color

Natural elements can make the environment warm and pleasant and make the spirit fresher and the behavior friendlier. Among the effective factors in the treatment process are the buildings that are built and the environmental features that have an important effect on the health and recovery of patients as well as the performance of mental people and employees. The goal of designing treatment environments with natural patterns is to improve the quality of life and the treatment process of patients. These patterns can include natural scenery, natural lighting, open and green spaces, and natural colors. These elements not only increase the beauty of the environment, but also have positive effects on the mood and recovery of patients. The present research is practical in terms of its purpose and its method is analytical. Expert judgments for weighting were collected through a questionnaire and a study method, which consisted of 23 articles related to the topic and included criteria such as nature therapy, healing relationship with the physical environment, light, color, plants and green space. The findings of the research show that the use of appropriate colors, natural light and plants in the treatment environment is effective and also facilitates the improvement of the quality of the treatment services and the improvement of the physiological and psychological performance of the patients. Reduction of stress, better sleep, feeling of freshness and generally affecting the patient's behavior and emotions are some of the effects of these criteria.

Aesthetics is a branch of philosophy that studies beauty and artistic taste. Aesthetic judgments are typically sensory and emotional. The philosophy of art is a sub-branch of aesthetics that focuses specifically on the nature of art. It explores the essence of art, its various forms, and the concepts and meanings associated with it. Generally, aesthetic judgments are about what one finds appealing or not, and artistic theories aim to understand and evaluate artistic creations.
Aesthetics is not merely about beauty; it also encompasses concepts like sublimity, ugliness, elegance, and taste. The appreciation of art involves contemplation, reflection, and the emotional and intellectual engagement one has with an artwork. These experiences are deeply personal and influenced by individual sensibilities, cultural backgrounds, and personal histories. We believe that aesthetic phenomena, like all sensory perceptions and actions, follow certain universal principles. The science of aesthetics, which seeks to understand these principles, has always been of interest to philosophers and art theorists.
Historically, artists in various artistic fields have always intuitively paid attention to aesthetic principles and strived to create works that exhibit aesthetic appeal. This pursuit of aesthetic excellence is evident across different art forms, including painting, sculpture, music, and literature. Even in seemingly technical fields like photography, aesthetic considerations are paramount. Establishing consistent aesthetic criteria for photography has been a challenging task, and many photographers initially approached photography with painting’s aesthetic standards in mind. This research aims to explore the relationship between photography and aesthetic theories, particularly in the context of the camera’s unique capabilities and the resulting visual experiences.
Abu Ali Muhammad ibn al-Hasan Ibn al-Haytham, often referred to as Ibn al-Haytham, was a prominent figure in the field of optics. He was a physicist, mathematician, astronomer, and philosopher. This renowned Muslim scholar of Iranian descent was born in Basra in 354 AH (965 AD) and passed away in Cairo in 430 AH (1038 AD).
He has numerous theories and articles in the field of optics, and he is known as the founder of modern optics. From his perspective, beauty is perceived through the form of visible objects, which are composed of multiple meanings. According to him, this process of visual perception occurs when the eye perceives light and its various properties. However, for us, the perception of these visible meanings (which are initially received by the sense of sight through the perception of color and light) is completed by the imagination, which draws upon stored visual data and integrates it with apparent sensory information. This integration results in a mental image that corresponds to the perceived reality. One of the key aspects of this process is how these meanings are perceived by the sense of sight and then understood in the mind. He explains the quality of this perception and lists 22 factors that contribute to it, including 1. Light 2. Color 3. Distance 4. Position 5. Shape 6. Size 7. Arrangement 8. Connection 9. Separation 10. Texture 11. Movement 12. Stillness 13. Smoothness 14. Roughness 15. Transparency 16. Opacity 17. Shadow 18. Illumination 19. Similarity 20. Difference 21. Proportion 22. Harmony.
He delves into the description and interpretation of each of the mentioned factors and believes that these twenty-two factors sometimes act individually and sometimes in combination to evoke aesthetic feelings in the viewer.
Nasrollah Kasraian was born in 1943 in the city of Abadan, Iran. Over nearly fifty years of photography, he has published thirty books. Although his role in Iranian photography and his influence have always been significant, he has consistently focused on the people and their lives. Kasraian has always portrayed the lives of Iranians in his work. His life and photography have been dedicated to depicting the struggles and changes in the world. He has had a profound and lasting impact on contemporary Iranian photography and can be considered one of the most important figures in shaping the national identity of modern Iranians.
This research aims to answer the fundamental question of how the photographs of Nasrollah Kasraian can be analyzed based on Ibn al-Haytham’s aesthetic theory.
The findings of this qualitative and descriptive-analytical research indicate that Ibn al-Haytham’s aesthetic theory, with its emphasis on twenty-two factors, structures, rules, and principles of photography derived from the visual arts, provides a comprehensive framework for analyzing photographs. Furthermore, by utilizing the elements of light and color and the twenty-two factors of Ibn al-Haytham’s aesthetic theory, the photographs of Nasrollah Kasraian have been analyzed.
Ibn al-Haytham considers eight conditions to be necessary for visual perception to occur, and he believes that without these conditions, visual perception will not be achieved. These eight conditions are: 1. The health of the eye, 2. The presence of light, 3. The appropriate distance between the eye and the visible object, 4. The placement of a visible object within the field of vision, 5. The absence of opacity between the eye and the visible object, 6. The transparency of the intervening medium between the eye and the visible object, 7. The appropriate size of the visible object, and 8. Sufficient coloring and texture of the visible object. Ibn al-Haytham considers these eight conditions to be prerequisites and the primary basis for the discussion of aesthetics.
Light: Ibn al-Haytham introduces light as the primary factor in visual beauty and believes that it is the sole factor that evokes aesthetic feelings in humans. In other words, he believes that luminous objects are the origin of aesthetic beauty. In photography, lighting is the most crucial element and the most important visual tool, whether it is natural or artificial light. Through lighting, one can define different moods for a subject. The selection of the type of light and how it falls on the subject can create different feelings and highlight various features within the subject, adding depth and transforming a two-dimensional image into a three-dimensional one. Sometimes, changing the light completely alters the meaning of a photograph and can turn one image into a completely different one, potentially with vastly different meanings.
Color: It is the second of the twenty-two aesthetic factors. From Ibn al-Haytham’s perspective, the combination of different colors and sometimes a single color alone can evoke beauty and visual pleasure in humans. He considers color to be inherent in the life of humans and also present in nature, and he believes that being colorful or having color evokes the sense of beauty in humans.
Color is one of the most important and influential elements in photography compared to other elements. Its surprising and diverse impact on the emotions and interests of the audience led to a new phase in the realm of photography with the introduction of color. Color also adds meaning to the photograph and sometimes changes its meaning and concept, to the extent that sometimes the composition of the photograph is done based on the color element. Colors in photography are one of the most important tools for expressing emotions.
In the picture of cooking Ash (a type of Iranian thick soup) during the Pir Shaliar ceremony, published in Kasraian’s Kurdistan book in 1993, the emphasis on the light emanating from above evokes a sense of the divine and the sacred. Kasraian, by accentuating the upward-shining light, seems to have sought to transform this photograph into a kind of continuous religious belief, and despite the volume and depth of the subject, the upward-shining light has been shaped like a halo, emphasizing the sacredness and spirituality of the subject. The cool blue color used in the image conveys a sense of serenity and peace to the viewer, reminding us of the vastness and tranquility of the sky. Furthermore, this blue color is in contrast with the warm red color of the flame.
The claim that prompted this research is the finding of a communicative link between the views of an Iranian philosopher, Ibn al-Haytham, and the field of photography. The research path was also based on this fundamental question: How can Kasraian’s photographs be analyzed using Ibn al-Haytham’s aesthetic theory? It must be said that this research, by examining each of the aesthetic factors, was able to find photographic examples. The research also analyzed Kasraian’s photographs by employing the components of light and color.

One of the important visual elements in creating a better and more effective connection between works of art and the audience is the element of color, which we have witnessed in cinema with a slight delay. Color, which has been prominent in the works of contemporary artists for centuries since the beginning of the creation of works of art by cavemen to this day, is now used by directors in the seventh art in order to directly influence the psyche of the audience. This type of cinematic view of color and its use in characterizing and creating space for communicating and transmitting symbolic, psychological, and perceptual concepts to the audience has been successful. The present study, which is fundamental in nature and conducted in a descriptive-analytical manner, seeks to analyze and explore the effects of color in the cinema of "Akira Kurosawa" and especially the" Dodes'ka-den" (1970), as his first full-color film, which is considered the beginning of the director's second period of filmmaking, and the powerful effect of color in characterizing, creating space, and creating temporal and spatial situations in the creation of this work has been studied. The results of the research show that color is used effectively in the film Dodeskan as a main and powerful element for character development, separating the imaginary world from the real world, and creating specific temporal situations.

Usage of artistic tools on clarification of mysticism meaningsAbstract:Mysticism texts, general of verse and prose, followe main goal. This main goal that almost considered on all of works, is educating origins and bases of mysticism to walkers and eagers of purification and refining of essence. On this way, were showed topics and meanings and especial process. Topics which usually considered on format of symbolic languge. Extended part of symbols used on mysticism, is tools which belong to art or is tools which especial usage take place them.We can pointing to like color tools which talk about steps of exalted spiritual walker's. This tools which belong to painting and designing, with especial metod used which could showed perfection meaning. Addition on this, shapes are expressive of the mysticism meanings; like circle which expressive rise and perfection, also numbers, have especial meaning which used by artistic usage of numbers on mysticism.

Color has been one of the most influential elements in expressing artistic features, ornaments and various elements since ancient times; although, less attention has been paid to the issue of why the choice of blue color is placed as the top color in ornaments of Iranian architecture during the Islamic period. Was its widespread use the only reason, or have other colors and reasons also been important? In order to solve the problem, an attempt was made to choose a medium with the best answer. Therefore, based on the remaining data, wall paintings were chosen as the medium for the research between the 9th and the 15th centuries. The aim of this research is to determine the preferred color in the inscription and the reasons for its use with the help of the remaining number of buildings in Iran painted in wall painting style. In this regard, questions are also raised; is there a meaningful significant relationship between content and color in these wall paintings' inscriptions? If a color is preferred, what could be the possible reasons for that? Separation as well as classification of data in this research is a factor that has enabled us to use acceptable reasons that rely on evidence instead of descriptive words. The necessity of this research also requires achieving a logical process towards traditionalist thoughts about a type of continuity of color which is referred to as blue in this research. The research method of the current research is correlational and it was tried to distinguish whether the inscriptions are religious or non-religious in terms of subject matter and language. Finally, the reasons for using blue color in Islamic, mystical, literary and pre-Islamic sources were investigated. The results of the research show that the content of most of the inscriptions was religious. Also in all cases; except limited cases that have acceptable reasons, the artist has used blue color in the painting or background to express the spiritual, celestial and divine values of religious inscription. Evidence shows that out of a total of 205 inscriptions on walls, only 5 were done with non-blue colors. Based on this, when examining the color causes of heterogeneous inscriptions, we encountered several important cases; one of these cases is the red inscription of Gonbad-e Soltaniyeh and the other two are Persian inscriptions of Qal'eh Afraasiyab and Togh-e Bolandiyeh House. The use of red color in the inscription of the dome of Soltaniyeh was intended to draw the viewer's attention to the subject of Oljaytu's death. The artist's attention to the issue of language type is also evident in the simultaneous use of different colors in the Afraasiyab Castle (Figure 4), where blue is used in Arabic inscriptions and a different color is used for Persian inscriptions. Arabic was, in fact, the language that God chose to reveal his will in the Quran. This can also be seen in the foundation and burial inscriptions, where only Arabic was used, indicating their suitability for choosing blue as a color. In the following, it is clear that the artist used a variety of colors, including green, yellow, black, and red, in painting of the inscriptions, but only used blue color for painting or the background of the inscription with the content and theme which have been chosen from Quranic and religious texts. The results in response to the second question indicate that the Quran does not have much agreement with this color, and even with reference to the verse 102 of Surah Taha which mentions blue, an opposing interpretation may be possible to be considered. From an Islamic mysticism perspective and based on the opinions of Sheikh Alaa al-Dawla Semnani, Kabiri, and Najm al-Razi, blue was among the prominent colors, but not at the highest level that could be used as a representation of spiritual elements. Finally, by examining the history of lapis lazuli usage as a valuable material, it becomes clear that it was used in the past as a supplement to gold and was likely used to enhance artistic effects. Models of this combination can be seen in ancient art of Mesopotamia, Christianity, and Manichaeism. It seems that the closest culture that has been able to have a comprehensive influence on Islamic art in this regard is Manichaeism, especially since the Manichaeans used lapis lazuli in the background of all their works. All in all, if this issue is fundamentally related to the Manicheans, it is not far-fetched, because most of the works left by followers of Mani were also in the field of painting. The final word is that everything that was obtained from the examination of the characteristics of blue color and the inscriptions painted on the wall is a representation of the master artist's effort to keep the color values alive, which became traditional and continued with the motivation of the embodiment of religious art.

Color and light play an important role in works of art and are considered important subjects in painting. Color as a visual property is used to make objects attractive and express feelings and ideas; While light, as one of the main elements of imaging, creates a sense of depth and reality in the image. In this research, two great Renaissance and contemporary artists, Rembrandt and Kamal al-Molk, have been selected. Rembrandt is the greatest artist of light and shadow style and a great Dutch painter, and Kamal al-Molk was one of the great artists of Naser al-Din Shah’s court, who seriously distanced himself from traditional Iranian painting. The current research is looking for the comparison of color and light in the works of Rembrandt and Kamal al-Molk. Baroque style and contemporary style have also been analyzed. In this research, first, the concept of color and light is examined separately and then the use of color and light in the works of these two artists is compared. Their stylistic similarities and differences have also been carefully examined. This analysis helps us to better understand the mutual cultural and artistic influences between two different historical and artistic periods and to know more about the artistic methods of each of these two great painters.

Colors in Iranian-Islamic culture and art have long carried deep concepts and meanings. Each color represents a special meaning due to thought, life experiences, religious and mythological beliefs, and visual characteristics. The symbolism of the color red, in particular, manifests a new perspective toward a deeper understanding of this rich culture. Examining this symbol helps us better understand the beliefs, values, ​​and traditions of Iranians and facilitates the understanding of codes and symbols used in literary and artistic works. By analyzing the correspondence of literary data and samples of Iranian painting, this research investigates the symbols of red and its hidden concepts and seeks to answer the question of what concepts red color symbolizes in Iranian-Islamic culture and art.

This research was conducted using a descriptive-analytical method. The data collection process used written sources, available documents, and electronic sources. In the data analysis, literary, historical, mythological, religious, and mystical data related to red color were collected, and samples of Iranian paintings were selected as evidence and examples of the use of red color symbols.

In Iranian thought, red is a symbol of warriors, Romans, Gods of Mehr and Vayu, symbols of groups such as Qarinvands, Khurramites, and Qizilbash, Bahram planet (Mars) and iron metal, power and kingship, intellect and wisdom, celebration and glory, love and bloodlust. In Islamic culture, it symbolizes martyrdom, red death, the blaming soul, and Malamatiyya. In its positive dimension, the red color is the symbol of Imams, and in its negative dimension, it is used as the symbol of Ashqia and Satan.

The study of red color symbolism in Iranian-Islamic culture and art shows that this color is a multifaceted and complex symbol rooted in nature and human experiences. Throughout history and in different beliefs, the red color has taken on different meanings, including love, power, war, martyrdom, and even the devil. In Iranian-Islamic culture and art, it has been used in various ways and has conveyed a different meaning each time. Examining the symbolism of colors helps us to understand the depth of beliefs, values, ​​and worldviews of the people of this culture.

Gilles Deleuze, the contemporary French philosopher, ranks among the most important thinkers of the twentieth century. Deleuze views painting as making visible the invisible forces. In fact, the foundation of his aesthetics can be considered an aesthetics of forces - making forces visible through their effects on material. In his perspective, what fundamentally matters in art is not the creation or reproduction of forms, but the capture of forces. Deleuze seeks to direct forces toward their maximum potential, not through the brain but by acting directly on the nervous system, rather than evaluating them directly.For this research, given its interdisciplinary nature between art and philosophy examining Deleuze's views on painting, and aiming to identify connections between Deleuzian philosophical definitions and painting, the researcher has adopted a qualitative approach with descriptive-analytical methodology. Data collection is based on library research. Ultimately, by exploring Deleuze's thought on philosophy and art, examining methods for expressing the reality of colors, tactile-visual and purely visual spaces, and analyzing color relationships whose combinations create painting's powerful actions, the research leads the audience to grasp the pure status of a pictorial reality.Research Objectives: Identifying the connection between Deleuzian philosophical definitions and painting.Reading painting through latent forces in color based on Gilles Deleuze's philosophy.Research Questions:What is the relationship between Deleuzian philosophical definitions and painting?How can painting be analyzed through latent forces in color based on Gilles Deleuze's philosophy?

Color is one of the most basic elements of the art of painting. In painting, it has been discussed from various points of view and the physical, psychological, and physiological aspects of color have been analyzed. In Iranian painting, all objects are painted with purity and brilliance to reflect the pure world. Undoubtedly, color, which is one of the most important features of Iranian painting, has a very special place. The purpose of this article is to compare the color of animals in two paintings of the Timurid period after stating the theoretical framework. In this research, two painting works of Herat school were selected and analyzed using the descriptive-analytical method and library collection method in collecting information and selective sampling. In the Herat school, the use of red family colors has been significantly reduced and instead, countless varieties of brown colors, blue, purple, and soft pink colors have been presented with the prominent and effective use of black and white colors. The works of the Herat school are composed in a masterful, measured, and ambitious manner. The artists of the Herat school work with the skill of avoiding overcrowding and using a kind of realism in the design of animals, trees, and flowers. Warm and bright colors are evident as a characteristic of these artists, and the golden color plays a very special role in their works. In the painting of Herat school, repeated use of brick reds and rich colors can be seen in Baysunghur Shahnameh.

A hand-woven rug has a language and inherits the cultural, religious, and social messages and its weaver feelings. To know the messages that a rug can offer from the past to the present needs to read the symbolic language of the designs and motifs. However, in most cases, information about the meanings of a rug as an artwork is not available; hence, a logical and systematic method should be used to get past the image and reach the real concept. This research tries to reveal the hidden messages behind the motifs of a Hadji-Djalili rug with a Mihrab design, which has two prominent features:  (1) the tree of life in the middle of the rug is a hybrid type, and (2) the weaver has dyed it with special elegance in the way of a real highlight (or Abrash). These are rarely seen in other altar rugs. Based on this, the study follows to find answers to these questions: What are the symbolic concepts that are hidden behind the design, pattern, and color of the mentioned rug? And how can they be achieved? What is the final meaning of the symbolic language of these motifs? Thus, the aim of this research is to use Panofsky's iconology method to find the layers of meaning through the three stages of "pre-iconography description, iconography analysis, and iconology interpretation". This research is written with the descriptive-analytical method and uses library information and written documents. The results of the iconography analysis, which is formed by connecting the chain of meanings hidden behind the motifs, confirmed the "votive or endowment" of the mentioned rug. On the other hand, the interpretation of iconology shows that the weaver of this rug knowingly or unknowingly created an artwork, which emphasizes the need for a man (or a worshiper) to achieve spiritual evolution through the entrance to the existence circle and spiritual ascension.

Learning from the values of traditional Iranian architecture and architectural ornamentation is a way to improve the quality of our today's architecture. The first step of this way is to understand the appropriate method of reading architecture and architectural ornamentation. In recent decades there are various studies on Iranian architectural decorations with different methodologies and approaches. This study aims to seek a way of reading ornamentation in Iranian architecture through content analysis of existing studies. So, the main question is: How can we achieve a model for reading, learning, and creating ornamentation in Iranian architecture? In this qualitative research, we have followed an interpretive approach and used a content analysis method to analyze data obtained from a literature review. The results indicate that there are three sources for reading ornamentation: 1. through the examination of the works themselves, 2. the personality of the traditional craftsmen, and 3. reading non-architectural documents such as cultural sources or literature. There are also eight perspectives to consider ornamentation: 1. historical evolution, 2. ornamentation in a particular type of architecture (mosque, house, bazaar), 3. technical and restoration, 4. semantic-philosophical, 5. materials, 6. colors, 7. patterns, and 8. inscriptions. So, the model of reading and creating Iranian architectural ornamentation includes four layers; 1. material, 2. color, 3. pattern, and 4. inscription. All the layers together as a system create quality, beauty, and meaning for a place. Literature review shows that few studies have addressed all four of these components in an integrated manner. However, the spatial quality of Iranian architecture is the result of the synergy of all four components. This research suggests a comprehensive method of recognizing and using the four ornamentations by addressing both formal and semantic aspects.

One of the largest religious buildings in the world, the shrine of Imam Reza is considered a huge treasure of architectural decorations spanning many centuries. Among these decorations, tilework can be regarded as the most significant decorative element in this collection. This vast collection contains unique works from Seljuk tilework to the contemporary period. Considering the role and importance of color in tilework, this research aims to identify the new and emerging colors of contemporary tilework and make a descriptive comparison with colors of the same family from previous periods, according to the scientific characteristics of these colors. Therefore, the aim of this research is to identify the palette and variety of new colors that have been added to this spiritual space. Now the question arises: which colors have appeared as a new palette in contemporary mosaic tileworks, and what are their characteristics? Based on field interviews with the master workers of Razavi traditional tile company and referring to library sources regarding the dates of installation and restoration of tiles, all mosaic tiles from the 1970s to the late 1990s were identified and photographed, and the findings have been evaluated using a descriptive-analytical method. Finally, the number of 135 color codes was obtained, mostly from the newly constructed courtyards and porticoes. These emerging colors belong to six different color families.

Color is one of the most basic elements of the art of painting. Color in painting has been discussed from various points of view and its physical, psychological, and physiological aspects have been analyzed many times, but the purpose of this article is the aesthetic analysis of the form and content of color in the paintings of Henri Matisse during the Fauvism period after stating the theoretical framework. Data collection is done by library method along with viewing images and analysis is done by qualitative method. Also, in Fauvism period painting, the subject is not very important and the purity and value of color are of the highest importance for evoking emotions. This research shows that the presence of color (use of color) can have an emotional effect without any connection with the subject. Many of Matisse’s works tend to use this type of color. One of the distinct and prominent features of Fauvism painting is the bold use of bright, pure, intense, and high-contrast colors next to each other. They used these strong colors with their rough and dynamic pen strokes, strong. Also, according to Fauvists, the image was a “spiritual space” in which any three-dimensionality should be avoided. Perspective and depth should follow the width of the panel. The highlights and highlights were achieved by color. All these characteristics express the artistic influence of Matisse, who became famous in the 20th century due to his innovations, research, and new opinions about the use of color and a new look at the art of painting.

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.

Pateh is a type of needlework in Kerman city. This art is a manifestation of the religious and cultural beliefs of the people of this region while preserving its artistic and symbolic values. With their skills, female artists of Kermani make the shawl a stage for manifesting their needs, ideals, pains, and desires, which are rooted in their beliefs. Baluchi embroidery is one of the oldest arts with a long history in different nations. For example, among the Baloch people in Iran, this art has been used beautifully in different ways; in addition to the various techniques, they have used other motifs in its design. These plans and roles have deep roots in their culture and way of life. Based on the hypothesis that motifs in the art of Baluchi embroidery are formed based on the culture and climate of the region’s people, this research studies and examines those motifs with a symbological approach and tries to find a meaningful relationship between the motifs. This research has analyzed and discovered their concepts by referring to the culture, beliefs, and shared beliefs of the people of Kerman and Baluchistan. Collecting the materials and data used by the library was done with a descriptive and analytical approach. Finally, the research findings show that most characters are derived from imaginations and imaginations; the characters and images are popular and usually do not have specific names.

Problem Definition: 

The Lilian carpet is one of the important carpet brands of Iran and Khomeyn in the Qajar era, about which there has been little research to date. Actually, no trace of the popular Lilian carpets can be found in the domestic markets of Iran, and the popular Reyhan design is woven in a limited number in Khomeyn. Having this in mind, the present study seeks to investigate the two Lilian and Reyhan carpets from Khomeyn, Iran. The research question is: "What are the technical and aesthetic dimensions (structure, design, and color) of Lilian and Reyhan carpets?"

 This study aims to analyze Lilian and Reyhan designs in terms of technical indicators and aesthetic features for better identification of these carpets.

 This is a qualitative, developmental, and descriptive-analytical study. Data were collected using the desk-based method as well as through searches on reliable websites.

 The findings of this study show that Lilian carpets are often woven without medallions and corners with a unique structure comprising flowers and bushes, altar- and crescent-shaped wreaths as well as symmetrical and upside-down vases, and usually a wreath or a flower bush has replaced the space of the corner. Medallion-Corner and In-and-Out-Fish designs are also seen in these carpets. Lilian carpets contain plant motifs, but they have no animal (bird and non-bird) or human motifs. However, the Band-e Reyhan (Reyhan Dam) design is one design of Reyhan village with two important motifs, namely the important motif of the dam (pool) and the ibex motif, which reflects the ibex motifs found in the ancient petroglyphs of Teymareh region.

There are villages in the world that have a different color than what is always thought of as a village, and the coloring of the landscape in these villages not only provides happiness and vitality to the local community but also by attracting tourists to the village and promotes the local economy. The present research, with the help of a qualitative method (Thematic analysis) and interpretive structural modeling through MICMAC software, strive to identify the key drivers for turning the village into a tourist destination with the help of coloring the rural landscape. The tool of data collection in the present study was an interview form and the data was collected using the snowball sampling method. The results of the data analysis illustrated that the three factors of the safety of access routes to the village, the existence and possibility of developing infrastructure and tourism facilities, and the proximity to natural color mines are among the most critical and key infrastructure drivers. Also, based on the results extracted from MICMAC software, empowerment of the local community was identified as one of the most important social drivers. In addition, the choice of color to be used and its quality according to the architecture and climate of the village, cracking and underlying of the walls, using special colors for the facade (silicone), avoiding busy work on the patterns of the walls, the color of the village soil and the type of materials used was introduced as the most effective physical variables.Lastly, it can be said that paying attention to the key drivers in the coloring of the rural landscape can be a creative economic solution for promoting rural tourism.There are villages in the world that have a different color than what is always thought of as a village, and the coloring of the landscape in these villages not only provides happiness and vitality to the local community but also by attracting tourists to the village and promotes the local economy. The present research, with the help of a qualitative method (Thematic analysis) and interpretive structural modeling through MICMAC software, strive to identify the key drivers for turning the village into a tourist destination with the help of coloring the rural landscape. The tool of data collection in the present study was an interview form and the data was collected using the snowball sampling method. The results of the data analysis illustrated that the three factors of the safety of access routes to the village, the existence and possibility of developing infrastructure and tourism facilities, and the proximity to natural color mines are among the most critical and key infrastructure drivers. Also, based on the results extracted from MICMAC software, empowerment of the local community was identified as one of the most important social