نشریه هنرهای زیبا - هنرهای تجسمی
سال بیست و پنجم شماره 4 (پیاپی 84، زمستان 1399)

By observing the articles published in the area of Nishapur pottery and especially the decorative patterns of this type of Islamic pottery, which is among the works of art of the Islamic era of Iran, it can be easily seen that many of these papers and studies on the effect of these designs on symbolic works and concepts And the mysteries of the logical system are focused, but was the pottery maker Nishapur when decorating its handmade only influenced by the magic and mysterious works? Did there be any variety of birds around the artist living in his ecosystem that he encountered on a daily basis did not affect his ability to design and catalog his pottery with the role of a bird? By analyzing these questions, an analytical approach has been attempted to investigate the hypothesis that there are good biological conditions for migratory and non-migratory birds in general in the great Khorasan, and in particular in the Nishapur area, it seems that the Nishapur potter In addition to the symbolic concepts, it was also affected by the creation of motifs from the types of birds present in its environment, and attempted to design images of any type of bird to be observed with its natural features on the pottery, by redesigning the types of patterns used in clay dishes In the book " early Islamic pottery of Nishapur" Compilation to Charles Wilkinson's Leaf Characteristics and the comparison of their apparent features and species of birds in the nature of the region as well as their biological domains, the impact of the ecosystem on the artwork of Nishapur (including bird motifs). In this research, using a descriptive-comparative method, we have tried to study the information of the pictures of pottery published in the book "Islamic early pottery of Nishapur " written by Charles Wilkinson. In this research, the role of the bird on the pottery has been redesigned with the help of design software, and in order to carry out comparative studies, designed motifs with images of birds species published in the books, are placed inside a table and in addition to the comparison. By studying the pottery in the book, more than 29 roles were identified that were not repeated and showed different characteristics of certain species of the bird. After studying the features of the motifs and comparing them with similar species, it was determined that all motifs were dominated by 8 orders and There are 23 different species, among which the major volume is related to birds that are generally able to live and live in residential areas and people have close links with them. Importantly, no bird was found among the motifs. However, on the Sassanid artistic productions, most of the birds' motifs have been used. In addition, in the ecosystem of the region, there are a variety of bird species that their motifs In the Sassanid period and in works such as the Masnavi, the allegory of the Almightyar of Attar has been used.

In various civilizations, garment in addition to the role of environmental protection, has been the reference point representing symbolic concepts, including the social classes of people; in particular, hats have played a greater role. For this reason, they are very important from sociological point of view. “Bornos” is a kind of cap related to Islamic period which is similar to that of the Christian monks’ clothing as well as the types of head covers in ancient Persia, which is being discussed in this article and will use an adaptive way to study the impressions of social classes who use them. The main question of this paper is to find out about the social and symbolic functions of “Bornos” as the cap and garments of the Islamic period and its adaptation to pre-Islamic examples in the middle Ages, as well as ancient Iran and Mesopotamia. The theoretical foundation of this paper is based on Widengren’s research entitled "Research in the Sociological, Religious, and Historical Background of Clothing”. Widengren has phenomenologically surveyed a kind of clothing and head cover used by mystics in the Christian and Islamic tradition, and in the same way as the cover used by buffoons and actors of zany plays and this kind of clothing was used by hunters and warriors with minor changes, too. He has studied the mythical roots and historical links of the Indo-European countries, their origins and the evolution of the exchange of classes used in this clothing. In order to achieve the aims of the paper, we start from “Bornos” terminology, then continue to address its apparent formology and identify its possible types. Then, by studying Islamic documents and narrations, and adapting their social functions and the means with existing medieval examples and ancient Iran, achieving to the goals would be possible. The results of the study indicate that the above said society is divided into three representative forms: a) Hat; which itself is divided into two types: conical (curly) and soft type with a curved line forward or back; (b) Scarf-like head covering c) Raincoat garments with hat, that can be identified in all three Christian and Iranian Islamic traditions. Both genders, women and men, even children, used it; from the point of view of the social classes it was used among the lower peoples, such as itinerants, ranchers, peasants, the nobles, the kings , scholars, clerics and warriors. The use of Bornos in the Islamic tradition from the point of humiliation, the evil aspect, wisdom aspect, the rationality of crazies, the costumes of passengers, the clown dresses, and the uniforms of fighters are fully applicable to European examples, between Iran and before and after Islam. In other civilizations, the same kind of “Bornos” is also visible. In Sogdian art, hats such as“Bornos” can be seen. Some Egyptian pharaoh hats also resemble the cone-shaped bronze. In Tibet, llamas usually have caps that cover their ears and have a sharp tip. In the Anatolian region, the Cappadocian used caps with a tipped back.

Zandieh era, which was the era of comfort and tranquility of the people of Iran, is the time to reconstruct art and transitional phase between Safavid and Qajar. Karim Khan's art and architecture is a mix of Iranian Architecture Who seeks to find their own language to praise civilization and the art of the ancients and to continue the traditional architecture to flourish the art of architecture and native engineering techniques. The architectural design of the buildings of this period was a combination of the Safavid architecture and the memorials that remained of Persepolis. In particular, it can be said that Zandieh architecture is in fact the same Safavid era architecture, which has been implemented in a simpler and more abstract manner. In the era of Zand, Karim Khan, as a popular sovereign, sought to reach Slobby, which has a popular aspect. And with this view, the construction and decoration of buildings is very diverse in this period. In view of this, the purpose of this article is to study and analyze the architecture of the body and its decorations in the Zandieh period with a special look at the construction of the Divankhaneh with a cultural and functional approach to the effect that has not been overlooked. Although this work is a feature of the architectural index of that era. The main question raised is whether the architectural design of the mansion is selected according to its use and has cultural and environmental characteristics. The role of society and culture in shaping the architectural design of the effect and how it influenced the cultural foundations in the formation of architecture and decor. The research methodology is descriptive and analytical, and the findings show that the cultural perspective of society and the government's view (Karim Khan Zand) has changed considerably in this period. These changes have influenced the design of spaces with a friendly and ethnographic view. In Zandieh's art, visual signs are more of a cultural sign (semantic) which has had the deepest influence from the ancient patterns, concepts and tendencies of the community. The focus of interior decoration and the lack of use of decorations in the exterior, is an attempt to simplify the appearance and splendor which is expressed as a cultural interest in the formalities of the hierarchy of interior space. In the process of creating the architectural structure of the work, the impact of the social origin and its motivation is very effective. Attention to the audience of the work and the given to it according to the environmental perspective in the construction of works. Therefore, it can be said that strengthening the sociological perspective in examining the courses of architecture can provide a way for a deeper understanding of some of the existential causes of the emergence of their forms and structures. This is particularly understandable in the debate about the decorations of the Divan khane Mansion. The art of Zandieh's period is very impressive, and decorations and construction includes a variety of beauty.

There is a drawing on the personal collection. Identify the designer and creator of the artwork of Shaji-al-Molk, Military commander of eastern Iran during the Qajar period, is the main topic of this research. Existing evidence shows the artist was been most distinguished features, which is in Resemblance with Kamal-al-Molk's style of work.  According to historical evidence, this is probably the creator of this drawing was Kamal-al-Molk. It has no signature but date writed down is correct. According to the Cultural Heritage Organization of Khorasan Province, the date of the work is in line with the history of the work. With a comprehensive view of the works, life and character of Kamal-al-Molk, reached the criteria for a definitive diagnosis of this. By analyzing the life and character of Kamal-al-Molk, identifying the manner in which the painters work at the same time and at the same style, collecting and categorizing all the available works, analyzing the materials of execution and their method of execution, and the readings and signatures of him, is no reason not to be assigned to Kamal-al-Molk, and everything is clear Making that drawing belongs to Kamal-al-Molk. This research intends to introduce. This artwork and its specifications, to identify the artist who could create this work. Inquire into the quality of the works and life of Kamal-al-Molk, providing data. Which will further increase the likelihood of assigning this item to Kamal-al-Molk. Issues such as: Matching the time of Kamal-al-Molk's work with the time of creation, Possibility to accept and execute this order by the master, Matching the script with the signature of Kamal-al-Molk, the metod of drawing, Check out the similarities with other works of Kamal-al-Molk, Among the most important cases in this research It has been studied. The evaluation of the implementation of the effect from various aspects of the commentary, composition, facial expression, texture, shading, depth, and gender matched adaptation. The drawing is of the figur of Shaji-al-Molk, the military commander of great Khorasan, and the time of the creation of this work dates back to the 70's life of Kamal-al-Molk, which is on the verge of immigration to Neyshabur and his seclusion. 1342 Lunar The first Kamal-al-Molk tour has taken place in Neyshabur. This time, Kamal-al-Molk is getting to know to Salar Motamed Ganji, who is his host in Taghi-Abad, Neyshabur, and Amin Khan Shaji (Shaji-al-Molk's grandson) has been Brother-in-law with Salar. Kamal-al-Molk's works throughout life are similar to each other, but they have found different chapters in relation to different living conditions. No other painter was found with the power of Kamal-al-Molk that could have ties with Salar motemed. Overall research results, shows that this art work is related to master Kamal-al-Molk, which remains unknown until now. Kamal al-Malik has a unique style in painting, in addition to  naturalism there is a kind of ambiguity in his work that has transmitted a sense of being alive and inner in  face. An analytical-comparative research method and a method for collecting library and field information

In the Imperial Mughal painting, there are many monographs of the portraits of the king, royal family, courtiers, and kings and ambassadors from other countries. The political relations between the Safavids and the Mughal are often accompanied by friendly engagement. The influence of these relationships in the Mughal's art can be found from the inspiring of Iranian painting techniques to illustration the Persian literature and the depiction of the portrait of the Safavid kings and ambassadors. This article studies a painting named Jahangir's Dream by a painter in Mughal court in India, and attempts to find out some contemporary meanings of this text by applying the symptomatic approach and visual semiotics methodology. Also, by using some comparative and contextual information that has been grasped by some contemporary verbal and visual texts with this painting, we could get into the unconscious layer of this text and what the text has denied saying them explicitly because of ideological repressions. This painting that was drawn after the siege of Qandahar by the Abbas I king of Iran. Composition of this image is a metaphoric structure such as more paintings that was drawn by the Jahangir's order, in spite of narrative structure that was common during his father Akbar's reign. For analyzing this image, social visual semiotics was selected as the method of research; and according to three metafunction which descript in this method we have done. Results from analyzing the Jahangir's Dream with have been shown that there are some Ideological signs with metaphoric functions in this painting. Have been found contradictory semantic implications that helped us understand the unconscious thought of the text. In this visual text has been tried to illustrate Jahangir as a superior ruler versus Abbas. At the first look deference between their garments attracts the audience attentions. The whit turban of him with contrast by gold halos round his head salience him. Jahangir as the active agent of the sense embracing Abbas, staring at a distant horizon and Left unanswered the eager eyes of Abbas. We could classify participants of this image in tow group, first of two is composed of Jahangir and Abbas and the second composed of lion and ship that lying on a globe with a detailed map. The lion under the Jahangir's foot that in this text Because of Companion Interpret as the metaphor of Mughal's territory push back the ship - metaphor of Safavid's territory- from Qandahar and even more so inside center of Iran. In conclusion, can be said which enmity and hypocrisy with a powerful neighbor and ally who recently attacked a part of their territory is a political position that is not politically in favor of Jahangir and seems to be repressed, but this desperate desire through contradictions and gaps this text is visible. The reason of Jahangir's claim of a friendly relationship between himself and Shah Abbas I, leastwise after Qandahar's story, could be his need of a strong confederate in the region, and his lack of enough power to resist against it, not his true will.

Based on Islamic epistemological foundations, knowledge precedes and influences action. In the context of artistic creation process, this means that the artist’s conception or grasp of beauty will influence the quality of the work of art they create. In the Islamic language, observing and perceiving beauty, or husn, involves looking for states and reflections of perfection in the context of an artistic theme. Observing husn is a requirement for any artistic ideation process within the Islamic perspective to the notion of art. The reason is that ideation is the first stage in creating a work of art. The more an artist is capable of upgrading their level of observation from the sensory to extrasensory aspects, i.e. to the reflections of husn of the subject, the more they will be able to improve their idea and create an art that will reflect real beauty. In a previous research work, purpose-oriented thinking has been identified as an important tool for improving the “husn-observation” skill in an artist. The aim of purpose-oriented thinking is to discover the qualities of perfection of the subject and the purpose meant for it, i.e., aspect of its husn. Therefore, any attempt for designing processes and solutions to engage an artist’s thinking with husn-oriented ideation will necessarily involve a study into how thinking will become purpose-oriented. However, according to Islamic epistemological principles, the intellect (‘aql) is the faculty of discerning what is husn from what is not husn. As a foundational research work, the present study therefore focuses on the intellect in order to contribute to creating the foundational knowledge of how artistic ideation will become husn-oriented. On this pursuit, the study employs principles drawn from the Quran and views of Allameh Tabataba’i and adopts a descriptive-analytical methodology to examine the relationship between the intellect and a purpose- or husn-oriented thinking process. It then argues that husn-oriented ideas will only become possible when thinking takes place along with intellection, or the process of using ‘aql. Here, the role of artistic thinking will be to elaborate the artistic theme and make connections between the artist’s outward and inward observations about the theme. As an outcome, some knew statements of knowledge will be produced. Artistic intellection refers to the act of knowing and adopting criteria of truth and assessing the statements produced through the thinking process based on the intellectual criteria of assessment. This means that any improvements made to an idea towards its husn will involve refining the set of criteria used for assessment, which needs to be carried out in at least three stages of the process. The first stage is before the artist gets engaged in creating art. The second and third stages belong to the the ideation process: one where the artist thinks about “the purpose of creating artwork” and the other where they try to “design the idea structure”. The study finally suggests sets of criteria that can be used for each stage of the process of orienting and improving an idea towards husn.

Seljuk Period is one of the most significant era in which the Islamic Art in Iran flourished in the fourth and fifth centuries particularly glass art. Carafe is considered as one of the most frequent glass vessels in this regard. Studying the form, structure, and the decoration of this kind of glass works can be an approach toward the study of glass art in Seljuk period. In so doing, the present study is an attempt to study the form and shape in terms of morphology that is one the prevalent contemporary approach in the area of literary criticism and of the sub-category of structuralism. Morphology is a term first used by Vladimir Propp. His emphasis was on analyzing an effect in terms of its components and believes the structure of an effect is made in terms of its constituent components and the relations of that component. In his view, the structure of each effect is a system full of hidden relations that requires to be discovered in order to comprehend the relations of it. This study is seeking to address this fundamental question that “what are the visual features of glass carafe of fourth and fifth centuries in Iran in terms of fixed (body and neck) and variable (decorations) elements. The date was then collected, categorized and analyzed. The present research is conducted upon the library studies. The methodology is descriptive-analytic. The reason of selecting this approach is an emphasis on the form rather than the content in glass arts. In Propp’s view, analyzing the form is as important as the morphology of the species. He found the recognition of the fixed and variable components important. The fixed elements are the ones that would not change while the variable ones are different and brings variety. Results from studying fifty-five glass carafes of this era shown that the carafes are made of the fixed elements of the tank as well as the variable elements of the decorations. The tank form is made into three general states of lacrimal, parabola, and meatballs. Indeed, this part of carafe has the maximum amount of decorations that can be under study into two parts of abstraction and schematic-abstraction. The former is divided into three geometric, non-geometric and written parts while the latter includes animal, herbal, and humane. In abstracted decorations, the geometric designs particularly beehive patterns are prominent while the written designs (with Kufic Calligraphy) comprises the good luck and blessing for the owner and holder of the dish. Also, non-geometric patterns are used to fill the carafe space most often with glass paste. In herbal schematic decorations, the patterns of flower, leaf and ivy are used in which the abstract quality is evident. In the animal part of the pattern, the bird scheme and especially the peacocks are into the circular geometric patterns. Not any trace from the humane patterns are seen in these carafes. The neck is also made like a thin narrow cylinder without any decoration and the neck is like an added strip sometimes with edge.

The eloquence of the language and the art of communication made effective communication between ideas. As poets and writers transform the concepts and ideas into words, graphic designers also convert these concepts and ideas into visual play and try to influence and remain in the mind of the viewer, so their performance can be considered a rhetorical performance. So with a little bit of tolerance, we can look at the process of creating a visual work in the process of creating a literary text. Pun is one of the rhetorical branches of the language, and it is referred to as two words that are similar in writing or verbally different in meaning. The subject of this study is the visualization of visual puns in graphic design and its application in the design of social posters. In this research, first introduced the rhetoric and its variants, then defining the pun and its types, visual pun and its application in graphic design were investigated. The purpose of this research is to study the use of visual pun, visual quality, and the relationship between Image and text on sample posters. The present study is based on the nature of an applied research and has used descriptive and analytical methods to generate and analyze data. That is, at first, all samples collected using the researcher-made viewer tool have been investigated. The data obtained from the questionnaire were described and analyzed after being converted to fourt tables. The target community in this study is all posters designed with social themes that are in the European Union and its member states during the 2010-2014 period, and designers in designing these posters to draw attention and persuade the audience from the visual pun as one way to get creative is to use it. In this situation, the extent of population in the target society is unclear and the characteristics of the main population are not known, the selection of sample components is based on the criteria considered by the researcher. These criteria are determined by the content of the samples and based on the relevance and usability of the assumptions of the research. Therefore, 18 posters have been selected as the sample population of this study due to having the most variables in the research questions, which are designed by the authors as observational cards. The studied variables in these samples, according to the goals and questions of the research, how to use the array of punches in them, the study of the visual characteristics of the message and elements in the visual and visual field, as well as the methods of representativeness and its types (photography, graphic design, The design of the letters used in these posters. The theoretical framework in this research has been determined based on the semiotic approach of Pahlavan (2008) and (2005). Therefore, the view card used on this framework is emphasized. The most important finding of this study is that visual pun can be used as an innovative solution for creating imaginative graphic design works that are also impeccable.

Mikhail Bakhtin was a great Russian philosopher and literary critique in the 20th century. He was born in Oryol, Russian Empire and grew up in an orthodox culture, which remained with him until his death in 1975. He spent his life in USSR regime which exiled him for unknown reasons, maybe with religious believes. Bakhtin, like his fellows, studied philosophy, linguistics but unlike them, he showed little interest in sociology and politics, but we can find signs of attention to these fields in his works. Perhaps he hid these approaches in his work to avoid Stalinian censorship. He learned Germany in youth and was influenced by German 19th-century philosophy, specially Neo-Kantian philosophy and figures like Cohen. We know he is also was familiar with Bergson and philosophy of life. Similarly, he was interested in Greek culture and Medieval, specially Folklore and unofficial culture. In all of these fields, he explores aesthetics issues. We should understand him in a Kantian Context. Kant argued that the Judgment can bridge between two distinct part of human mind Pure reason and Practical reason. Bakhtin agreed with him but he thought Kant made aesthetics transcendental and abstract whereas it is fully concrete. In his view, the human is an unfinalizable creature who lives as an event that yet-to-be. He spent much time to explore literary kinds and find his ideal model in Dostoevsky's novels. Bakhtin believed Russian writer could present a good vision of human – hero- which do not neglect his or her Independence, freedom; and do not consummated him or her. Bakhtin, in a large part of his career, concerned with literary works and provided several notions which are useful for interpreting literary and artistic works. In this article, using some of these notions, we investigated Calling Saint Matthew, painted by Michelangelo Merisi da Caravaggio, the Italian baroque painter. Caravaggio was an interesting figure in the history of art. He had several problems with the Catholic Church, Official culture and Painting tradition. In the last decades, academic communities rediscover him as a great master and study his work again. We argue that Caravaggio’s masterpieces are very fruitful for philosophical approaches especially Existentialist ones. Bakhtin's notions like an event, threshold moments, Unfinalizability and loophole are very useful for studying them. In this article, we employ these notions for studying one of the most famous and wonderful painting of him, The Calling St. Matthew. It was found that Bakhtin's notions for interpreting literary works are deductible from visual arts as well. Furthermore, it made clear that we can trace Bakhtinian ontological insights, especially anthropological trait ‘Unfinalizability', not only in Caravaggio's art but also in one of the most important saints of Christianity, Matthew's religious anecdote. So, from the dialogue between Bakhtins's thoughts, Caravaggio's art, and Cristian text, we deducted this Bakhtinian result that Unfinalizability is an Inherent human trait and just other people can find human's ‘loophole'. Besides, this result was deducted that Caravaggio's art can play the role of other and inter addressee into the Unfinalizability realm.

When players of video games are driving cars through the wintery landscapes or exploring the fantasy world of game, they experience different kind of Art and entertainment. Although it is said that games mimic the aesthetic of traditional media such as cinema the important aspect of video games is interactivity, which distinguish that from that medium. Video games are defined as interactive forms that contain technological, cultural, economic and artistic elements. But there are also specifics for games which only find in this medium. The main difference of video games with other type of interactive arts is avatars. Today, players of different genre of digital games can be immersed in virtual world of games by means of their avatars. Avatar is a virtual representation of player in the game world that can be customized or be invariant. Avatars has two aspects; they are characters that can affect identity of players if they are merged with a good story; and another aspect of avatars is their agency.it means the possibilities an avatar has and how and in which way avatar can affect the world. The main question of this paper is what is the role of avatars is in videogames and experience of their players. The method used is Qualitative and descriptive-analytic. We focused on First person shooter for narrow our question. at first we describe avatar, after that we define perspective and point of view. We use the model that say there are three viewpoints in a videogame: Ideal viewpoint, actual viewpoint and avatar viewpoint. Ideal view point defines the perspective of game and is assigned to camera. Actual view point is the point from which player see the game world and screen and avatar viewpoint is defined as what avatar can see. Then according to Maurice Merleau-Ponty’s phenomenology of perception we define life world, inter-subjectivity and extension of body through tools and technology. As Merleau-Ponty mentioned image body of a person can extend and reshape by means of tools. In the following we use the concept of game body. Game body or camera-body is defined as a phenomenal body that exist by means of camera of game. A game body is both object and subject that makes ideal perspective of games. By progressing in videogames, players get used to avatar and camera and device controllers. So they become invisible for player. Also we have actual and physical body of player and a puppet in the screen which is called avatar body.so there is three different body in video games: player body, game body and avatar body. There is a correspondence between the three viewpoints and the three kind of bodies. In FPS, POV of player matches with the view point of avatar. So the players experience the world through eyes of their avatars. Because the camera shows what the avatar can see, player can experience perspective and illusion of depth properly. Players control both game body and avatar body and three different type of body aligned in a line.

Sasanian reliefs are very important in the study of not only the art history but also the state, society, religion and politics of this era. This article tries to study the relationship between word and image in the Sasanian reliefs that contain inscription and figures. The data in this article is collected in documentation method, and the research is done in descriptive and analytical method. First of all language, image and their relationship are defined and then eight Sasanian reliefs which have both word and image are studied: Ardaxšīr at Naqš-i Rostam, Bandiyān-i Dargaz in Xorāsān-i Razavi, Barm-i Delak at east of Šīrāz, Bahrām I at Tang-i Čogān in Kāzerūn, Šāpūr I at Tang- i Čogān in Kāzerūn, Šāpūr I at Naqš-i Rajab, Bahrām II at south of Kāzerūn, Šāpur I at Naqš-i Rostam. These reliefs have both the text and the image but the conformity between words and image would lead us to an incomplete method and it seems that happens in the related studies till now because for interpreting the image we rely on the texts, while as we could see in these reliefs the images have more messages in comparison to the text and each part could be interpreted separately. For example, the size of figures, the type of weapons, clothes and tools, the ornaments, their gestures, their look, the signs of glory, their context and so many other factors could be considered as symbols and they must be interpreted in different layers. It is obvious that everyone is not able to read the inscriptions and if someone could do that, s/he sees the image at first and be influenced by it and also as we will study the texts in these reliefs only give us the general information. So we could say that in these frames the images have several layers of meaning that the first one is related to that period and the other layers have a timeless and infinity message but the texts are timed and finite therefore we should choose two different approaches for interpreting these two parts in each Sasanian relief. It seems that the images have timeless and infinite messages because of their mythological and ceremonial meaning but the same is not true for inscriptions and they refer to some specific subject and for understanding it, in addition to know its language the familiarity with the political, social and religious history of that period is necessary. The signs of power and glory of the kings could be seen in these images and also they depict the kings who have Farrah and are victorious and protected by gods and these messages are timeless so It seems that the viewer could have a very close understanding from images due to the signs which are infinite and timeless. Although in these reliefs the image and word are in one frame and they make an image together but these two parts are quite different functions which should be considered in our interpretations.

The ambigram is an Engraving and it is an inverted word which confuses the audience and notices a hidden twist on the word. In fact, the ambigram is a logo type method which is seen and read in different directions and in similar or different forms and meanings. It is a typographic structure that creates a whole new and different word when we invert or rotate it. According to this, the purpose of this research is to study and identify this method as a different method with a creative approach to the designing of logo type and study and identifying of the capability of this method in the Persian alphabet. It can be resulted from this study that the use of the ambigram method is not only applicable to the design of logos but also can be used in other areas of graphic design and advertising of a channel or organization. This method can emphasize on the nature of an idea and visually influence its audience. Some of the authors of designing books describe the ambigram as an innovative design. Nikita Prokhorov is a graphic designer from Russia who has focused on designing of the ambigram method in logo design and in today's design world and has focused on its effect and charm on the audience. He teaches this course at a university in the United States of America, and has paid more attention to the ambigram and logo type than other graphic designers by introducing this method and its applicability of this sign design approach in graphic design to the young designers. However, ambigrams, in whatever way they are created, must retain their original character, that as long as we look at them from different angles, their core elements remain the same as they were and no change in the original word must be done. The result of this long work indicates that of it will have the amazing impact on people at first glance. This is very pleasing to both the designers and those who use it. That's why elaborate designers take ambigrams seriously. In Europe, graphic designers from ambigram help you design your own logo. But in Iran very little and rarely has this method of sign design been used to the fullest extent. This style of notepad design can be of much more interest and design in Iran, as the alphabet letters of Persian have the potential to be designed in the same way as the Latin letters in the form of ambigrams, and are nowadays more common in graphic advertising. One of the main features of the ambigram is the reflection of the viewer at first glance and the ambiguity and difficulty of reading the ambiguity so that the audience can see both directions of the text and reach two texts in one word. The results of present study shows that ambigrams not only for sign design, but also can be used in graphic design, commercial logos, book covers and music album covers. Creating ambigrams requires a great deal of patience and creativity.