نشریه هنرهای زیبا - هنرهای تجسمی
سال بیست و ششم شماره 3 (پیاپی 87، پاییز 1400)

Interactive art, as one of the media of the new art, leads to an audience's experience that is different from what has been experienced in the history of art. The interactive art media emerged from the new paradigm (postmodernism) in the world of art and gave new definitions to the same paradigm. Since the creation of a theoretical and philosophical framework for the complete reading of this art seems necessary; the present article aims to understand and explain the concept of experience in this art by analyzing the theory of the Aesthetic experience of John Dewey's and adapting it to interactive art. John Dewey (1952-1859) is a contemporary American philosopher who called his philosophy pragmatism.  Media from the perspective of Dewey is a mediator between the artist and the audience. By hinting out the patriarchal significance of the author and changing his position, this media gave the audience a special, new, and unique definition of what we know about art history. For this reason, this art was faced with public pleasure both in the galleries and in the spaces outside of them, and was made available to ordinary people and part of their everyday lives. Dewey, by addressing the concept of human interaction and considering it as the foundation of aesthetic experience also emphasizing of the concept of technology, provides two important aspects in shaping the theoretical framework for reading interactive art. And answer the question what parameters of the audience's experience of interactive art makes them aesthetic and conceptual experience? In the other words if we give you the experience of interactive art as an example of Dewey's aesthetic experience, then what are the factors behind the link, similarity and interaction of this concept and its implications?  It seems that perception interactive art can be considered as an example of aesthetic experience. Factors such as interaction, action and reaction, as well as the approached position of the author and audience, subject and object, instrument and result makes a common border between interactive art and Dewey's theory. On the other hand, the importance of the position of science and technology in this theory provides the basis for the study of interactive art as much as possible. The interactive arts bring the audience and her/his experience to the place of the author and the creator in a new place in the history of art, thereby eliminating the boundary between the art object and the subject. Due to the approached position of the subject and the object, as well as the subjectivity and objectivity in interactive arts, we cannot believe in the distinct tools and means which give rise to definite results.  Finally, an example of an interactive installation called "A-Volve" the work of Christa somerere & Laurent has been introduced and studied as an example of a computer interactive art will be analyzed based on the theoretical framework of the research. A-Volve has become a complete example of Dewey's aesthetic experience through factors such as interaction (action / reaction), sense, rhythm and imagination.

Traditional textile weaving is one of the most ancient businesses, arts and industries in Iran. From the beginning of written history and even before, it has been found several witnesses of textile weaving activities. The initiation and continuation of this art-industry has always been affected by historical events. Today, there are many historical textiles around the world, while some of them have not been surveyed and analyzed yet. Since the method of production as well as patterns of each woven object is an important source to be used to determine social, economic, political and climatic conditions of the location of production, survey and analysis of these monuments can develop our knowledge about them and even reveal many secrets and answer many questions. The purpose of this study is analysis of textiles which are currently kept in Vaziri museum. Vaziri museum and library is an important cultural and historical center in Iran located in the city of Yazd. It contains many historical and precious monuments including:  coins, kings’ orders, containers, manuscripts, textiles and clothes from 6th century (Hijri) up to the era of Pahlavi II. The textiles of this museum, which are subject of this study, belong to Safavid, Zand, and Qajar dynasties. In this paper, the trend of changes in textile production in the mentioned periods is identified by analysis of the museum’s textiles from aspects of decoration, patterns and figures, paintings, thread materials, weaving methods, embroiders and their applications. Safavid period is considered as the golden age for art-industry of textile weaving and making fine clothes in the Islamic period of Iran history. In this period, textile weaving and cloth making have experienced prosperity and brightness, thanks to political, social, and economic conditions, internal security, and interest of Safavid kings in this art-industry as an important factor in local and international trade. After Safavid era, during early Qajar kingdom, the Safavid trend continues. But after that, due to expansion of relations with European countries, travels of businessmen and explorers to Iran, and also trips of Nasser al-Din Shah to Europe, many change occurred in this art-industry. These changes finally resulted in stagnation of this art-industry. Among changes in the art-industry of textile weaving after Safavid period are: simplification of weaving machines, usage of cheap and low quality materials, reduction of gold assay in braids, and usage of Russian textiles in repairing of clothes during Qajar period. These changes imply the effect of political, economic and social factors on decline and stagnation of this art-industry after Safavid period. In this research, the textiles of Vaziri museum are introduced, photographed, categorized and analyzed for the first time. The information of the research has been collected by field studies, library sources, interview with experts of Iranian traditional textile weaving and embroidery and consulting with experts from several museums. We hope that this research would interest the researchers to the Vaziri museum and its monuments, especially textiles and we hope that it will result in better keeping and maintaining of the monuments.

This paper aims to study decorative designs of eighteen piecees of ilkhanid octagonal lustre tiles exist in museum of Hazrat Masoomeh mausoleum in Ghom city with emphasizing on their Plant designs. These tiles almost belong to Shiite mausoleums of Ghom. The main question of this research is what the most important types of Plant designs are on these tiles. Considering this objectivity that this kind of tile used broadly in Shiite buildings of ilkhanid period, researching on decorative and conceptual dimensions of these tiles can help us in better understanding of Shiite community evolutions in this dynamic religious period. Also because of this fact that golden age of lustre tile belongs to ilkhanid period, thus researching about these examples might help us in understanding the evolution of this technique. These tiles that previously alongside with cruciferous shapes decorated plinth of inner sides of buildings, are so important and interesting for their antiquity and either their decorative designs.The study was conducted in a descriptive -analytic method and data were collected in field and library method. According to the findings of the study, two fundamental designs of lotus and abstracted Cedar as main designs of these tiles as well as long precedent in Persian art and culture, revived with symbolic Iranian and Shiite concepts because of religious freedom in ilkhanid period and then continued in new shapes as Shah Abbasi flower, Toranj and Botte Jegheh. Lotus, an important component of Buddhist imagery, symbolizes rebirth, purity, and Buddha seems to have been known in Iran before the Mongol era and was influenced by the prevalence of Buddhism in Afghanistan and Central Asia. Some scholars have attributed the Shi'ite's overused use of the scheme to the incorporation of some symbolic concepts of the Buddhist role, including its purity with Shiite beliefs or wisdom. The author also considers the incorporation of some of the symbolic symbols of Lotus with Shiite beliefs to be real and considers the widespread continuity of this scheme during the post-Ilkhanid period, especially in the Shiite period of the Safavid, as one of the reasons supporting this view. As we know in the Safavid period, this flower was named Shah Abbasi with slight modifications and a crown was added on top of it. Therefore, the lotus originally considered a Chinese and Buddhist design, took on a symbolic and sacred meaning by the Shiite artists of central Iran, which may be symbolically related to Hazrat Fatemeh or whole Imamams as symbol of purity. On the other hand, it is also possible to consider the relation between the Shiite concepts and the abstract role of the Cedar in these tiles. The cedar tree can be said to have pre-Islamic rituals, as well as certain characteristics such as permanent greenery and fruitless (not obeying the wishes of others) of the long past times, a symbol of Iranian freedom and nobility, and not surrendering to enemies. And in the historical opportunity of the religious freedom of the Ilkhanid era, in combination with Shiite concepts, has acquired a new color and smell.

The tendency toward religious matters including Qurans verses, narrations, religious teachings and the story lives of prophets has always been impressive in Iranian miniatures. Transcribing these themes in the field of the image, in addition to expanding the foundations and religious thought, also had other goals. Which is compatible with the social structure and environmental conditions of the production of each of these works can be interpreted and identified. The purpose of this study is to read one of these themes - "Solomon's court" -in two different historical periods by discovering the mechanism of producing meaning in two images belonging to the Timurid and Safavid ages, In addition to examining connotation, answers this question: What has been the cultural and social process in creating miniatures structures? The research method is descriptive-analytical and based on the sociological semiotic model of the image and data collection is done through documentary sources and direct observation. Social semiotics is a topic in which two prominent semiotics such as Teo Van Leeuwen and Gunther Kress have drawn semiotic model about the image according to Halliday's linguist ideas and they offer three; ideational, interpersonal and textual Meta function for the image.The results of the adaptation of these images with this model showed: Both of these images are similar to each other in selecting the main characters, because when the theme is common, the same structure dominates the images especially with religious content that generally do not contain the unfeigned of the illustrator and his imagination, even in some cases they are copied from another hyper textuality. Despite the continued presence of common signs in pictures, it is impossible to ignore the differences arising from the cultural and social context of production, which have appearance in details and subtleties. Also temporal affinity of images production, justified their style effects again. Matching Meta function representation of the images with meaning indicates; separating the material and spiritual realms also a contrast between superiority and subtlety and the symbolic use of colors explains the rule of the conceptual model. In the interactive Meta function analysis of miniatures participants represents the special position of the main character. In the miniatures composition (combined Meta function)- According to what is perceived in the narrative- prophet Solmon has the central role due to the allocation of areas of informational value to him and his unique highlighting and framing, which represents the hierarchy of power, his ideal identity and belongs to the incorporeal world. An overall summary demonstrate the dominance of political discourse in the images that based on the historical context of the production of each of them. An invaluable point in discovering the hidden social implications meaning of images is to legitimize the government through illustration of a Qur'anic theme. The elements and components for the propaganda purposes of the power institution have been used to represent the glory of the rule of the Timurid age and instrumental in serving the legitimacy of the ideological and political structure of the Safavid period.

Manufacturers of handicrafts in Iran, create an atmosphere that, apart from material use, indicates their deep desire to decorate, by decorating everyday consumer items via useful creativity. For centuries, the Door knocker, apart from their main function, has adorned wooden doors of old houses well. A Knocker is a metal object made of iron, which was installed on the wooden door of historic buildings in both male and female forms by nalchegar and blacksmiths to inform the owner of house and also to close the door easily. Knocker is the first object that one touches before entering the Iranian architectural space, and its decoration and arrangement can be the best prelude for the Iranian architect’s perspective. Yazd is a city located in central plateau of Iran, with a hot and dry desert climate, which due to special geographical conditions, has been less exposed to crises and major conflicts and, consequently, cultural conflicts. Therefore, the oldest motifs of Iran, such as cypress and sun, proportional to local interests, with the least intrusion and occupation and maintaining historical continuity, can be seen in it. This feature can be seen in the general form of Knocker as well as the carved motifs on it, proportional to the extent of the application of these two motifs in other aspects of the visual culture of Yazd. Blacksmithing and Nalchegar, which is a subset of blacksmithing, are two documentary professions that, along with coppersmithing, have enjoyed great prosperity in this area in the recent years. Since the Knocker makers, in designing the shape and form and decorating it, besides using meaningful motifs, have also used their freedom and expression of their emotion, and since the general form and arrangement of motifs depends on the technique of performing the motif on the Knocker were considered case-by-case and specially by the researchers. In this research, the authors have tried to study the superficial scatter, the multiplicity of forms and variety of decorations on the Knocker on a case-by-case basis in the traditional texture of Yazd, relying on descriptive-analytical method and field observations. Accordingly, the authors first introduced the Knocker its fixed parts, and the terms used by local blacksmiths and nalchegar about the Knocker of Yazd. Then, in the next section, they categorized the general form of Knockers into two groups of Cypress-shaped and round Knocker and mentioned the subsets of these two groups. In the next section, the decorations on the Knocker and the arrangement of the motif on it were considered. The result of this paper led to identify the general form of the Knocker made in Yazd and the common decorations on these Knockers, to identify non-native Knockers or made by non-native craftsmen, the craftsman's focus on the execution of geometric, plant and written motifs, dominance of the original form on the decorative elements and its strength to decorations, the presence of the living imagination and the connection of the motifs in the Knockers with other branches of handicrafts, such as carpets and tiles.

The rapid expansion of consumerist lifestyle in the societies and nations worldwide seems to be one of the main causes of the present environmental, social and economic crisis in a global scale. As the profession of Industrial Design has had an active role in facilitating and promoting such a lifestyle, the correction or improvement of sustainability situation of the products is therefore one of its major concerns and agendas currently. The main focus of the researches concerning the product sustainability is mostly on the environmental impacts and economic issues. The lengthening of the product psychological lifetime could be one of the effective tools for the reduction of consumerism. Within this research, first, the different approaches for extending the product psychological lifetime are reviewed comparatively and categorized semantically. Next, as the outcome of a field study done on the case of house furniture of the youths living in Tehran through a qualitative research method, the factors affecting the length of psychological lifetime of such products are extracted. Because of the especial role of furniture in lifestyle as well as the importance of its subjective/psychological issues, this kind of products has been chosen for the case study. The required information for this qualitative case study is gathered by using the methods of interview and observation. The samples are chosen among the youths living independently in Tehran and agreeing to be interviewed in their houses. Meanwhile, their own furniture is being observed as well. The interview with the samples and the observation of their furniture have been continued until the theoretical saturation is reached. The obtained data are initially processed by using the methods of Initial Coding, Open Coding, In Vivo Coding and Pattern Coding. To draw the distribution graph of data derived from the coding process, as a base for the final Theoretical Coding, the data are then analyzed by using the method of Quantification Theory Type III. Within the Theoretical Coding of the data, the users’ expectations from their furniture and their furniture particulars, which could be remained stable or changed, are compared. Accordingly, the different types or patterns of their equilibrium and also the users’ expectations items and the products particulars involving with each pattern are drawn. To extend the psychological lifetime of such products, the results of this research reinforces, on one hand, the importance of the product adaptability with the user’s personal changes depending on the context. On the other hand, the results emphasize the necessity of stability of product from the viewpoint of the user’s permanent values in terms of contextual and temporal changes. Furthermore, to conclude the design tactics for extending the psychological lifetime of the furniture of the youths’ houses living in the city of Tehran, the implication of the findings of this research are firstly compared with the categorized approaches for extending the product psychological lifetime derived from the literature review. Then, the findings have been discussed from design viewpoints to be arranged into the main design issues including design guideline, design strategy, design/research tools and framework regarding the above mentioned subject and case.

There have remained a few chimneys from Qajar period dispersed inside Iran and abroad. It seems that they have been produced in two or three tile production workshops in Tehran or Isfahan. Therefore, the main question of the present research is that what are the most important technical and artistic features of chimneys that have been made by Master Ali-Mohammad Isfahani? Furthermore, has the chimney in the Moghadam Museum been made by the same tilemaker? The chief goal of this research is to identify and introduce those chimneys produced by Ali-Mohammad Isfahani. Ali-Mohammad is a renowned and prolific tile maker in this period who wrote a treatise by order of the Major Robert Murdoch Smith on tile making and ceramics. His works are now preserved in many museums, including the V & A, as well as in impressive buildings inside and outside Iran. He immigrated to Tehran from Isfahan in 1301 AH/1883-84 AD at the recommendation of Smith, the then head of Telegraph Department, setting up a workshop near the Shah Abdol-Azim Gate, in the south of Tehran. We have little evidence from his life and artistic activity at Isfahan. No signed tile by him has been observed at Isfahan. Murdoch Smith visited him twice while travelling to that city. In his second travel, he was astonished by this young artist’s works and admired him. That event was a new page in the professional life of Ali-Mohammad, because Smith and other Europeans such as Monsieur Lemaire, the musician who taught at Dar-ol-Fanoun (the Qajar Poly technique School), brought about the development and establishment of his career at Tehran. Consequently, his works and his workshop became so famous in a short time that other great masters, e.g. Master Mostafa, visited there frequently. The signed works by Ali-Mohammad are not few. Such a level of production indicates that his workshop has been the most important place in making painted tiles, tiled panels, ceramics and glazed. This article studies, four tiled chimneys by Master Ali-Mohammad by gathering data from textual sources, internet, as well as field research. It should be be pointed out here that the technical aspects of such chimneys, their constructions and heating systems have not been taken into consideration as a result of considering aesthetics and art matters. Now two of chimneys are in Olana State Historic Site, New York; one is preserved in the V & A Museum (only its border is on display without any other tiles). The fourth ceramic chimney, preserved at the Moghadam Museum, is attributed to Ali-Mohammad and bears no sign. The findings of this research prove that this piece has been made by Ali-Mohammad. Regarding this master’s professional background as a mason, ceramic chimneys should be considered one of his own innovations. Other artisans must have followed this trend making such tiled chimneys in this artist’s workshop, since there was mass production of molded tiles for dados in that place. All other chimneys of this type have been flanked by such tiles on either side.

Orsi windows are one of the most important and main decorative components in Qajar historical buildings. Based on the surviving works, it can be said that they had a diverse and influential presence in Iranian Islamic architecture from the Safavid period to the early Pahlavi period, that is, before the widespread use of metal in construction. Due to this issue, as well as for climatic reasons, we are witnessing various indigenous architectural styles in the country. It is assumed that the orsi in each area, despite a single function, have different characteristics in design, role and dimensions. But what has made the writers focus on this is the differences in their decorations. That is, their differences can be studied in the form of (patterns, colors) and (technique, decoration). Based on this, the research questions can be asked in such a way that, what similarities or differences from the mentioned point of view, there are in the orsi of Ardabil and Tabriz? And that in the historical course of the Qajar period, what changes have the orsi of the two cities? For this purpose, an attempt has been made to study and match the patterns and colors (as the main components under study) along with the techniques and decorations (sub-components) of the orsi of these two cities. The purpose of this study, in addition to examining the trend of changes in the mentioned components in the orsi from the beginning to the end of the Qajar period, is to identify common and different patterns of orsi of historic houses in Ardabil and Tabriz. Therefore, it is possible to get more and better knowledge about this art-industry in the Qajar period. On the other hand, considering the issue of identity building in contemporary architecture, the need to review such works in order to use them in modern architecture seems necessary. In this research, in addition to field surveys, the preparation of materials has been a library study that has been organized by descriptive-analytical and comparative methods. The present study showed that the patterns and colors in the orsi of the middle Qajar period compared to the two periods before and after it, in both cities in terms of frequency and variety, have a more desirable and better quality.

It is known that more than any cultural product, a work of art can represent how the world around us is organized and conceptualized by the human mind. Therefore, if we can read the artistic texts on the basis of a systematic way, we can better appreciate the ideas of the period in which the work of art has been created. Carpets are known as one of such texts; among these cultural products, Niche or Mihrabi rug is of particular importance. Niche or Mihrabi rug can be regarded as one of the handicrafts that has a religious aspect as well as beauty. As one of the characteristics of these rugs, we can refer to the use of the Quranic verses in them, motifs such as lotus, mica and khatai inside the altar; also, we can see these rugs have a regular and accurate geometric structure. The vast majority of the Niche rugs  made during the Safavid period begin with Amin Al-Rasool or the verse of Al-Kursi. However, in between there are a number of rugs that begin with the name of Solomon, part of the verse 30 of Surah An-Naml. Then part of verses 83 and 84 of Surah al-An'am is placed; also, the use is made of the verse of Noor in the third margin, in addition to the cypress tree and the lotus flower inside the altar. Since this accompaniment can be found in a large number of rugs, it seems, therefore, that these texts have been created   with a special order and purpose, giving the carpet a multi-faceted and multi-layered personality. Now the question arising is why this text has replaced other texts in certain periods of history? How can this replacement be explained? To find the answer, it is necessary to explore the meaning of these texts. This transition from the apparent representation of the rug to the exploration of the meaning underlying it is a process that can be studied according to an iconological way. After studying the rug in a descriptive-analytical method and collecting the necessary information according to the documents available in the libraries and the Internet sites, using the iconological method, a network of meanings is created; then, an interconnected chain of meanings in relation to the whole work could be developed.  Therefore, we can reveal the expression of the ritualistic-mythical thoughts with an Islamic meaning in these texts. Then, on the basis of the interconnected chain of meanings, it is possible to achieve the important thing that the designer-artist has created a work that could express the journey and behavior of the mystic. Therefore, the conclusions that can be drawn is that the presence of Solomon’s name on the margin and next to a part of Surah al-An'am and mythological themes and the form of the Mihrab, in addition to expressing the behavior and ultimately ascension, can imply the concept of kingship in its Iranian-Islamic meaning, thus legitimizing the rule of the Safavid kings.

Semiotics as a research method since the 1950s. It has been used in the field of recognizing the implications and understanding the mechanism of communication. The works of Levi Strauss, Michel Foucault, Jacques Lacan and Roland Barthes are significant in this regard. Roland Barthes is especially important in this regard. Also, Tzvetan Todorov, Julia Kristeva, Gérard Genette, Umberto Eco and Algirdas Julien Greimas created important works in the field of literary theory and used the method of the Russian formalists in the 1920s. In the Soviet Union, they did outstanding work on literature and cinema. Barthe's works were very effective in the field of image semiotics because he wrote in the fields of photography, cinema and painting. The formation of the two main models of semiotics was due to the opinions and ideas of two famous theorists in this field, namely Ferdinand de Saussure (1857-1913) and Charles Sanders Pierce (1839-1914). Semiotics, first introduced in language by Saussure, was extended to other socio-cultural fields by other semiotics. His attempt was to study the semiotic relations of phenomena as a system like the system of language. The visual spheres were no exception, as were figures such as Roland Barthes in photography and Christine Metz in cinema. In these studies, images were considered as a system in which all their components were related to each other, and each component derives its meaning through its relationship and difference with other components. In the present article, two works by Ahmad Aali with the common name of "self-portrait", one photo and the other painting, are analyzed semiotically. A graduate of the Visual Arts Conservatory with a degree in painting, he is more active in the field of creating photographic works, and his works range from documentary and somewhat realistic subjects to abstract works with semantic ambiguities. Ahmad Aali is one of the first Iranian photographers to introduce photography as an art to the Iranian Society of Visual Arts. Before him, photography had a non-artistic nature in Iran and was limited to documentary, studio photography and advertising photography. In the creation of these two works, Aali used the images of his previous works, and by doing so, he created a chain of signifier and signified relations that is considerable .In the present article, while introducing and explaining the theory of semiotics and image semiotics, the change of signifieds and the formation of the mentioned chain in both foresaid works have been studied. This research paper with descriptive-analytical method and assuming the formation of new signifieds in the new context of these two works, first describes and analyzes visual cues during companionship and substitution relations, binary contrasts and analyzes different signifieds in their field. In the final analysis, it was found that in both images, by creating new implication trends, as a result of merging different signs and using the artist's previous photographs, common meanings have been formed; The most prominent common signified between these two images is the concept of the rejection of some social discourses such as women's discourse, the elderly and especially artist's discourse.

The Qajar art of the Qajar art is a kind of sculpture with a lazium field and a margin of Slavic designs on a tile with outstanding frames, which came up with stories from the themes of ghanaee literature to decorate the spaces of buildings. The Golestan Museum is considered to be the most important Qajar building and the first global registration in Tehran, with treasures and valuable references from various types of Qajar tile designs, embroidered in seven different colors of embroidery in a diverse range of themes in the literature of Ghana. The purpose of this research is to identify sources of inspiration from tilers or painters on the tile of this museum in the production of illustrated tiles. In this paper, we try to study the pictures of the seven-colored tiles of the underwater mosaic with the themes of the riches of literature such as Divan Jami (Yousef and Zulikha), Khamseh nezami (Shirin and Farhad, Shirin and Khosrow, Bahram Gur and Kenizak (Azadeh and fetneh) divan manteghter attar(Sheikh Sana'an and Tarsa). The results of this research show that Ghana's literature has always influenced Persian art and has been able to create appropriate areas for designing and decorating architectural decoration, especially in tiling. The ancient Persian literature is full of love, epic and mystic stories. Illustration of such scenes has always been the subject of many artworks throughout the ages.The main features of arts in the Qajar period, its affiliation with literature, in particular the literature of Ghanaee, is not a tile as one of the artistic representatives of the history holder in Iran, except for this rule. The designs of the themes of the encyclopaedia on the tiles of the paintings The seven-colored Golestan Museum is influenced by the following factors:- Follow the traditions of the past-Arestrianism, which is one of the components of this literary movement, has had a greater impact on the role of tile work of the Qajar period.Most of the themes used in tile images related to images taken from military khumsah.The familiarity of tiled artists, with expressive and symbolic delicacies of poetry, has had a direct impact on their performance, so that the more tattooed, more familiar with the richness of literature, could better capture poetic concepts and images in their works. . Literature in general can be beneficial to the painter, both in terms of education and inspirational resources, provided that the painter can identify the rules governing the structure of the literary work and, in a manner in which the author or poet is drawn, through his message Plan, find out. Most of the tiles of the seven-story drawings of the Golestan Museum under the guise of rich literature, with a narrow margin around the elliptical frames, including white-satin white-satin motifs that sit on a brownish background and a leaf with the same color combination of the ellipsoidal shape of the four The side of the frame is designed to create motion and lack of uniformity.

In the present age, dealing with theorizing and theorization is the most necessary aspect of human discussions, as also in the field of art, theoretical attention to artworks is as important as their creation, and it is effective in determining their destiny. This aspect of art in our culture does not have a proper history, as our art has declined since the late Safavid. For this decline, many different causes can be considered which some have inner and some have outer relations to art, and lack of creativity is the most important inner cause. So this is why theorizing and making new definition for this old principle of art is necessary. And this is what this essay is looking for, therefore the paintings of Francis Bacon are chosen to work on and Charles Mauron's method, psychocritic, is chosen to work with. The experts call the works of Bacon "creative" and they believe that understanding his "process of creativity" requires familiarity with the principles of psychoanalysis. Also It must be noted that psychocritic of Charles Mauron is the first systematic and methodical psychoanalytic approach to art which defining "artistic creativity" is its final aim, based on Charles Mauron's psychocritic in the series of artworks of each creative artist a special coherence can be followed which is rooted in the unconscious of each artist. Due to Charles Mauron, unconscious of each creative artist has a holistic face that represents his personal myth. And it is this personal myth that is the basis of any kind of artist's creativity. In order to find personal myth of Bacon with the method of psych criticism of Charles Mauron which will be the key to analyze all of his paintings four stages have been done; first, researching in all of his artworks to find the network of the obsessive metaphors and images made it clear that the general form of his paintings is a closed space, and the part of this space that is assigned to object and things is always at focus, also the content of them is consisted of figures and portraits that are so overwhelmed that are more like a piece of meat or an object than a human, a human which is very lonely and panic; second, keeping attention to this network to find the basic characteristic of these metaphors and images and complexes of Bacon was led to claustrophobia, panic disorder, Oedipus complex and Peterpan syndrome; third, keeping attention to these complexes to discover and find the personal myth of Bacon led to Heracles as a personal myth; and forth, examining the main characteristics of personal myth which was Heracles and is discovered in the last stage with the life of Bacon in order to ensure the above findings, so finally studying biography and interviews of Bacon proofed the third stage's hypothesis. And the result is that Bacon's personal myth that has been his driving force behind his creativity which has had a fundamental role in creating his paintings is Heracles.