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Master of Painting, Tabriz University of Islamic Arts, the painting of flowers and chickens has always been in the mind and language of Iranian artists. By representing this theme in his works of art, from pottery, metal, textiles and other hand-made works, the artist has brought nature into daily life in the concept of Garden of Heaven. From the distant past, the relationship between birds and flight has been meaningful to Iranians. The bird has been a manifestation of flight, climbing and flourishing, and the flower is an allusion to the passing of life that is dear to man. "The subjects of flower and bird paintings are mostly flowers, bushes and birds, and sometimes insects such as bees and flying butterflies are also seen, which are mostly used to complete the composition. Flowers and birds can be identified by the viewer in this way and there is nothing more or less in terms of botany or anatomy of birds, but these components are not in nature in the way they are seen in the works.During the Qajar period, the art of book design and painting declined, and methods such as oil, enamel, and lacquer paintings became popular in this era. Paintings with the theme of flowers and chickens are among the arts that were growing in this era. The first mentality that emerges after hearing this topic of flowers and chickens is the presence of two visual elements of flowers and chickens in nature. Artists in different ages have used these two visual elements in different ways and created valuable works. Among the prominent artists of this area in the Qajar era, we can mention Mirza Agha Amami. Mirza Agha Emami has created lasting works in different fields of art such as: flowers and birds, gilding, poetry, fuel cover, carpet design, pencil painting, wooden door decorations. This research is trying to introduce five of his works of flowers, to compare the forms of flowers and birds and the visual structure in the visual elements of the selected works, and to investigate the visual components of the studied works. The method of this research has been done in a descriptive-analytical and qualitative manner, and data collection is based on library information. Therefore, this research seeks to answer two basic questions: What similarities and differences do flowers and birds have with visual elements in nature in five selected works? The result of the research showed that the flowers of Mirza Agha Emami are more inclined to the naturalistic style, that is, they are similar to natural elements. He has used flowers such as cherry blossoms, primroses, marigolds, dahlias, and jasmine. Pigeons, lunar birds, and partridges can also be seen in his works. Mirza Agha Emami's works of flowers and birds are very concentrated in terms of composition structure, form, color, and birds or flowers also have a triangular composition. Balance, lack of dullness, harmony, decisiveness, integrity, variety, repetition are the visual components of this painting. In order to convey their ideas and ideals to others, artists choose various methods in the construction and composition of their works of art. What makes the audience interested in studying a work of art at first sight is the general and ruling order of the work. Each composition is the result of a set of rules and styles that find meaning along with the attitude and taste of the artist, which is in the direction of the concepts and ideas of the artist.According to the research done, we can get:The roots of flower and bird art can be found in the 7th and 8th centuries, which began its evolutionary form in the Safavid period and reached its peak in the Zandiyeh and Qajar periods. Mirza Agha Emami is also an outstanding artist who has created lasting works in this artistic style. Of course, this artist is a master in various art disciplines such as: gilding, poetry, painting, lacquer works, carpet map design, fuel cover, etc., and these unique features in his artistic activities and works, he distinguishes him from many of his contemporary artists. Following the answer to the questions of the present research, it can be acknowledged: the performance of Mirza Agha Emami's flower and bird works, in the Qajar period, the themes of flowers and flowers and flowers and birds were mostly executed in the lacquer method, but he used these themes in the style of Mirza Agha Emami's works of flowers and birds are executed with limited coloring and in combination with white color and soft bright shadows and delicate processing. In all the works of this artist, cherry blossoms and hazelnuts are engraved on the top of the work, sedbergh flowers in the center, hyacinth, nasturtium and iris flowers on the left or right side of the works. Also, apple blossoms, primroses and dahlias are engraved at the bottom of the works. 2 and finally 3 birds are used in the works of this artist. The compositions of these works are diffused, bushy and vertical. In terms of composition, these works have a completely balanced space, and also the positive and negative spaces are observed equally. Warm and soulful colors are often used in the background color of these works. Balance, order, half-tone, stability, stability, simplicity, harmony, decisiveness are some of the main visual components used in these works.

During the Qajar period, the art of book design and painting declined, and methods such as oil, enamel, and lacquer paintings became popular in this era. Paintings with the theme of flowers and birds are among the arts that were growing in this era. The first mentality that emerges after hearing this topic of flowers and birds is the presence of two visual elements of flowers and birds in nature. Artists of different ages have used these two visual elements in different ways and created valuable works. Among the prominent artists of this area in the Qajar era, we can mention Mirza Agha Amami. Mirza Agha Emami has created lasting works in different fields of art such as flowers and birds, gilding, poetry, fuel cover, carpet design, pencil painting, and wooden door decorations. This research tries to introduce five of his works of flowers, to compare the forms of flowers and birds and the visual structure in the visual elements of the selected works, and to investigate the visual components of the studied works. The method of this research has been done in a descriptive-analytical and qualitative manner, and data collection is based on library information. Therefore, this research seeks to answer two basic questions: What similarities and differences do flowers and birds have with visual elements in nature in five selected works? The research results showed that the flowers of Mirza Agha Emami are more inclined to the naturalistic style, and they are similar to natural elements. He has used flowers such as cherry blossoms, primroses, marigolds, dahlias, and jasmine. Pigeons, lunar birds, and partridges can also be seen in his works. Mirza Agha Emami's works of flowers and birds are significantly concentrated regarding composition structure, form, and color, and birds or flowers also have a triangular composition. Balance, lack of dullness, harmony, decisiveness, integrity, variety, and repetition are the visual components of this painting.

Since flowers and plants are essential in Iranian painting, during its historical process, it has been researched and studied with different approaches and methods. The purpose of this research is to study the development and completion of flower and chicken painting from the Safavid period to the Qajar period. During this research, it was found that flowers and birds are used in various fields such as tile painting, lacquer works such as mirror work, pencil drawing, jewelry boxes, and textiles. The research questions are: What is the beginning of flower and bird painting in Iran? How is this painting compared to the Safavid to Qajar period in ancient times? How has this painting changed from Safavid to the Qajar period? What was the basis of creating this painting in each period? What is the interpretation of flower and bird paintings in each period? Who are the famous Iranian flower and chicken painters? The research method is descriptive-analytical and the method of collecting information is the library. A lot of research has been done in the field of painting flowers and birds. In this article, the mentioned research has been used to comprehensively examine the painting of flowers and birds in different periods, artists, and their applications. Naturalism has its roots in the ancient beliefs of the Iranian people and has been seen as an essential element in the paintings. The flour art plate is an Iranian painting from Safavid times. During the Zandiyeh era, this method was continued in the form of decorative methods in architecture and practical products. This process continued during the Qajar period with the reopening of the court workshops and continued in the form of applied arts with specific compositions and colors until the end of the Qajar period.

One of the most significant plant and ancient symbols is the lotus flower, considered one of the famous symbols before and after Islam. In various religions, this flower has been associated with the creation of gods, saviors, and prophets. In this research, the symbols of this flower are examined in the body of the eastern staircase of Apadana. In this research, the library method and the review and study of written reports have been used in a descriptive-analytical way with a comparative approach. The results of this research show that the lily is one of the critical artistic symbols in the context of history, architecture, and painting. The lotus is one of those plants considered in various rituals, and in Iranian mythology, the water lily is the symbol of Anahita, the goddess of water in Iranian belief. As the Iranians called the lotus flower, the flower of Venus, Venus is the main idea of ​​the female existence in the religious traditions of ancient Iran. The most obvious manifestation of the lotus in ancient Iranian art is in the Achaemenid period. The art of the Achaemenid period can be considered ritualistic and symbolic art, and the manifestation of these symbols is in Persepolis. In mythology, the lotus has been one of the great symbols of creation and is rooted in water, which symbolizes purification, purity, and rebirth. Because in the hand of the Sun God (Ra), there is a lotus, which can mean the appearance and manifestation on earth. The use of the lotus on the eastern staircase of Apadana, assuming that the stairs are a place for ascension and going to a higher level, while the circularity of the lotus signifies eternity, it can represent the course of the journey due to the repetition of this flower along the staircase. May the placing of this flower under the cypress tree, which had a spiritual aspect in ancient Iran and was the symbol of the god of plants, represents this course of walking under the banner of the Creator and can confirm the validity of this perception.

Bahman Jalali, a contemporary Iranian photographer, spent three decades of his artistic career on documenting people life in different cities of Iran, the Islamic Revolution, and the imposed war, and spent the last decade on reconstructing Qajar photographs and eventually producing photomontages and photo collages entitled "The Image of Imagination". "The Image of Imagination" is a completely different collection of other Bahman Jalali’s art works in which he has reproduced the remaining photographs from the Qajar period. Bahman jalali is one of the artists who have had a significant impact on Iranian photography especially after the Islamic Revolution. The efforts of him and his wife, Rana Javadi, have been a great step in the development of Iranian photography as well as its introduction to the world; The establishment of "Akaskhane Shahr Gallery" and "Aks nameh" magazine and the restoration of the negatives of the Qajar period and the publication of photographs in a book entitled Visible Treasure are among the important activities of Bahman Jalali in the development of Iranian photography. Bahman Jalali's acquaintance with Tamasha magazine and publishing his photos in this magazine, as well as participating in various group competitions and exhibitions, led to his introduction to the world of photography. In 1979, with the beginning of the popular protests against the Pahlavi government, Bahman Jalali, like other Iranian and foreign photographers, photographed these revolutionary scenes. The result of his efforts, which was done in collaboration with Rana Javadi, is the publication of the book Days of blood, Days of fire. After the revolution, he photographed the imposed war between Iran and Iraq, and a selection of photographs of the war was published in two books entitled: Khorramshahr and Abadan, which is fighting. After the end of the Iran-Iraq war, Bahman Jalali had the opportunity, in addition to documentary photography, and teaching photography in Iranian universities, to create a new transformation in the attitude of critics towards Iranian photography. He revived Iranian photography by establishing a Akaskhane Shahr Gallery, repairing glass negatives of the Qajar period in Golestan Palace, As well as the publication of the Aks nameh magazine, revived Iranian photography. During the printed the "Visible Treasure”, Jalali decided to create the collection of “The Image of Imaginations”. The collection of “the image of imagination" was a completely different work from all his photographs. The photos in this time were not taken by Bahman Jalali's camera, and appropriated by him. The collection of photomontages and photo collages of "Image of Imagination" includes collages such as combining Qajar period photographs with Pahlavi period photographs; combining Qajar women images with a photo from the painting gallery entitled "Red", as well as two other collections of combining women photographs with mirrors and combining the same photographs by flowers. The Genre change in the works of Bahaman Jalali is one of the topics that has considered by some critics and fan of this artist, both during his life time and after his death. Now there is a question, what are the values, social and cultural conditions cause to create such works by Bahman Jalali? Most artists create their works influence of cultural, social, political, etc. conditions in the society, and with each change in the conditions of the society, the style and the genre of the artist also changes. But achieving such an answer requires research by a particular approach or method. Considering the focus of the iconology on historical, social, political, artistic documents, etc., and comparing the changes of an icon during different periods, and according to the purpose set in this research, the writers have found the iconology approach as one of the most appropriate approaches, Among the approaches of art history. This approach is one of the few approaches in art history that focuses on the context of production to discover the form of works of art to explore history, culture, philosophy, art, myths, etc. The focus of the iconology approach is on the study of written and visual texts simultaneously with the work of art, it also studies the works from a political, cultural and social perspective according to the context of art production. For this reason, today, despite the shortcomings of this approach, it has been considered as one of the best methods of interpreting and finding the content of works of art by many art historians and philosopher of the last century. Aiming to focus as much as possible, collection of “Flowers” Has been selected of “imagine of imagination” collection in this article, use the flowers as an icon to find symbolic values of society, the time place situations that effect to create these art works. The method of researching used in this article, is descriptive - analytical. Similarly Data collected in based on library resources, archive files and file studies.

The narration of flowers and chickens could be analyzed by the Panofsky iconology method. But here we are dealing with a motif that clearly does not deal with a particular story or event. Therefore, the content analysis of the work in this step must be done in a methodical and systematic way. In this article, a method of using the method of Gilbert's mythology of the time is considered by the author. The essence of Islamic art and consequently Islamic-Iranian painting, of which flowers and chickens are a small part. It is derived from the worldview and ideology of Islam and the source of its artistic creativity has a pre-textual system of representation. And its roots can be found in the archetypes, myths and mystical-romantic literature of Iran. In repeated encounters, the bird and the tree establish a cycle that continually creates and exalts. Behind every encounter with birds and trees lies a force or force that leads to a new creation. So, the archetype of the bird and the tree is the "new creation".

Many factors should be studied before the design of a building. The usage and the users of a building are among them. The result of this study will determine for an architect; what is needed to be designed? Another factor which is very important to be focused on and be studied, is the site. A sensitive look to this factor and having a comprehensive survey about it, will help the architect to decide; how to design? In conclusion of these two questions he/she will be able to decide easier and better on his/her concepts. The latter includes many issues such as the formal condition of the site and its dimensions, climatic information, social and cultural specifications of the people living around the site, and so on. These cover many factors in different situations and various scales. Therefore, they could be effective in an architect’s decisions at different times of the design process in many issues, from a small scale to a higher level of the design.This article intends to focus on some sub titles of this subject, “site” and to explain issues such as: 1- The form and dimensions of the site, 2- Typology and geology of the land, 3- Natural and artificial elements existed on the site, 4- The natural environment of the site (climate, landscapes, views and …), 5- The physical conditions of the site (architectural context, road networks, access ways, general equipments and facilities, common buildings types, neighborhoods,…) 6- The social, cultural, economic, etc. specifications of the site, 7- The construction laws, architectural standards, building codes of the special place, and … will be discussed.

Abstract The rural architecture is all about house; it starts with a house and yet it ends with a house. The rural house is quite simple and calm, but in the meanwhile it enjoys some complexity in the sense of wisdom. On one hand, the simplicity of a mud house is visual; it comforts the eyes through to the use of simple, low-contrast, colors. On the other hand, the complexity of a rural house is mysterious; it requires deep vision and through understanding. The mysteries of rural architecture are being studied and glorified by those who enjoy the wisdom of understanding, however, there are many who look at this architecture only through their eyes and don’t see anything especial about it. They find these houses are made from cheap mud, yet they don’t think that their sole was made by mud to begin with. Behind the worthless materials used in a rural house, (the soil and the mud), there is a secret message. A message which has become a mystery for the contemporary man. A man who is reluctant to see or hear the meanings and/or the values of the world surrounding him. A man who is involved in his materialistic values in life, and judges everything through his misdirected knowledge. In this battle, the man finds his body more important than his spirit, and he gives more credits to the image than the sole. In this contest, the individual has been defined more privileged over the group of people, and the appearance (which is based on an individual’s preference) has become against the mystery of the vernacular architecture of Iran. The bases of architecture are: the place, form, space, and the man. The place is about where the architecture is located on; the form is the way that architecture is demonstrated through and shelters the man; the space is inside or outside of the architectural form in where the man lives in it. The way the man behaves, gives meaning and content to the architecture. In this sense, the man builds architecture and the architecture influences the man’s being. One good question could be asked: where do knowledge, sincerity, affection, beauty, and bravery root in? Where do they grow? And where do they fertilize? This article pays a close attention to investigate about the place, the space, and the form.