پژوهشنامه گرافیک و نقاشی
پیاپی 4 (بهار و تابستان 1399)

The Mother Goddess has been remained as a keepsake (monument) from ancient Iran in various forms. The type of expression and on the other hand, the accompanying symbolic forms throughout history, has made it worthy of reflection and thought. Birth giving, fertility, land fertility and blessing (Baraka) are the most important and obvious issues related to the Mother Goddess (Izadbanoan) of ancient Iran. In fact, before understanding the way of fertilizing by human, fertility has been considered a supernatural force. Maternalism has existed in many prehistoric times, and women have enjoyed a powerful position in both inferior and superior societies. In this regard and the interpretation of the previous man from the environment has shaped his view and thought about life and metaphysical factors have played a significant role in his life. The purpose of this article is to formally and conceptually study the statues of the goddess of fertility in ancient Iran; therefore, what is the history of evolution of the structure of the fertility goddess form in ancient Iran? What are the symbols formed around the statues of the goddess of fertility? The current research is descriptive and analytical. Information and data are collected through museums, libraries, and articles, and the statistical community is purposefully selected and with maximum differences. Human beings have left traces and remnants during their life on earth for thousands of years. These works, in terms of time and location, represent and reflect his status and quality of life, in specific stages and in certain areas. Sometimes in one community and region, it has evolved and, on the contrary, in another era, it has had a slow evolution. The total of all these fluctuations and transformations has changed according to the formation of civilizations, which have generally evolved over the course of human societies development over time, leaving tangible effects and evidence for this theory. In this article, the statues of the mother goddess found in: Sarab hill of Kermanshah from Neolithic period, Shush hills, Fences b and c from the copper and stone period (4500 to 3000 BC), bronze period (3000 to 1500 BC), including the hills of Moshahalan Ismailabad, Marlik, Kangavar Temple, Inshushinak Temple of Shush, Nahavand Treasure, Shahdad and Yahya Hill of Kerman, Choghaznabil, Iron Age (1500 to 800 BC) Choghamish Hill of Khuzestan, Shah Tappeh, Choghaznabil and Lorestan province, from (1000 BC to Maad) The hills of Lorestan, Marlik, Amlash Gilan, Hajiabad Fars, Shousha, Meganic tombs of Lorestan, during the Median period of Noshijan hill, Seleucid and Parthian Apadana and the areas of Shoush and Hajiabad, Bostan Arch, Kelardasht and Chal Tarkhan Rey were considered and studied. In each period, the form of the mother goddess and its associated symbols made some changes according to the government; sometimes it turned into large statues and sometimes into small ones. In this regard, the form of the mother goddess has been visually analyzed. The results show that the form of the mother goddess in the Neolithic, copper and stone eras was abstract and geometric, and the greatest emphasis was focused on the reproductive organs. From the Bronze Age, it tended towards naturalism, and from 2500 BC to 2000 BC, it reached realism with exaggeration and unfitness in body shape, and decorations such as necklaces, bracelets and leg bracelets were added. From the Iron Age onwards, statues were combined with more proportionate limbs and symbolic shapes. From 500 BC, the statues changed from static to moving in the body. They were formed in Parthian period by naturalism with details and also in Sassanid period with a combination of myths and symbols that were formed by combining several different animals such as Simorgh, lion, peacock and dog on the body.  For the people of ancient Iran, along with the goddesses of fertility, not only the goddesses and Izadbanoes who were a sign of fertility for them were respected but also animals, plants, decorative elements and mythical creatures that played a role in the formation and reproduction of fertility. This assumption can also be made that since these elements, from a mythological or symbolic point of view, meant the presence of blessing and fertility; they took fertility from the goddesses and gave it to the people of Iran. In fact, it can be said that the belief in some creatures and plants is due to metaphysical beliefs in primitive religions and is due to the dependence of human life on them and has led to a kind of Totemism. In a way, the goddesses and myths are the interpretation of the world and nature of the previous human beings of this land, and in a semantic sense, they also cover belief in the direction of life. Simorgh or Sin Mero, Chamrush, lion, goat, cow, pigeon, peacock, eagle, fish and snake from animals, rosewood, rosette, grape clusters, palms, wheat, pomegranate and lotus from plants, water and moon from natural elements, brooches among decorative items can be enumerated in this category.

The Swiss international style is one of the most important styles in the development of graphic designs. Its formation dates back to the early Twentieth century. The style expanded its design principles with Switzerland’s international name and placed it on the agenda of designers worldwide especially in Europe and the United States. The Swiss international style was created while the belief in the principle of reason and logic was growing, So this style is very committed to following its rational principles and rules as its design infrastructure. The designer of this style in many of their works used harmonious geometric relationship and square grids white equal houses. The grid is the easiest way to achieve the right combination in design and grid is in fact a systematic set of division and rules that help the designer in selecting and positioning visual elements and understanding more of the visual space. The visual features of this style include: asymmetric combinations, realistic photography design of letters sans serif and grid.  one of the influential artists in the Swiss international style is Jusef Muller Brockmann who is a leading theorist and professor of the movement and has worked hard to consolidate the swiss style. He is also called the father of the Swiss international style. Brockmann used the grid in his posters. The Swiss modern graphic design is due to her efforts. In all his designs he has used a wide range of network systems which is an important principle in the Swiss international style. The main question of this study is this: what impact did Jusef Muller Brockmann have on the Swiss international style? And what is the most important feature of the Swiss style? The purpose of this research is to recognize the Swiss style and to study the effects of Jusef Muller Brockmann on this school. The research method is descriptive-analytical and data collection is done in a documentary manner and recorded visual information is observed. In this study the posters of Josef Muller Brockmann and the posters of 15 Swiss international style artists have been studied. The purpose of this case study is to obtain statistics in addition to examining the characteristics of the Swiss international style, such as the use of realistic photography, sans serif, asymmetrical composition and grid, to examine the impact of Swiss posters on Josef Muller Brockmann’s posters.    The research method is descriptive-analytical and data collection is done by library method and using documentary and the recorded visual information is observed. Based on this, we have recorded the visual information and features of the posters of the Swiss style of international affairs and posters of Jusef Muller Brockmann. The final chart showed that: 73% of the Swiss style posters have been using the grid. As such 36% of them are of Modular grid, in 27% of them the structure of the Manuscript, in18%  of them the structure of the Column grid and  in 18%  of them the structure of Hierarchical grid is used. According to the Swiss international style: 13% of high impact and 60% had moderate influence from Josef Muller Brockmann, and in other words 73% of the Swiss International style artists were almost influenced by Josef Moller Brockmann, therefore the most important feature of the Swiss international style in the grid. Grid in the Swiss international style has been seriously and systematically In defined and used in accordance whit specific standards and frameworks. All form of grid has been used in all the posters of Jusef Muller Brockmann. So grid can be recognized as the most important feature of the Swiss style which was established by Muller Brockmann. Most of these artists influenced by Josef muller brockman used sans serif letters (93%), asymmetrical composition (80%) and realistic photography (33%) in their posters. It should be noted that the first three artists studied had designed their posters prior Josef Muller Brockmann professional career in 1930.

Architecture and building decoration were among the important arts in the Qajar period. The importance of this period can be attributed to the beginning of the confrontation between tradition and modernity in Iran. In fact, the remnants of the Qajar period show that the decoration of the buildings and the combination of painting and architecture were important in this period. And it seems that the overlap of Iranian and French traditions creates a set of visual motifs to decorate the building. Artists and architects have left very exquisite works in this period, all of which have been executed by the owners of the building. The art of mural painting of the Qajar period, due to the taste of architects and owners, is considered as one of the most valuable developments and changes in this period. The Qajar people made great use of the art of mural painting, especially for exterior and interior houses and the whole building in general.  The decoration of the ports of this period is influenced by Western features and other arts of the Qajar period. Therefore, painting in murals is an important part of the architecture of any building, which in addition to a decorative element, reflects the cultural, social, political, mythological and ancient themes. Mural painting is an intermediary medium for expressing art and conveying the original and ancient features of this land, which became popular in the residential houses of this period. The house of the "Boroujerdis" -one of the most important buildings of this period- is located on Alavi Street in Kashan, and has very impressive decorations and murals that culminate in its royal hall. This building belongs to the famous businessman Seyed Hassan Natanzi, which was built as his personal home. The fame of this house, in addition to its unique antiquity and architecture, is due to its decorations and paintings. Unique pictures and designs have been executed in this house, which is of special importance because these pictures are tools which convey the culture and lifestyle of the residents of this building to us. The royal residence of this house is located in the outer courtyard and in its summer residence and has the most decorations of paintings. The royal residence has long been important in Iran, as an important place to receive guests and hold Iranian ceremonies and customs.  Therefore, its luxury and architectural decorations have shown the cultural and social status of the landlord. This house is a collection of paintings and pictorial elements that are significant in terms of variety of colors, forms and concepts in this period. In this research, the role and reason for the implementation of murals and paintings in the building, especially the royal hall, has been comprehensively studied, something that has been scattered in other researches. This building has many visual elements that are influenced by Iranian archetypes and mythological themes and include narrations and stories that are rooted in the art of the Qajar period and the beliefs of the Iranians in this period. The main questions of this research are: 1) What is the narrator in the murals of the house of Boroujerdi in Kashan? 2) How do these images relate to Iranian myths and legends? The method of this research is descriptive-analytical and data has been collected using library materials and documents. By examining and analyzing the paintings and classifying the designs executed in them, the following conclusion is come up: In addition to its functional and decorative role, the paintings of the Royal Hall also convey cultural, social and political messages. And human, animal, plant, architecture and objects motifs in this empire are inspired by Persian myths and legends. Plant, animal and human motifs are the most important and widely used and architectural motifs and objects are the least used motifs of the building. In the field of mythological subjects, the role of the catcher, which shows the victory of good over evil, the battle of man with animal and animal with animal, the role of angel, demon and hybrid creatures, is rooted in ancient Iranian beliefs and is of great importance. The use of Iranian myths and narratives such as Lily and Majnoon, Khosrow, Shirin, Shirin and Farhad has been influenced by the lyrical stories and literature of this land. In general, the painting in the house of the Boroujerdis, influenced by the taste of the landlord, was inspired by European methods and was drawn and executed in accordance with the conventional rules of Qajar painting.

Bath has a high status among Islamic buildings, especially in Iran. Iranians, who have been familiar with the category of baths for a long time, gradually became very skilled in making it. During the Qajar period, the construction of baths continues and is associated with the art of tiling. The art of tiling and its connection with a place such as a bath flourished during the reign of Nasser al-Din Shah. As the art of Iranian tiling and painting on tiles has always been praised among other countries and this art went through a certain evolutionary path during the Qajar period. The distinguishing feature of this period from the previous period is the use of monographs in a tile frame and the use of single figures such as the works of modernist artists in a picture frame. As can be seen in the surviving works, this art was used in many cities of Iran. The practical aspect of the art of tiling caused this art to be used more and more among different buildings. Tiling established a connection with different classes of society. Kings and lower classes of society also benefited from such art in many different ways. The highest quality aspect of this art is its decorative and covering aspect. Kings have used this art a lot in their palaces and other people in mosques and baths. In Gilan, the art of tiling has a long history, but it can be said that despite the presence of artists such as Mashhadi Yousef, the tiler, this art once shone in Rasht during the Qajar period. Among the various buildings in Gilan, what connected the art of tiling to the building was the existence of a bathroom. The two bathrooms were severely damaged and only their entrances remain. Haji Bath is one of the oldest tiled baths in Rasht. This bathroom, which has a picture of the battle of Rostam and the White Demon on the upper part of its main view, is connected to other pictures in the building at the same time. Other images painted in this building are hunting scenes, flower and landscape decorations and also an angel. The year of construction of this bath dates back to 1308 AH. In front of this bath is another tiled bath entitled Golzar Bath. Golzar bath is one of the last and most important baths in Gilan during the Qajar period. This bath is located in the old neighborhood of Rasht and only the entrance part of it has remained intact. Contrary to popular belief, this building was not the order of the king, but its founders were involved in its construction. The name of its architect is Taqi and the builder of its tiles is Mohammadpour Yousef. The artist is the son of Mashhadi Yousef Kashi, who painted the Haji bath in the Saghrisazan neighborhood of Rasht about twenty-six years before the Golzar bath was built. What forms the basis of this research is to find the commonalities and differences between two artists and two bathrooms. Mohammadpour Yousef (son) versus Mashhadi Yousef (father) method of work informs about the evolutionary process and the new approach of tiling and tile making in Rasht. If Mashhadi Yousef is considered the founder of tile art in Rasht, his son should be considered as a modernist artist in tiling and tiling. Because with the passage of time and the correct understanding of the development of tile art and the use of different themes and tools, the art of tiling in Rasht underwent a fundamental change. A fundamental change in terms of appearance and structure, as well as the use of photography as a new tool in the field of content, was able to transform tiling and tiling in Rasht. The use of embossing in tiles and advertising in order to rule the time, are other features added to the art of tiling in Golzar bathroom. This is while in the Haji bath, using the hunting scene to propagate the power of the Sassanid Empire and their power to promote the Qajar power, but in the Golzar bath, the direct use of the Shah (Ahmad Shah) and attributing this king to the kings has been Kiani was connected to the ancient kings by transferring the understanding of power from Qajar. In addition to political thought and the use of tile art to express political power, this art must be multimedia art. In other words, the high capability of this art in a collection such as a bathroom can be realized as a decorative, covering, political, social and cultural importance. In other words, the results show that the continuation and qualitative expansion of tiling and tiling has occurred in Rasht. Although Mashhadi Yousef has skillfully painted Haji Hammam and laid the foundation of tile making and tiling in Rasht, but after twenty-six years, his son, Mohammad, achieved the promotion of tiling and tiling and promoted the art of tiling in Rasht.

With regard to this important fact that speech brings the art to live, the analysis of works of art and their reference to means including language is inevitable. In the visual arts, language, as a factor in explaining the meanings of what is inside or outside of these works, is needed. Analysis of visual works is necessary, as its purpose is to know and discover the mechanism of these works for better understanding. Here it seems necessary to state that the purpose of analyzing works of art is not to translate them all at once, but to analyze the works, to create meanings or - as critics say - to take meaning by the viewer. Viewers take meanings from the work or in other words, discover them, based on their visual literacy. The works of art are subject to analysis so that the reader can better communicate with the work by discovering more meanings; otherwise they are inherently free from criticism and unraveling and they alone reveal what is needed. In other words, work of art has the best and most complete expression, Nevertheless, throughout history, works of art have always been on the faced with criticism and analysis. This trend indicates that the viewer is not satisfied with the role of the elements of the work merely to express itself and has always sought to discover its broader meanings with the unique look of the viewer. In fact, the reader, by analyzing the works or taking meaning, reads the work and not makes it meaningful.Now, based on what has been said and also the importance of analysis to understand more meanings in the work and considering the significant position of Vahed Khakdan’s works as a contemporary surrealist artist of Iran, whose works have not been read properly; there is an opportunity to enter the semantic process by reading these works and based on that, study some of the goals of these works. Khakdan chooses Common and everyday topics and artistically creates realistic works with unique techniques the analytical path of his works is determined by his point of view, the stages of acting on the works and also the type of thematic selection and all these factors make viewers interested in reading them. In reading these works, which also have a great reading capacity, theories of some twentieth century thinker can be studied. One of the best of them is the views of the French thinker and philosopher, Roland Barthes. During his professional life, he has analyzed many works with various approaches he notes that, the analysis of the work is only with the intention of creating meaning and not taking meaning. Poststructuralist approach is one of his theories which are also one of his fundamental and controversial theories in the field of analysis. This study intends to read the works of Vahed Khakdan based on the concepts in Roland Barthes poststructuralist approach. The approach is also studied and examined this research consists of several parts. First, it explains Barthes's poststructuralist approach and how this approach was reached, as well as the concepts on which the reading is based. Then, in the other part of the research, a contemporary Surrealist of Iran, Vahed Khakdan, and his way of thinking about the creation of his works is introduced and by introducing works from his current age -as a statistical population- a reading with poststructuralist concepts is presented. Assuming that visual language and images of Vahed Khakdan’s works have a semiotic function and required reading with a poststructuralist approach, it could be asked that what the capabilities of poststructuralist semiotic interpretation are in the visual language of his paintings. The purpose of this study is to try to answer this question by reading the post-structuralism of Khakdan's works and trying to discover more meanings and understanding the mechanism of his works. This research is fundamental in terms of purpose and with regard to the manner is descriptive-analytical method with a comparative approach. Library is the method of data collecting in this research. Since there is a significant and complete correspondence between the role-playing elements in Khakdan's works and Roland's approach, and also because this approach can be meaningful, the works of this artist can be properly read with the concepts expressed in this approach.

The connection between Persian painting and Persian literature is an unbreakable bond. Throughout the visual history of Iran, Iranian painting and Persian literature have had an inseparable connection and have always been existed in each other's fields. The unique capabilities of Allusion makes it widely used in language and literature. Reasons for using sarcasm include "informing too much of power", "cleverly testing the audience”, "abandoning the word to what is more beautiful”, "doing the right thing”, "intent on rhetoric”, "exaggerating intentions in praise or admiration”. "Awareness of the consequences", "brevity", "expressing a sentence whose meaning is contrary to its appearance", "presenting abstract concepts in a tangible form", "due to fear", "contempt and bowing" and "proving argument and claim". Allusion is the expression of something and receiving something else, that is, the combination of words or sentences that, instead of the apparent meaning, are meant to be one of the means of meaning. For example, the Allusion is, "Someone's door is open" indicates that person's generosity. Because it is necessary for a person to be generous, for the door of his house to be open to the people. Allusion, is hidden in speech, so that a word is given and its unreal meaning is meant, so that the true meaning can also be used. The consistency of imagery in Persian painting and Persian literature also represents this link. The problem is that in some of the pictures, we see the special techniques of imaging the painter, relying on this Allusion Structure. The aim is to determine how Persian literature is present in Iranian painting and then to determine which artist used the Allusion Structure on the pictures. The question is how does the Iranian painter enrich the image of Iranian painting through styles? The hypothesis is that the Iranian painter has known and used the imagery in his paintings. A collection of paintings by various Iranian painting schools was collected and reviewed. This paper conducted by descriptive-analytical and comparative methods. Iranian painting, is the product of the interaction of the master of two pens (vegetal and animal - text and image) that produced in libraries. In this production line, the three components of the painter, the painter, and the painter's technical action on the painting, in a calculated connection, created the painting. The presence of literature in Iranian painting, as far as the painter is concerned, is that sometimes, Persian literature mediated by his connection with mysticism, and the painter's mind seeks unity with the author of the text. In terms of Manuscript, it is the internal connection between text and image that sometimes represented by the contrast between external and internal matter in literature and mysticism. Painting materials were also composed of lyrical and epic poems, as well as emotions, and psychological aspects of the painting, indirectly and by signs. The play of sarcastic style was one of the most important works of Iranian painter's illustration, which was applied in two ways in the form of technical action: In the first way, the painter uses the same allusions that the poet or writer used in the literary text and illustrates them. In the second way, the painter, in order to enrich the illustration of the text, based on his ability and level of knowledge of the expressive abilities of the Allusion style, referred to the great treasure of Persian literature and chose from this boundless ocean the allusions that were appropriate to the literary text. it was placed in the picture. As in some of the paintings, "being an umbrella" and "spreading the shadow" for the king, the "Allusion of the adjective" and the "touching" of the old woman, the "finger-pointing" of the palace and the "tearing of the boy's chest" "Allusion of the verb" and "handcuffs", which are "Allusion of the character", have been used to enrich the image. It is obvious that the function of Allusion in Iranian painting is not limited to these paintings and schools. This necessitates the conduct of other studies in which one can examine separately the function of Allusion in each school. The type of identification of Mongolian, Chinese, Arabic, and Persian languages ​​used in Iranian painting can open new doors to Iranian painting and show the extent of its effects in other languages.

Interactive art is among the new coming arts in the present age in which the interactive and participatory aspect overcomes the aesthetic aspect. In interactive art, the audience follows in the artist's footsteps in creating the work. In essence, the audience complements and completes the concept. The importance and position of the audience in interactive arts is proven and necessary because the audience's interaction with the work of art leads to the creation of ultimate meaning and concept and completes the work of art. Therefore, to recognize and study the process of interactive arts, analysis of the action and attitude of the audience is very important. Some theories of art sociologists, especially those of Karl Marx, Michel Foucault, and Pierre Bourdieu, emphasize that works of art reflect the thought and culture of society, and that the result of social infrastructure is the work of art from the beginning of creation by the artist. Until the audience receives meaning, it depends a lot on the social personality of individuals and the structure of society. One of the behavioral aspects of man as an audience in interactive arts is his social nature. Understanding this aspect leads to understanding the community and analyzing the process of more interaction of the audience with this type of social and new art. In this study, based on Wendy-Wold's theory of the effect of the social structure of a society on the final concept of a literary text, an attempt has been made to examine the relationship between society and the audience. By integrating such a sociological approach of art, based on emphasizing the social dimension of the artist and the audience and the society that creates the work of art with the position and role of the audience in interactive arts, this study intends to influence society and its structure on the audience. In dealing with works of interactive art, so with the closeness of this topic to the views of Wendy Griswold, who has followed a similar theme in his critique of literary works, this research will proceed in parallel with his theory.     What is questioned in this article is to what extent can the audience's encounter with new interactive arts be influenced by the society in which they grew up? To what extent does the political, economic and religious form and structure of a society affect the growth and promotion of interactive arts? And how can their interactive arts flow in the context of a society? The research hypothesis is the direct relationship of interactive arts with the structure of society and the direct impact of the type of society on the audience of interactive arts. This research is a descriptive-analytical method that has been done using library and Internet resources.     The meaning and concept of an interactive work in different societies can have different and diverse approaches which creates different meanings and concepts. The diverse interaction of the audience leads to the creation of new art and concepts from which psychological and sociological results can be obtained. In order to achieve success and maximize the presence of the audience, many social components must be considered, and also to achieve the desired results, the interaction of the audience must be taken from social structures. Different feedback from the audience with one work provides the appropriate findings and results for the artists. Even the faint and inappropriate presence of the audience can itself create many new meanings. The type of society has a direct and effective relationship on the tastes, desires, perceptions and attitudes of the audience with interactive works. Wendy Griswold's theory of different social critiques of a literary work and the impact of society on the view of the audience in the interactive arts and its audience can be followed, the audience on the one hand as an individual in society and on the other hand the audience participating in it is an interactive art. In his view and practice in these arts, consciously or unconsciously, he also brings with him works of social components. Artists need dynamic and active audiences to be more successful in creating interactive arts, so they can attract more audiences by considering all the spiritual, sensory and moral aspects as well as the social aspects of individuals. Since the social components in each society are different from other societies, audiences from different societies also interact and create completely different works. As a result, according to Griswold theory, society exerts its social influences on the audience of interactive arts, which has a direct effect on their final perception and interaction.

Throughout the history of art, artistic works have always been described on the basis of the internal and external qualities of the work. In aesthetic analysis, scholars have always tried to define art with a specific feature that is the common ground for all the works of art; with the study of paleontology and genealogy in the description of artwork, two general views on dealing with the explanation of the values of the work of art can be recognized: First, the "formalism 1" view, which is important in explaining the effects of apparent and formal features of color, composition, and so on. And the other approach to it is the cultural and social context of producing the work and information about the artist which are important in determining the value of artworks and is known as “Contextualism ". According to the theory of formalism, it is only the appearance of a work of art that can affect its aesthetic value, but opponents of the formalist view emphasize on the importance of the cultural origin of the work (art) in understanding the work of art. This group argued that authenticity is only one aspect of the aesthetic value that the theory cannot bear in its description. In terms of texture, any awareness of the history of the work of art, its cultural function and its emotional qualities affects our perception of its aesthetic value. Contextualism advocates insist on the fact that the work of art is not only due to its appearance, which is also valuable in its connection with culture; But if we try to extract the indicators for the valuation of works of art, the adoption of each one-sided views does not result in a comprehensive and complete outcome for the purpose of the above mentioned. Therefore, it is necessary to refer to a comprehensive and pluralistic theory. Each of the above views, with their specific absolutism, prevents it from being cited as a reference theory in the evaluation of works of art. However, if we are looking for a single and comprehensive way of identifying works of art in order to provide a consistent model in describing and evaluating works of art in seven stages, we must use a method that also describes the characteristics arising from the form of works and express the value and originality of the culture and context of the content from which the work is produced. From the historiographers’ point of view, our knowledge of the originality of the work affects our aesthetic sense, and from the formalists' point of view, our knowledge of the originality and identity of the work of art depends on its appearance. The hypothesis of the present paper is that those who respect the formal values of the work, only emphasize the formal features of the work and the texturing advocates, by highlighting the cultural features of the effect, provide a one-sided and incomplete explanation of the indicators that influence the assessment of artwork. The American philosopher Nelson Goodman, by addressing the topic of "identity conditions for artwork," offers a new, pluralistic explanation of the attributes of valuation in artwork, which can be seen as a departure from the one-dimensionality of two formalism views and texture. The present study, using descriptive-analytical method and library information gathering tool, intends to identify the main components in the classification and identification of artwork. In order to address this, he reconsider textual and formalistic theories in valuing artwork. In the end, Nelson Goodman's compilation theory is presented as a conceptual framework for explaining the features of the work of art, using the theory to extract the characteristic Essential in classifying artwork.  This article emphasizes the theories of formalists and contextualists and the opposition of their views in measuring the main components of works of art escaped the reading of Nelson Goodman's theory of integration as a solution to this opposition. The findings of this study lead to the hypothesis that the two perspectives of formalism and texturalism in Nelson Goodman's pluralistic view are combined with the four components of "formal elements", "theme and content", "history of the work of art" and Cultural function is influential in the originality, identity and value of the work.

Islamic motifs are a set of motifs and pictorial elements that have gradually lost their naturalism form and have continued in an abstract form. Islamic motifs have different types of plants, geometric, writing, etc. that have roots in pre-Islamic historical periods and with the transmutation that has taken place in these designs, its variety, elegance and complexity have increased over time. One of the most basic principles of these designs is abstraction, abstraction and perfect rhythmic repetition of surfaces. Relying on the admirable richness in form and meaning in various fields, these designs have been able to carry awesome spiritual values ​​for the audience. Undoubtedly, the use of elements that have aesthetic and identity criteria in beautification, urban furniture, push citizens to preserve their identity and religion. One of the problems that modern societies are suffered from is the separation of man from the spiritual foundations and the focus on the material aspects of life. modern cities are aliens with environments and spaces that have induction a spirituality message and meaning. Cities lack of spiritual and believable values, as well as indigenous and local features and characteristics, and the lack of criteria based on theoretical foundations derived from Islamic-Iranian culture have predominated in all their elements and components. Also, Islamic cities whose physical appearance is reminiscent of the Islamic identity of their inhabitants, as a symbol of Islamic thought and thought should be a representation of religious symbols, because Muslims live in a city, it cannot be considered an Islamic city. Rather, an Islamic city is a place where its appearance and body show that it is Islamic. In a better interpretation, its architecture and design and decoration should be interpreted as the habitat of Muslims based on the characteristics and symbols of Islam. In the contemporary era, one of the arts that has been able to have a great influence on upgrading the visual and intellectual culture of citizens is environmental graphics. Environmental graphics as a medium and effective visual factor in urban environments with high potential in facilitating communication and creating a visual identity is one of the influential components of urban arts. Environmental graphics are very effective in identifying urban environments readable and are assured tool for urban design. Images of the role on the wall are effective and the view of the urban area in making the urban environment meaningful; The city is a great means of mass communication that people read about its appearance and landscape; in addition to informing, environmental graphics, should provide visual enhancement and beautification qualities of urban area. The capacity, cultural and religious function of these motifs is such that they can be easily used in different fields after centuries. Undoubtedly, the use of these elements in urban beautification propels citizens to preserve their religious personality.  On the contrary, the use of elements derived from non-indigenous cultures brings nothing but confusion and anonymity and it quickly empty society of cultural originality. In the contemporary era, one of the arts that has been able to have an important impact on raising the intuitive and intellectual culture of citizens is environmental graphics. Environmental graphics as a media and one of the effective visual factors has great potential in facilitating communication and creating a visual identity that influences urban art.  This study surveys the capabilities of Islamic motifs, to answer these questions. What intuitive and conceptual capabilities do Islamic motifs have? How are Islamic motifs used in urban graphics? In this research, an attempt is made to study the capability of Islamic motifs and its effect on the graphics of contemporary Islamic cities. The research method is applied, descriptive and analytical. Collection of data in the form of a library and case studies is through internet image search. Based on the studies conducted, the results indicate that Islamic motifs have a high intuitive and conceptual capability. Due to the intuitive quality and concepts latent in Islamic motifs, their use in beautification and graphics of Islamic cities leads to the transfer of its identity. Islamic motifs as one of the components of Islamic art in the field of transfer meaning to society and its relationship with important fields of art such as environmental graphics show that these motifs can play a role in recreating and representing the values ​​of Islamic culture. The use of Islamic designs, decorative elements and other symbols that represent Islamic identity have the ability to transfer Islamic identity and values ​​to the viewer by the standards of modern art in the perception of the urban environment as a symbol of the Islamic city and religion, and create attachment between citizens and urban environment.

There is no correct understanding of the basics and history of postmodernism and contemporary art in Iran, so there is no correct understanding of the modernity or postmodernity of some contemporary Iranian works of art, including the Saqakhaneh approach, which is the focus of this research. In this study, by reviewing the most important features of modern art and postmodern art, the conditions for the emergence of the Saqakhaneh school have been examined in order to determine the affiliation of the stylistic approach of the Saqakhaneh school. The existence of some identity and traditional signs in the art of Saqakhaneh has caused misunderstanding that this school belongs to modern art or postmodern art. Therefore, this study tries to answer the question, "Does the attempt to show the Iranian identity in the Saqakhaneh movement put it in the field of postmodern art?" In the last years of the 1940s, Iran's social and cultural developments had a great impact on the formation of Iranianized art (a combination of tradition and modernity). The artists of this period, by combining Western and Iranian art, tried to modernize Iranian art and painting. The most important current in modern Iranian art was the Saqakhaneh movement, which sought to reconcile modernity and Iranian tradition during the second Pahlavi era. In order to show the Iranian identity in their works, the Saqakhanehs turned to many familiar forms of Iranian daily life. Including: prayers, spells, marriage deeds and visual elements of Shiite culture, in order to create a work that has an Iranian identity So the hypothesis of this research is that “Considering the structuralism features and lack of critical approach in presenting Iranian identity, which can be seen due to the tourist-friendly characteristics of Saqakhaneh's works, Saqakhaneh's movement can be considered a modern approach in contemporary Iranian art, despite its display of Iranian identity”. It can be said that the thematic nature of contemporary art merged with the popular interest in the Saqakhaneh school and created a new kind of pop art. The two basic components of modern art are independence and the self-sufficiency of the work of art, and the other is being a pioneer or avant-garde. Also, the importance of structuralism, the emphasis on the inner signs of the work, the emphasis on the form instead of the artwork media, and the emptying of art of messages outside of its aesthetics and the emergence of the concept of art for art's sake. In contrast, in postmodern art, commitment was formed. Empiricism became more important than structuralism, and the artistic media became more diverse. Unlike in modern times, the expression of concept and idea became important even without the aesthetic dimensions approved by modernity. The signs of Iranian culture in Saqakhaneh's works do not have the deconstruction required for postmodern art; because they depend on Iran's traditional and cultural codes. For this reason, as well as the use of modern art media, they do not have the necessary deconstruction. The presence of identity marks on the surface layer of a work of art cannot be considered a criterion for considering them postmodern. Based on the findings of the research, the works of Saqakhaneh were formed in accordance with the prevalence of historicism at the level of its contemporary society and approved by the government, the artistic current of Western pop art and in an attempt to identify modern Iranian art, and because of its structuring as well as some orientalist features and non-critical approach, it cannot be considered a postmodern school of art. Factors, characteristics and school conditions of Saqakhaneh school are mentioned below: - Cultural institutions support artists in government policies. -The influence of artistic space on anti-Western currents, especially the speeches and writings of personalities such as Jalal Al-Ahmad and Ali Shariati. - Artists keep up with modern Western art and pop art schools and abstract expressionism. - Artists keep up with modern Western art and pop art schools and abstract expressionism. -Artists' efforts to combine the visual elements of Western modern art with Iranian visual traditions. -The use of popular, religious visual elements, especially Shiite religious elements. - Creating works that the audience can clearly see being Iranian by watching them. - Using the techniques of combining materials, collages and mating objects. -Creating a symmetrical space in the composition of works. - Coloring to mimic traditional Iranian paintings, as well as colors that include azure, turquoise, brown, ocher, and gold; In such a way that the image space in the audience's eyes evokes a nostalgic feeling. The research method is qualitative type and by describing the observations of samples of Saqakhaneh works of art, and considering the historical context and also extracting the most important features of modern and postmodern art, it has provided the required information through library search.

Among calligraphic types, Naskh script has an ancient record. This script has been used as the most widely readable script for writing books (especially Qur'an and religious books) till now. The shape of the types and the ability to extract multiple fonts from it make this script's role more prominent in the typesetting of texts, magazines and more and is more at service for the audience and the reader of the text more than any other calligraphic types. Therefore, in addition to its visual beauty, readability is the first and foremost feature of this script till now. Yaghoot Al-Mostasemi was one of the great scribes of this script, who has been described in calligraphy research sources as having played an important role in removing the features of other calligraphic types from the script as well as the evolution of the types' form in Naskh script, and after some modifications, his script was evolved and considered in Arabic and Ottoman contexts. Ahmad Neyrizi is also one of the great artists of this script in Iran who combines Naskh manuscript with Nastaliq (invented script by Iranians) and gives it a soft and Iranian-beautiful style spirit, and writing the Naskh in his own way (relying, of course, on the scripts of his professors, including Mohammad Ibrahim Qomi and Alaeddin Tabrizi), so that Iranian calligraphers still have followed the style of his Naskh (Iranian Naskh). Given that, text readability is the primary factor in the proper relationship between text and audience that depends on a variety of factors, but much of it comes from adhering some standards such as the tracking and kerning between words and types, spacing of lines (leading), proper alignment, fine-contrast between text and context, and so on and was less considered in researches related to the calligraphy. Studying the characteristic of manuscripts written in Naskh script by calligraphers throughout history could be helpful for activists in this field. The main question of the present study is to determine how much are the works written by Yaghoot Al-Mostasemi and Ahmad Neyrizi readable? Therefore, the present study is descriptive-analytical. The statistical samples were collected by library method and objective observation of the works as well as using printed works by museums as six books written by the artists in different periods of his artistic life and also compared and analyzed according to the mentioned components after selection of a paper of each book as a sample. And for easier understanding of the illustrations, an illustration of comparison and analysis of works in articles along with some explanations about the component and its standards are provided in the article. Then, by adjusting the table and writing the characteristics of each style, their differences and similarities are outlined, and the main structure of the article is organized. Findings indicate that in Yaghoot ​​style, the form of the letters is much simpler than the Neyrizi style, and the spaces between letters and words are sometimes too tight or open to maintain alignment of the lines. The leading between the lines is also more than Neyrizi style and has more ornamentation. Therefore, the overall layouts of the pages are more important than dealing with the details of the text. But in Neyrizi style, the calligrapher focuses on the text of the book. Thus, the attention to the form of letters, arrangement of types and word spacing, adjusting line spacing, alignment, number and length of lines on the page has made his manuscript more readable than Yaghoot style. Thus, over time and in a sense of need, in the style of Neyrizi rather than than Al-Mostasemi one, attention is drawn to the audience's visual limitations, and the readability of text is more considered, and the text written in Neyrizi style communicates easily with its audience. In contrast, attention to the visual beauty and form and text composition in Al-Mostasemi style have made each page of his works as an exquisite panel which is one of the most valuable works of Naskh script history. On the other hand, the font size in Al-Mostasemi style is often small, which is slightly larger in the Neyrizi style and the length of the lines is reduced compared to the Al-Mostasemi style.