special effort to formulate an Iranian analytical apparatus concerning both fields of fiction and drama. And secondly, regarding examples, our basic assumptions will be "mystical stories". The findings of the research show that by looking at the essence of Persian literature, its characteristics, and manifestations; it is possible to reach the depth of its tremendous capacities that are evident in the analysis and examples. An art whose inherent distinctive, compared to the characteristics of Western art, makes it unseemly and unpleasant to cover it with a non-Iranian cloak. Apart from its unitary nature and its inner purpose in knowing the eternal beloved; mysticism has expressive, narrative, and even dramatic qualities that can be used as a way of creating new narratives (based on Iranian taste), leading to create “national drama”. A native self-originated drama that is not a follower or copy of any other culture. Among the dramatic qualities in these types of stories, we can mention the course of actions used in the opening, narrative structure, state of the situation, dialogue processing, brevity, theme expression patterns, documentation, believability, and finally the explosive aspect of the ending.

The variety of forms of tombstones in the Islamic era, along with their motifs and pictorial signs, reflects the beliefs and values of the deceased and their society. This diversity of form and role in the tombstones of the northwestern region of Iran is particularly rich due to the presence of more Seljuk, Ilkhanate, Qara Qoyunlu, Aq Qoyunlu, Safavids, compared to other regions. This research employs a descriptive-analytical and historical approach, using field and library studies, to answer the following questions: 1. What are the structures and corresponding historical periods of the tombstones found in Eastern Mokryan cemeteries? 2. How do the motifs used on the tombstones relate to the deceased individuals? 3. What symbols are present in the inscriptions on the tombstones of Eastern Mokryan and do the existing inscriptions have historical roots? The conducted studies reveal that these tombstones can be categorized into the following groups in terms of form: Mihrab design, elevated, stone ram, cradle or flat, box, Dome-shaped and simple. The form of tombstones, is influenced by both society and culture, as well as religious and sacred architecture. And the motifs hold specific symbolic meanings, shaped by the regional culture, beliefs, and the historical context of the time and place.

It is very important to investigate and recognize the space-sound, time-weight and formal infrastructures in the Dastgah system of Iranian classical music. The topic discussed in this research is the investigation of formal infrastructures in the Dastgah Shur from Ali Akbar Shahnazi’s Advanced Radif, which is considered one of the important repertoires of this field. The form can be examined in three structural levels "macro", "middle" and "small", this research is especially done at the small level. "Tone", "figure", "motif", "phrase", and "sentence" are structural units that make up the smallest level in a piece or "Gushe", in which the composer or musician can present their musical ideas. Citing reliable sources, the author describes each of these units and redefines them in a phenomenological way based on the level of the Advanced Radif and gives examples of the mentioned repertoire for each. Among all the units, some have high frequency and appear many times in the structure of the Gushe, these units are considered to be the characteristics of this Dastgah and especially the special style of phrasing of Ali Akbar Shahnazi. This research is also aimed to introduce Ali Akbar Shahnazi and his career. "Independent phrases", "type two-phrase sentences", "type three-phrase sentences", "sentences with more than three phrases", "expanding sentences", "compound sentences", "modulating sentences and phrases" and "phrase groups" are formal units extracted in this field of research, among which "independent phrases" have the most frequency indicating Ali Akbar Shahnazi's special phrasing style. Pieces and formal units can be classified into three groups: "based on the motif", "intermediate" and "free form". 14 of the 22 pieces of the Dastgah Shur use motifs in their structure, and among the formal units, "motif sentences" have the highest frequency. Therefore, it can be concluded that the structure of the Dastgah Shur of Andvanded Radif passion and especially Ali Akbar Shahnazi's phrasing is "based on the motif". Another aspect of this research is to investigate the role of notes in the formation and degree of finality of formal units. In the modal regions of the Dastgah Shur, the "Shahed" note is considered strong and "stable" in terms of closing power, and other degrees are considered "unstable" and weak.

The term “kitsch” in the 1860s to the 1870s was used by the painters and art dealers of Munich in order to present weak works of art. But after the first decades of the 20th century, kitsch became an international term. On the other hand, Andy Warhol was a leading American artist, writer, photographer and filmmaker and one of the founders of Pop Art in the 1950s. In the United States, he was one of the most well-known figures of Pop Art and had avant-garde ideas. The purpose of this research is to expand the concept of kitsch in art and to analyze the typological concept of kitsch in the works of Andy Warhol.The main research question is how to analyze the typology of this concept in the works of Andy Warhol. In this regard, the research method is based on qualitative content analysis, using coding with an inductive approach. In this research, firstly, the terminology and genealogy of the concept of “kitsch”, then, the opinions raised about the aforementioned word have been examined and an analytical classification of these opinions has been given. Following that, in order to understand the ways of producing kitsch in the work, a typological analysis of the concept of kitsch in Andy Warhol’s works has been done. The results of the research show that kitsch always refers to the concept of “aesthetic inadequacy”. Furthermore, in this era, the work of art often becomes a mere commodity. The work of art becomes an everyday thing and the everyday thing becomes art. In addition, two types of kitsch based on content and kitsch based on form can be explained in Warhol’s works. The content-based kitsch strategy includes the representation of the banal and the reproduction of everyday images, and the form-based kitsch strategy includes the banal technique, collage, reference distortion, accumulation and repetition.

The form is a multi-meaning concept. It is the interface between the inside and outside through two aspects: the inner and outer space, the human body and physical form. This interface operates on three levels: physical-environmental, functional-behavioral, and perceptual-semantic. These aspects are often overlooked, but visual effects play an important role in the design process. So, it is necessary to develop a logical model and precise indicators as an advisor. On the other hand, the connection between "form" and "what is not a form" can explain this concept. The objective of this paper is to identify indicators for designing that establish a multi-level relationship between the objective aspect (appearance) and subjective aspect (meaning), clarify the concept of house form, and enhance the possibilities in the relationship between inside and outside. So, the fundamental question is: which indicators of house form provide the probability of a multi-level and multi-meaning relationship between the inside and outside in design?The research approach is qualitative. In accordance with analytic induction, a content analysis method is used to code the contexts that refer to modern and postmodern architecture. First, a logical model for form is created through literature review. The relationship between appearance and meaning is established through the levels of house components. These multi-level components respond to the object-subject duality and reflect the multi-meaning concept. Second, the coding is done based on this model in three steps. The purposive sampling for coding is done by linking "form" and "what is not a form" to discover a wide range of meanings related to form.Six categories are derived from coding contexts. The form design indicators are created by aggregating, comparing, identifying similarities, adding, and reducing their subcategories. The indicators are explained in three clusters: 1. indicators of borders; 2. indicators of thresholds; and 3. indicators of surfaces. This attitude is based on the complexity of a multi-level and multi-meaning concept. The indicators of borders include creating delay space, creating depth of mass, combining different planes within the borders, multi-shell of mass, and flexibility and adaptability of borders. The indicators of thresholds consist of the similarity and continuity of the transition region, the significance of light penetration, supply needs, soft connection, and the arrangement of border shapes and passage patterns. The indicators of surfaces include unity, identity, balance, embodiment, and non-prescriptive ornamentation. The similarity of the discussed indicators lies in their ability to enhance both visible and invisible motivation in the architectural design of a house. They aim to create a soft transition hierarchy between inside and outside, repeatation in the perception of the mental image, and integrate visual, dynamic, and sensory elements to achieve a multi-dimensional effect. The indicators affect each other. The border indicators generate the inner portion of the threshold and surface. The surface indicators determine the appearance of the surface and the threshold. The indicators of threshold are the mediation of borders and surfaces. This approach to form causes events to generate meaning.

The rest is the maker of music next to the sound. Music begins and ends with a long rest. In a piece of music, the rest being placed between sounds connected, makes them sound like a phrase. Also, the form of many musical pieces in its entirety is shaped by the role of rest as a separator of parts and sections. Of course, it seems that until the contemporary period, the importance of rest was not much considered by composers. For example, in the contemporary period, many composers specify the rhythm of rest precisely between the movements of their music so that there is no large break between the movements and the musical flow is not delayed. Contemporary composers have composed music based on the expansion of rest and its various combinations along with sound; That is, instead of the rhythm of different sounds being at the heart of the musical movement, it is the rest with its different rhythms that moves the flow of music as a structural element. On the other hand, in many pieces of contemporary music, rest could always lead the listener to the correct understanding of sound events and be like a platform for them to happen, while it also might be a part of a sound event itself.

Research Questions:

 The diverse function of rest brings to mind an important question about its role from the past to this period: Whether the composers' usage of rest was completely functional like a structural element, or was it of another quality like these examples? Especially, because of the aesthetic process of Western classical music from Baroque to the contemporary period, this question could be considered in a more specific way in these periods, so that we could find out the most important aspects of the function of rest in the music. 

Research Hypothesis:

 Rest could be like music performance, and there is no difference between being written or not in the notation. Such usage of rest is the result of the performer's action to express the music and could not be a sign of the special attention of the composer to use rest in music. In such cases, which include most of the musical repertoire of the periods under discussion, the composer does not use rest as an imposed element on the musical structure; rather, rest lies in the natural flow of the music. In another type of rest, composers, especially in the contemporary period, use it as a fundamental element to shape the structure of music and consider its role as important in the form of music. An interesting type of rest that is in the absence of music or something that could be referred to as composer's rest has a special place in the investigation of the expanded quality of rest in music. The history of Western classical music shows that the flow of composition has gone from rest to excerpts and later to verbosity, to the extent that in long pieces, the listeners in their minds could feel the need for the composer's rest with its philosophical meaning, and even for moments, by not listening to music, they could create rest for themselves.

Research Literature: 

Research resources about rest in music are very limited, and there are only a few materials about the topic. For example, Habibdoost considers the concept of the unconscious idea of rest-sound in his book and defines it in connection with one of the important aspects of rhythm in the scale of a piece, i.e., the rhythm of the changes in appearance and absence of ideas. Also, in his book, Ahmadi has some controversial concepts about rest and considers it not to mean the absence of music, but an essential part of every music. In his opinion, rest finds its true importance in John Cage's music, and his piece, 4' 33" is one of the most important pieces about the philosophy of rest. In this context, Sposobin also has material in his book that shows the relationship between the composer's verbosity and rest, with the lengthening of the musical form. In his review, composers, by using mostly the sonata form for movements from the end of the classical period, gradually used the sections of expression, development, and recapitulation of themes, which required a longer time.

By examining samples of the music repertoire from the Baroque to the contemporary period, various cases of the function of rest are identified, which include the role of rest in the form of a piece, the phrasing of the music, the dialogue between vocal lines and instruments, the expansion of background to foreground, and reducing or increasing tension.

The role of rest in the form of music shows that rest on a large-scale shapes structure in a piece. The lack of it between sound categories or parts of a piece could sometimes lead to the mixing of sound elements and confusion of the musical form. Phrasing shows the clear usage of rest to make musical phrases; so, this is the function of rest, which, like a pause in a spoken word, by being placed correctly between the sounds, could make the music articulation. Placing rest between two or more vocal lines or instruments could show the expressive quality of music in the form of a dialogue between them so that the one-way flow of music from one vocal line or only one instrument in some cases could create fatigue for the listener, which is balanced by this function of rest. The expansion of music using rest is a usage that is more concerning the works of contemporary composers, and it gains meaning by bringing rest into the context of sound. Expanded rest is the exact listening of it in search of sound, which is something that has very little history in the music of previous periods. The reduction and increase of tension points to the narrative and metatextual usage of rest in music. This function creates a dramatic quality in the music and brings a sense of anticipation for the continuation of the sound flow to express the musical narrative.

The process of formation and creation of an artwork has always been the concern of researchers and artists in art studies. Also, the creation of painting has been the subject of educational programs due to its skill and technical aspects. This indicates the importance of studying the path of creation of a work. The realization of this problem is possible through formative and methodical criticism. The formation process of a text is possible by focusing on all extratextual and intratextual aspects of work and relying on objective observation and material documentation. For this purpose, taking into account the conditions and crises after the war and after a brief and comprehensive introduction of the features of Francis Bacon’s works in general and among Bacon’s countless works, a selective study and interpretation of the paintings of Francis Bacon, the famous painter of the 20th century, with the title The Pope and Pope and Owls study series are covered in detail. The purpose of the article is to discuss how to create an expressionistic content of reality in Bacon’s works and to answer the question of how Bacon, by focusing on what he has in his distinctive formative behavior, leaves a different scope of pretext that is in the number of documents of the constructive case. It is effective. The collection was done using a library method. In the following, I have dealt with the influence of the elements of color and form in creating Bacon’s works from the perspective of the elders. This article has been decoded in a descriptive-analytical way so that, finally, it leads its audience to the conclusion that Bacon was a realist painter and depicted reality in the form of expressionism and sensationalism. This shows the creativity and combination of elements and how to use tools to execute the work. For this purpose, hypertext becomes possible by studying this text’s development process and relying more on other elements around the text, including paratext and pretext.

During the Qajar era, visual elements such as paintings on Iranian pen cases (qalamdāns) underwent a transformation with the arrival of European painting. Pen-case painting, as one of the common artistic fields in this period, whose images were influenced by worldview, religious thoughts, beliefs, social and political relations and historical background, is one of the important fields for studying and discovering layers of identity found in Qajar art. Why and how the painters of the Qajar era employed the themes of the Christian world on the pen-case images is the main issue of the present research. The objective of the research is to analyze the formal and contextual impacts of the religious painting of the Christian world on the images of Qajar era pen cases. The main question is, "What effect did the European paintings of the Christian world have on the images of pen cases in terms of form and content, and what effect did they have on the visual attitude of pen-case painters of the Qajar era? The findings based on the descriptive-analytical method indicate that the images of the Qajar era pen cases were influenced by the religious painting of the Christian world in terms of form and content. From the form point of view, these effects include four main topics in implying perspective, dimension, applying shading, composition, and space arrangement, and from the point of view of content: joyful tidings, mother and child, sitting Virgin Mary, and saints, which were adopted from European images. Although the Qajar pen-case painter has used European works as models in terms of content, he has not been subject to symbols or narration, as European painters did, and has also used images adopted from the literature and folk tales on the surface of the pen cases in different frames. In some cases, these artists integrated the methods and characteristics of western works that were in line with their tastes into their tradition and created innovative works by combining old and new methods as well as combining western and Iranian painting traditions.

The art of calligraphy depends on aesthetic components that have changed over a long history, but these components are mixed with unstable formal rules. Calligraphy is a complex skill based on the rules of writing geometry, in which the importance of text and a comprehensive understanding of writing, the capabilities of the tool and the writing platform are discussed. Paying attention to each of these factors leads to the identification of a neglected aspect called fluid rules. This article takes a different look at identifying the fluidity of these rules to discover its hidden capabilities and capacities in the ranks of seeing, reading, understanding, enjoying with a special taste along with a new narrative. to be; So far, we have been faced with a kind of homogenization in the rules and principles in the evaluation of the works, and most of them have introduced the maximum observance of morphological rules along with a combination of visual beauty in the writing. In this article, the author has investigated the variety of shapes of lines from the perspective of form, character, practical and practical features, using descriptive-analytical method and using calligraphy letters and library sources. The result of this research is to know the formal capacities of lines and their capabilities in calligraphy, which can lead to the development of calligraphers and letter designers in renewing the dynamics of lines and producing mirror lines and blocking the flow of lines and fonts. destroy the new

The transformation of form in architecture in a historical trajectory has been the result of countless factors that have led to the change of principles and indicators in some situations. The purpose of the present research is to investigate the factors and dimensions of the transformations that occurred in mosques without naves during the Safavid and contemporary periods of Iran through a comparative analysis of the form of Sheikh Lotfollah Mosque in Isfahan and Al-Ghadir Mosque in Tehran. The hypotheses proposed to achieve this goal are that the mosque of Al-Ghadir in Tehran and the mosque of Sheikh Lotfollah in Isfahan are similar to each other in terms of formal structure, and the metamorphosis of the form occurred in the form of some physical and spatial indicators. The current research has investigated the metamorphosis factors that have played a role in the formation of these two works in the visible and hidden layers using descriptive and inductive analysis method. The results of the research indicate that the principles of transformation in the form of Sheikh Lotfollah Mosque have taken place due to the index of spatial geometry through rotation and change of direction and translational movement by structural and physical elements, external walls and connecting internal spaces. that in the Al-Ghadir Mosque of Tehran, which was built in the contemporary period, the principles of transformation have taken place not only by changing the form, but also by ignoring and removing the prominent elements of the mosque, including the dome and the minaret. In addition, the rectangular shape of the space under the dome and the pyramid shape of the dome are also other factors of metamorphosis.

Cinema started with short films, but the early short films did not have a specific goal or approach, but were an experimental process. This kind of filmmaking was initially constrained by the many equipment, production and distribution, the ignorance and non-recognition of the grammar of cinema and the main elements of film, including the script and the director, which were in the experimental and experimental phase. But gradually, with the development of the language of this artistic medium and the addition of sound to the image, views on short film changed. Little by little, the short film gained a special impact and realized that, as an art in its own right, it should use different approaches to attract the audience's attention. Nowadays, this type of film is no longer used to fill the breaks of feature films or productions dealing with financial poverty and lack of audience attention, and it has a special place and countless viewers in production and broadcasting. Today's short film has passed its transitional phase and knowledge, technical and technological inability play a lesser role in its productions. The short film occupies a unique position in most media such as cinema, television, virtual space and online, for several reasons: It condenses the narrative, avoids common stereotypes and breaks with repetitive formats, creates excitement and appeal, and is independent. It should be noted that film production in Iran started less than a decade late and almost as much as in many advanced countries. The experience of making short films emerged first at the court of the Qajar kings and then in the time of Reza Shah and his son, with approaches from the fields of leisure, propaganda, culture, experimentation and education, and gradually took on a public and state aspect. This process has continued after the Islamic revolution, which includes a large amount of film productions before and after the revolution in Iran. Filmmakers such as Forough Farrokhzad, Nasser Taqvai, Ebrahim Golestan, Masoud Kimiayi, etc. are examples of this trend of filmmaking. Today, the short film is out of the amateur format and has a professional nature, which is made with different educational, promotional, artistic and political approaches and with a specific purpose to attract the audience. Research in the field of short film can play a strategic role in raising awareness among filmmakers, critics and audiences, but despite the large number of short film productions in Iran, there is little research in this field. The current research has been done with a practical purpose and relying on the existing shortcomings in the field of analyzing the role of short films in Iran and determining the extent of its resonance with the audience. The result shows that the short film in Iran has two types of dedicated audiences with an artistic approach who follow the works in festivals and general audiences with different political, religious and advertising approaches. For the general audience, the type of media, be it television, network or cinema, does not make much difference.

Pottery is one of the most common Iranian arts that has always been the manifestation of various decorations by various designs. Themes in the art of pottery express themes and concepts, which ceramists have used as a platform to express their thoughts, beliefs, culture, etc. One of these themes that is common in pottery of every period and has been used many times is the theme of fish. Fish is one of the original themes that has been used in Iranian art before and after Islam as a decorative theme and according to the beliefs of the people works as a symbolic theme in various arts such as carpets, pottery and textiles, etc. By analyzing each of these valuable artistic elements, one can understand the culture, civilization, mentality, etc. of these people. Although, this role may have changed during various times and periods due to different cultural, religious, social, etc. reasons, and sometimes with a natural form and structure, and sometimes in an abstract form. Nevertheless, it has not lost its main place and has always been used as a main and secondary them in decorating works (textiles, metals, carpets, pottery, etc.). Pottery is one of the arts that is often decorated with fish. In general, a large number of pottery from the Islamic period of Iran are painted with fish. In some of these potteries, the role of fish is the main subject of the work and in some others it plays a role as complementary theme. In both cases, this theme appears in various forms, structures, compositions and has created a beautiful reflection on these works. In this study, we try to examine the fish theme visually (composition, structure and form) according to the existing images, which leads us to the introduction and recognition of fish theme in dishes and understanding of types of composition, structure, form, etc. Now these are the questions What is the role of fish in Iranian pottery in terms of composition and structure? What is the appearance and position of fish in these potteries? This research has been formed with a descriptive-analytical approach and with reference to library and internet resources. By non-probabilistic sampling method, 30 samples of pottery with fish motifs belonging to the 6th to 14th centuries AH  were elected from foreign museums and collections such as Lakma Museum, Boston Museum of Art, Brooklyn, Harvard Art, Victoria and Albert London, Louvre, David Collection and Islamic art books, Then, in tables with linear examples, the types of composition, their structure and form are studied and the results are given so their properties can be analyzed.    The results of this study show that the fish theme is very rich and widely used in different forms and designs, which shows its visual power and high value. Spatialization of the fish design is so that it sometimes can be used as a decorative element in the form of a single theme or sometimes with other themes in different locations of the picture (center, corner, whole,…) depending on artist’s purpose. According to the research and analysis based on the existing samples of pottery with fish theme from the 6th to 14th century AH, they can be divided into five types of compositions. The fish theme is depicted in five types of index compositions (1/4, circular, horizontal, spiral, vertical).1.The 1/4 composition: is seen with a few fishes often on the corner and the bottom of the image. 2.The circular composition: in the center, whole or part of the image with the number of two or more fish is displayed. 3.The horizontal composition: The fish themes along with other themes (the subject of Iranian old stories) at the bottom of the second half of the image are shown rotating from left to right. 4.Spiral composition: Covering the entire space, they are seen moving and spinning on the spiral arch from inside to outside or vice versa. 5.Vertical composition: It is displayed linearly and statically.The obtained structure shows that no division has been made about this theme, and this theme has the ability to place and spatialization in different locations of the image with various number. The form used in most samples is close to reality and its lightness, softness, flexibility, and movement direction is used to move with or without the appearance (scales, wings, mouth, eyes) and is completely abstracted in various forms. Everything indicates that there is no limit to the drawing, numbering, and placement of this theme in the natural or abstract state in all periods..

Mawwal is one of the literary arts of poetry that was created for singing. Its initial form was eloquent poetry, which gradually changed to slang with a variety of accents, especially Bedouin. It was classified as a subsection of popular music and became an improvisational musical format known as nūbāt repertoire in the Arabic oriental world (Mashriq). This research examined the history and emergence of the Mawwal and the difference about its origin, then crossed to the etymology of the term Mawwal – Mawwalia and showing all of its possibilities. Also the historical transformations of this poetical form is discussed. The musical form initially originated in Iraq in its quadrilateral form. It then transformed into an alternative form, known as the pentagonal, when it reached Egypt. Afterward, it returned to Iraq and evolved into its heptagonal form. Eventually, the musical form made its way to Syria. Since al-Mawwal al-Sharqawi (heptagonal) is the dominant Mawwal in the nūbāt performance, his literary style has been analyzed and described through dialect, terms and letters used, rhyme, enumeration of poetic verses, paronomasia or pun (similar words) and poetic content (general theme). After that the analysis of the heptagonal Mawwal as a musical form in the Syrian nūbāt was started through models of the Aleppo singer Sabah Fakhri and a comparison with the period before and after him and the differences between each period. Through this analysis, this research attempts to derive a specific musical form for the heptagonal Mawwal form in al- nūbāt, while it is an improvised form and does not have specific musical rules agreed among musicians. This research begins by deconstructing the predominant order of conducting the Mawwal parts in the nūbāt and the repeated parts in it. And then a maqam analysis of each part of the Mawwal and where the vocal and maqami peak lies and where the maqam transitions of the same maqam family or for different maqam families and reference to the stage of musical suspension and conclusion. Finally, an extract a musical form of the heptagonal Mawwal template in this way (A B A) and in more detail by indicating the numbers of the poetic parts A (1 + 2 + 3) - B (4 + 5 + 6) - A (7) is shown. This supports the fact that Sabah Fakhri relied on a certain methodology and style in the performance of his mawāwīl, where he used certain melodic and rhythmic phrases that were repeated in most of them. That is, it was based on rules taken from the heritage form, similar to the mawāwīl that preceded it within the nūbāt and greatly influenced the mawāwīl that followed it. The method of this research is deductive and historical with regard to the process of description and analysis. We have gathered fundamental data from various sources, including the analysis of musical performances, analysis of lyrical texts, observations, and interviews. These sources serve as the main foundation for this research.