مجله مبانی نظری هنرهای تجسمی
سال هفتم شماره 1 (پیاپی 13، بهار و تابستان 1401)

Martin Heidegger in his hermeneutic phenomenology, studies a significant level in the phenomenology of Sein and while trying to explain his ontology, he also teaches the possibility of existence to reveal itself. In the Heidegger philosophy, two terms of "world" and "earth" are central issues. The truth is, in itself, inclined to hide and reveal at the same time, but the material or earth always tries to cover the truth. The world is the same desire to reveal the truth, and the earth is what keeps truth from revealing completely. These two are in constant ideas and are among the constant conflicts, which are sometimes a part of the truth that we have been exposed to. Heidegger emphasizes the decisive role of art and is clearly accentuating the relationship between the realm of art and phenomenology. It is in the art that the truth is embodied in portrayal. In this permanent struggle, the face of having an uncovered truth will be opened to tell of the secret. The world is the field of openness, and it tries to reveal itself where ever it can, but the earth is the field of submission and hiding, and it wants to limit and hold it in a position. Impressionist and post-impressionist painting, especially Van Gogh and Paul Cezanne, has always been of interest to Heidegger due to innovative aspects such as selection of subject and color. This style of painting presents well in the introduction of truth in its Heideggerian meaning, and narrates the upbringing of land and the consolidation of the world. Impressionist painting, first draws the attention to its original and innovative approach, and by creating numerous questions about the nature of it, calls the audience's mind to garner in its depth. When the audience looks at an Impressionist painting, the first encounter is a constant clash of color and light, and the shadows are overshadowed. His attention has been drawn and he is amazed by the unexpected color of the landscape. He may immediately ask why the world is pink and why the grass has any color except green. It is here that he is attracted to watch the painting, and in the back of the wonder that is taken by the curtain, it seeks to get acquainted with the elements. The elements purposely removed by the painter to draw the audience to a view of the Sein that had never been able to visit before. In the present paper, two impressionist paintings of Claude Monet, have been chosen and the intuition of truth as the discovery of hidden has been studied. These two paintings, rose-arches and Madam Monet of Monet - in addition to all the surface and apparent aspects that lead to the audience's attention in each impressionist painting, are also of deeper layers, and hidden elements in them, if discovered correctly, have revealed the truth. In the first painting, called the Lily Pond and the Roses, we try to penetrate the depth of the work after pointing to the innovative color, and we watch the universe from the vent of a hole that has been created in the middle of the painting from the roaming of the red flowers around the gazebo. When he spoke about the bridge in 1951, Martin Heidegger said, he counted what brings together and allows the world around him to breathe, in addition to a circle like flowers at the center of the Lily pond painting and red flowers, which brings together the world around him. The painting brings together the cheater of the mortals, the gods, the earth and the world together and at the same time. The view of the Lily pond and the gazebo of roses and the fading light shining on both of them, as if depicting the humid weather after rain and fog on an autumn morning, along with the interweaving of colors and the complexity of the space, in addition to presenting a new color spectrum. Phenomena that at first glance catch the eye of the audience and amaze, has another enjoyable poetic secret behind it that simply does not reveal. This aspect of truth becomes apparent only when we open our eyes to it with astonished and astonished eyes and look at the universe through its lens. This painting has brought the world into the process and reveals in its heart an aspect of truth that is unique in its kind. These intertwined motifs, as soon as you see them and engage with their appearance, slowly unveil their secrets and make you to witness one of the first hours of the creation and production of the universe. Initial birth witness. The interwoven colors and the hole created in the middle of the painting by the rotation of the rose bush on the pavilion seem to be the opening of the universe and a sign of the aspect of truth that has been revealed to Monet. The mentioned hole is a passage that leads to the truth in everyday life beyond things. This painting not only presents a view of a lotus pond and a pavilion of red flowers, but also contains a totality of the universe as if it were at the starting point of its creation, a discovery that helps the emergence and birth of the universe. In the second painting, which is called Madame Monet, we will consider, in a similar way, a hidden layer of exogenous colors and the special lighting. After providing an analytic analysis of the importance of the color of the world and earth, we will study the Monet as a stage between the earth and the world to find out the way through this transition to the universe. The painting surprises the audience in the first look, thinking if he had ever seen a grass of purple and blue. He asks, "How did the painter paint this portrait?" Did he look at the view in front of his eyes while drawing at all? The surprise of the audience reaches to the peak, when he raises the eye and faces a distinctive and different picture of a woman above the hill. He asks, "Has Madame Monet ever been in the imagination of her portrait or has she abandoned herself in the wind direction by ignoring her painter and not paying any attention to how her portrait will look like?" These questions, too, are also based on the firm response, which can be seen in the painting with astonishment. Madame Monet's figure is like a column that, like the same Greek temple that Heidegger intended, reveals the universe and is in a state that leads to the hidden originality of the ascension of the universe. The purpose of this paper is to discover the hidden aspects of these two paintings.

Similar to Surrealism, Fantastic Realism takes shape within western art specially in painting and printmaking and consequently this outlook forms a specific importance, as primarily a group of Austrian artists started the initiative and are responsible for creation of astonishing fantastical works of art or in another word, dreamlike fantasies and due to this, they call these compositions Fantastic Realism.Therefore the purpose of writing this article is manifesting and revealing the ideas of these  artists who congregated in Vienna in the last days of second world war. They display and expose their fears, worries and anxieties that had risen from the heart of war - considering Surrealism was slowly fading - which was the sign of pain and suffering of a divided society. Therefore to dive into the depth of these Austrian painters and printmakers' ideas and the reason behind formation of this style, in the current article, firstly the question of the research is answered which is: Did Fantastic Realism take shape and rise from consequences and impacts of second world war or did it come from other issues? Also as the findings for this research, it can be concluded that with no doubt, no element has been more influential in the existence of this style than the disasters of war that affected these artists and caused a great reaction from them. Lastly as the conclusion for this research it is concluded that not only this style was affected by the consequences of war but Sigmund Schlomo Freud the Austrian sociologists ideas have had a great impact.The style of Fantastic Realism was created by a group of Austrian artists - with a deep dive in mysterious fantasies and repressed human desires. Consequently it transforms into dreamy and imaginative fictions. In fact we can see the breeding ground and basis of the fiction in variety of artworks such as the Dutch artist Hieronymus Bosch - Jerom fictions who believes in religious and moral ideas and pessimistic and melancholic scenes, or in the works of French Naive artist Henri Julien Felix Rousseau or in the works of the Russian artist Marc Zakharovich Chagall who portraits his childhood memories, or in the formation of Surrealism in France by the French poet, writer and theoretician Andre Breton, Paul Eluard, and Guillaume Apollinaire, the French poets of the time and artists such as the German painter, print maker and sculptor Max Ernst, the Spanish artists Salvador Dali and Joan Miro, the French and Belgian painters Yves Tanguy and Rene Magritte and at the same time used in Surrealism by the French and Belgian artists Pierre Roy and Paul Dolvaux and the Polish artist Balthazar Klossowski - Balthus, specifically the influences of a great psychologists psychoanalysis ideas such a Sigmund Schlomo Freud gets used at first in Surrealism and later in Fantastic Realism in a different way. Therefore these types of influences and impacts and the view of a group of artists towards psychological aspects all together provide the reason for analysis of the creation of Fantastic Realism which is known as mysticism within a fantastical world, in this article. Also in order to clarify the reason for the creation of these works of art, the author studies the etymology of Fantastic, Realism and Figurative, after consideration of questions, history and research methods. In this relation the focus is on realism and anti-realism within painting and printmaking, and consequently on concaving the visual structure of the said artworks with attention to the unconscious mind and Automatism and at the end as conclusion, the ambiguities and questions are answered within the article.Research methods are analytic and descriptive. Also all data collected from libraries and in some cases from authentic online sources.

The subject of dual contrasts is one of the most basic concepts in structuralism. The mind of human being behaves in such a way that for understanding phenomena, it classifies every set into dual mutual poles, and this mental action leads eventually to the construction of dual contrasts such as, man and woman, up and down, left and right, dark and light, and so on. From this point of view, these contrasts, also, in the paintings act to strengthen the fundamental aspects of the image. In this regard, this study intends to use an analytical and comparative method, and to examine the structure of Edgar Degas' paintings and to discover the dual contrasts in his works and the visual arrangements underlying the abstract infrastructure of his works, and to receive more specific readings from pictorial relations prevailing in his paintings.  And then to answer the question of whether, based on these dual contrasts, it is possible to introduce a definite pictorial system in works that are based solely on the relationship between men and women and the semiotic contrast of gender. Comparison and adaptation done on this collection of the works of Degas showed that within the structural abstraction in these paintings, we can find common dual contrasts. The collection of these contrasts can be referred as a fixed visual pattern in representing the relationship existent between men and women and the expressive tension of the issue. An important section of Degas' characterizing  works is related to the representation of male-female relationships. In this section, we can specifically talk about a duality of men and women in his works of art, which has formed the semantic codes of Degas. The works of this section can be divided into three categories in each of which the visual geometry of the frame is divided into two parts, being about equal to each other, consisting of male and female elements: Historical and archeological issues Portrait paintings from men and women Orchestra and ballet One of Degas’s methods in creating contrast has been done by separating the elements on both sides of the frame. The paintings “Young Spartans Exercising” and “Suffering City of New Orleans” are two famous examples in this regard. Selecting these subjects, by considering their relation to the structure of the painting that is divided into two local poles, men and women, shows a certain degree of involvement of Degas in dealing with the subject of tension and hostility between the two sexes.  Contrary to his predecessors, Degas finally found the inherent expression relating to his visual formulas more important, and changed this approximate static contrast between the two separate groups to a visual structure that was proceeded to his later works. Another preparation of him was using specific frames for restricting the visual elements within the frame of image, which was one of the important affects that his familiarity with Japanese Woodcuts had on him. In different ways, he used this technique to separate women from men in his works. Indeed, it is through this method that he reinforces the geometry of images based on a dual visual contrast between man and woman. Repeated use of this visual preparation and the separation of the positions of body, particularly the male and female half-bodies, throughout all the works in question, expresses the semantic code restricted by a texture in the background of the figures. The contrast existent between left and right is another instance of his effort to construct a semantic system. Checking other works of Degas shows closely that in almost all of these works, the woman and the female parts of the paintings are located on the left side of the frame and the male part is located on the right side. This pattern has been repeated in all of these works, from the first historical paintings of men and women to the later works of him showing couples. This shows his adherence to some symbolic thinking leading to a dual visual contrast in the linguistic structure in the paintings. Another instance is the contrast between up and down. In the works related to the subject of orchestra and ballet, in which he has performed various samples and compositions in vertical frames, he has adapted a distinct contrast related to a feminine and masculine metaphor with a dual contrast related to up and down. This up and down information value, which is particularly emphasized in this collection, is expressing its semantic implications in the image composition. The contrast between darkness and light has been used as a mutual visual expression for describing the subject of the work and various characteristics of it. It has also been used as a metaphorical element in line with more influencing in many paintings. Degas, during his special use of the contrast part of this concept and also its symbolic expression mostly being achieved by the colors of black and white, has given more contrast and visual confrontation to this subject in the representation of the male and female bodies. We may say that the thematic duality of men and women has been repeated by a similar structure in these works because of the way in which the elements and visual preparations are divided, such that we can see a clear visual system in these works. The aim of this study is to compare these works in order to identify the visual dual contrasts basing on the thematic dual bed of woman/man, and on the basis of the analysis of these infrastructures, acquiring a more accurate stylistic and content reading of the thinking system of the painter about men and women. In the first category (including his early historical works), by decisive separating of the two groups of men and women on the right and left respectively, he has formed a dual contrast between left and right, with the male part on the right and the female part on the left. In the second category (including male and female portrait paintings), with more precise visual preparations in addition to the previous dual contrast, he has also used the dual contrast of darkness and light in accordance with the clothing of the male and female figures. In the third category (that includes the subject of orchestra and ballet), just as he has used the semantic contrast of dark and light to divide the space into two parts of male and female, he has also formed another dual contrast at up and down of the frame. Given these common visual contrasts in the composition of these works, we can say that the object of man and woman and particularly the semantic tension between these two sexes, not only in terms of theme, but also visually, is the most basic abstract infrastructure of his works. The subject of these dual contrasts, not only is a visual solution to organize the composition, but also is somehow the reflection of the mental conflict of the painter with his living conditions and the manner he is thinking about the issue of marriage and the conflicts occurred between men and women. This conflict has become a confrontational structure of men and women through the bipolar division of the frame and in the contrast of darkness and light.

Foucault pays attention to the concept of representation and its effect on the search for truth. The emphasis of the present article is on Foucault's "This is not a Pipe," which he later expanded slightly and published as an independent book. Foucault's research approach in the seventies and his writings in this decade are influenced by Deleuze. In an article entitled "The Theater of Philosophy", Foucault reviews Deleuze's thoughts in his two books, namely Difference and Repetition, and Logic of Sense. Although Deleuze devoted an independent book to Foucault's ideas, it can be argued that Foucault was influenced by Deleuze's ideas and his anti-Platonic views in the 1970s. For him, the distinguishing feature of a philosophy is not its anti-Platonic character; what distinguishes one philosophy from other philosophies is, for Foucault, the same distinction that distinguishes an illusion from another. This idea that a philosopher can take the spears of other philosophers and throw them in paths that may have never been intended by those philosophers themselves is not unique to Deleuze. Foucault himself devoted much of his philosophical thought to the theoretical and systematic development of a philosophy rooted in Heidegger's thought and by way of him in Kant's philosophy. Thinking needs a driving force, an impetus that motivates it to start and set foot on the path of thinking. But for Heidegger, the fact that we are not thinking yet means that we are captive in the conventional, representational framework of thought. Representational forms of thinking that combine mental thinking with representational forms cannot provide an appropriate answer to the question of "what thinking is". Representation does not provide us with the real quality of thinking. For Heidegger, therefore, thinking relates to something outside the realm of representation and is in stark contrast to representational forms inherited from the past. Foucault's attempt in most of his writings is, in a sense, to think informally. For him, thinking in this way is related to the "outside", that is to the unconventional and non-representational aspect of thinking. According to Lawler, for Foucault to think means to think differently. In his confrontation with the moral-representational aspect of "truth," Nietzsche tried to show how truth, which he presented as if it was only understood in a Platonic sense, became a myth. In his famous essay “On Truth and Lies in a Nonmoral Sense" he argues how the distinction between the sensible world and the supersensible world led to the formation of the myth of the existence of truth in another world. Nietzsche relates this distinction to reason, our understanding of knowledge, and believes that reason has led to many exaggerations for man. Nietzsche's understanding of this kind of truth was directly related to Plato's specific understanding of truth. Heidegger was also aware of this distinction in his book Nietzsche. In this book, and in his discussion of the will to power as art, he tries to show what overthrowing of Platonism probably imply in Nietzsche. Nietzsche himself, who had previously condemned Kant for failing to overthrow Platonism, is now accused by Heidegger of doing the same. For Heidegger, too, the relation of truth to art is important: the truth of the sensible world. Art, as mentioned in Plato's dialogues, is concerned with appearances and the sensible world, and gives way to sensual affairs. Heidegger values Nietzsche's understanding of reversing the conventional understanding of truth, as well as his desire to pay attention to art in search of a new truth, but he also tries to show where the danger of Nietzsche's approach ultimately lies. This line of thought is ultimately handed down to Foucault who following Heidegger's intellectual project seeks to overturn Platonism. For Heidegger, Nietzsche's intellectual endeavors in his final years were thought-provoking pint toward the first sparks of truly creative and progressive philosophical thinking. It seems that madness prevents Nietzsche from continuing to work. This short period of thought, which Heidegger believes is also the most brilliant and creative period, indicates the way forward. Yet, it remained for the philosophers to see how the real world became a myth and what happened to the truth? From that point on, now it is necessary for Foucault to examine the history of thought in the West and show what happened that the perceptible matters took precedence, and what happened after that precedence was questioned in the works of artists like Magritte and how finally truth became more and more descending or non-relevant. If Nietzsche throws away both worlds, then he inevitably will have to deny the world of sensations, and his way of thinking will undoubtedly lead to nihilism. But it is unlikely that Nietzsche sought nihilism, and of course he devoted much of his mental energy to denying nihilism. So, we need to see why denying the sensible world. If the denial of the supersensible world occurred for anti-Platonic reasons, it would no longer be necessary to deny the sensible world. Foucault sees this as context for a change: the understanding of the perceptible world changes, and a new human being emerges, a human being freed from the trap of Platonism, who has developed such an understanding as seen in Magritte's paintings. But if Platonism is overthrown, as Nietzsche claims, what would happen will be the priority of sensible world over supersensible, which leads to the affirmation of the sensible world. Foucault doesn't seek such an opposition but understood in its contrast to the supersensible world. A new order must be established that rises from the "middle" and not from the top or bottom. One should not be valued and the other should not be despised. As long as this hierarchy is observed, we will be remained, or worse trapped, in the bondage of Platonism. The main issue in this article is the relationship between Foucault's thought and his philosophical Anti-Platonism. Under this pretext, his analysis of Magritte's work is his article "This is not a pipe" would be examined and its relation to the concept of "outside" in his thought of this period would be analyzed. The question of the present study is the relationship between the concept of "outside" and Foucault's anti-Platonic views in his analysis of Magritte's paintings. Research Method in this article is descriptive-analytical through which we examine four works by Magritte to understand the bearings of Foucault's anti-Platonic attitude. The method of data collection is by studying the existing library resources on Foucault. The method of research, is related to the genealogy of his attitude as well as the methodological reasons for his opposition to Platonic thought in his early period of thought; meanwhile, the relationship between word and image would be argued as well. This relationship would be put in the context of Magritte's works and the analysis of his works would also be included. The results indicate that Foucault's anti-Platonic analysis of Magritte's works is an attempt to overthrow the Platonic structure of thought, and this was probably one of the reasons that he succeeded in creating new method of thinking in the philosophical and social fields.

In the long history of painting, the representative aspect of art has been embodied in different forms. Each painting can be seen as a representation of a particular attitude to subjects. Formalistically, this attitude is particularly manifested in the "point of view" of artworks. Since the advent of the Renaissance, subjects in painting were for centuries seen from a "single" and "fixed" perspective in accordance with precise perspective-centered representational presumptions. However, this approach merely showed a "single" visual tradition. Before the beginning of modern times, subjects were illustrated in painting not from different point of view rather than a "single" perspective. A major feature of Persian miniature painting is adopting different points of view for representation. Given the historical conditions of the mode of production of Persian miniatures, it seems that many such arranged combinations have been transferred as visual traditions from an artist or a school style to another. In this regard, this paper examines how points of view have been combined in the illustrated manuscript of Baysonghor Shahnameh. Baysonghor Shahnameh was started to be formed by the order of Baysonghor Mirza in the first half of the ninth century A.H. The manuscript is composed of twenty-two miniatures. This piece represents the formal and disciplined style of miniaturists in Baysonghor Mirza's era. It is also among the outstanding artworks of the Herat School that dramatically influenced the later transformations in this art during Timurid, Turkic, and Safavid courts. Examining the miniatures of this period can pave the way for identifying the methods used to combine points of view in the Herat School and open a new window to the extension of this tradition into Persian miniature. This paper's "theoretical framework" attempts to introduce the method for combining points of view as a notable index for the stylistics of paintings, especially in pre-modern pieces. This framework is founded on the ideas of Erwin Panofsky and critical reading of ideas of the "reverse perspective" theory adherents, aiming to define the method for combing points of view as visual traditions. Furthermore, this review attempts to introduce L. F. Zhegin's peculiar analyses on determining the principles of formal metamorphoses that result from combining points of view. Since this paper seeks to identify visual principles in this manuscript, it attempts to use various illustrations to manifest the "iteration" and "metamorphosis" of the combining methods. The paper also tries to trace the most important combination principles in the future trend of Persian miniature art. The miniatures in Baysonghor Shahnameh explicitly manifest change and dynamisms of point of view. This change is not simply from an object to another; the change is also in how a specific object is represented. It seems that despite the wide variety of the method for combining points of view in this manuscript's miniatures, one can speak of several principles of applying these combinations, principles that have been iterated in the miniatures of the manuscript and have been of use in Persian miniature art. The most inclusive and typical combination of points of view in the miniatures of this manuscript involves the arrangement of objects and figures on a setting often regarded from a bird's-eye view. This arrangement of combing points of view dates back to a long time ago in the history of pre-modern painting and has been widely used in Persian miniatures. It seems that in this tradition, everything lying on the background surface is painted from this point of view. In Baysonghor Shahnameh miniatures, this notion is visible in representation of the carpets, rugs, pools and chess boards. Thus, one can speak of the continuity of using fixed points of view in the history of Persian miniature art, meaning that in this tradition, some objects have consistently been seen from a specific point of view. One can also observe the generalization of such a point of view in representation of the backgrounds of pieces. For instance, in the case of martial miniatures, it is unjustifiable to claim that all battles would have been fought on hill or mountain ridges. It seems that the tendency to create a pictorial atmosphere from a "high horizon," especially found in martial miniatures, shows the generalization of the application of this principle in representing the background of narrative scenes. Besides, the combination of points of view has also been used in illustrating single objects. "Tables" in Baysonghor Shahnameh are typically illustrated by extending top and side surfaces while rear legs protrude outwards. This makes their representation an obvious form of reverse perspective, meaning the extension of side lines becomes convergent. This structure results from the movement of points of view upwards in the vertical direction and sideways in the horizontal direction. This combining method has also been used in the representation of bed stairs. These stairs are often turned to augment their top or side surfaces. In Baysonghor Shahnameh, "bed" is divided into two patterns, selected in proportion to the narrative of the miniature. In beds seen from the front,  bed handles are seen from opposite angles, meaning that the extension of parallel lines will be intensely convergent, making the audience assume the handles are positioned on the same surface beyond the bed. Other beds are turned toward a single direction. Zhegin's analysis indicates that this twist causes objects to get closer to the margins of the work. This twist has been iterated in many miniatures of the Herat School and Safavid miniature art. This direction shares a structural resemblance with the direction to produce a three-quarter view of faces in Baysonghor Shahnameh. In this manuscript, most faces have been illustrated from a three-quarter angle regardless of their place and how they regard narrator centers of the illustration. This is the traditional point of view in Persian miniatures. Faces in this tradition are often represented from a three-quarter angle and shown outwards with a tilt either to the left or right. The manuscript also displays a known and conventional method in Persian miniature art for representing bodies: three-quartered faces are placed on shoulders represented oppositely, and legs are illustrated from a side view angle. This is true about the points of view of all cavalry in martial miniatures in this manuscript.   In Baysonghor Shahnameh, chambers are illustrated from the opposite view, and the internal space is generally recognized by the objects placed inside, indicating the tendency to create space using content elements. However, in this manuscript, there is a miniature illustrating the scene where Bozorgmehr plays chess before the Sasanid King, Khosrow I, in which the chamber's space has been created using diagonal lines of architectural elements. In this structure, sidewalls are displayed from a wider view, and the chamber becomes intensely convergent due to the reciprocal motion of points of view. Other miniatures in this manuscript exhibit a reverse widening of the exterior view of the walls outwards. This combination (intense convergence of interior walls and the divergence of exterior walls) has been iterated in Herat School and Safavid miniatures. The above are the most important ways to combine viewing angles in this version. Combining multiple views in the representation of each object and the way of placing these objects in relation to each other is one of the most important decisions of painters in representing narrative scenes. However, this decision is not limited to the painter's individual creativity in a specific time and place. As indicated, the iteration of applying these methods in this manuscript as well as in Persian miniature art is so prominent that one can call it a visual tradition, a tradition that is transferred from an artist to another and from a school to another. Future research can further pursue such combinations to contribute to a more accurate stylistic reading of Persian miniature art.

Badi 'al-Zaman Abu al-'Izz ibn Isma'il ibn Razzaz al-Jazari is a Muslim scholar of the sixth century AH who spent the last three decades of his life in the region of Diyarbakir (ancient Amidia) in Turkey during the reign of three rulers of the Artuqid dynasty and had passed away in 602 AH. He had the title of "Chief of Operations", which meant Chief of Engineers. He is one of the most important scientists and artists of "Sina'at al-Hiyal" who has been in the scientific and artistic field of producing efficient, useful and, of course, wonderful products in his time. "Hiyal" is one of the most practical scientific tools in Islamic civilization, which is the science of the solution to change and launching to meet the various needs of life; from the design of timepieces to solutions for easy withdrawal of water from wells and springs, to the construction of devices that are needed in medicine and have other applications, all are defined in the field of Hiyal. If there are different mechanisms in the devices, this science is close to mechanical engineering and the people who have done research in the field of Hiyal have been mechanical engineers, but in many ways, the science of Hiyal or at least the "Sina'at al-Hiyal" that aspect Art is being considered as part of the history of product design (industrial design) which, by using art and creativity, has identified the needs well and provided appropriate answers for them. Jazari was an inventor and has written a description of his innovations and the development of the innovations of his predecessors in an engineering and artistic way in his book entitled "Al-Jami' Bayn al-'Ilm wa al-'Amal al-Nafi' fi Sina'at al-Hiyal (A Compendium on the Theory and Useful Practice of the Mechanical Arts)". Numerous manuscripts of this book are kept in libraries around the world. Before this research, 20 copies of it were officially introduced by Iranian researchers, and in this research, 4 more copies are introduced for the first time. This book, with other titles such as "Fi Ma'rifat al-Hiyal al-Handasiyya", "Aja'ib al-Sana'ei", "al-Alat al-Rahaniah" and "Kitab al-Hiyal", is apparently the only book left from Jazari, and has 50 automatic devices invented or completed by him, in 6 groups Introduced and illustrated. Elephant water clock is an example of products designed by Jazari that is of special importance and is considered as one of the manifestations of the progress of science and technology in Islamic civilization. This device is an automatic water clock that could display and announce time along with symbolic functions, before the advent of hands clock. This product is an artificial elephant with a four-column palace on the back. A person sits on the neck of an elephant with a hammer in his right hand and an ax in his left, holding two beautiful cups on either side. Inside the palace, a secretary is sitting on a circular platform holding a pen. Above it, two dragons turn their tails around an axis and their heads protrude from the palace. At the top of the palace is a dome and on top of it sits an eagle. The other two eagle heads are visible in the front view of this device, on either side of the person sitting on top of the palace. Above this person is a graded page with 15 cells that represents time. The way this important Jazari’s invention works is that inside the elephant's belly, there is a water tank and a container with a small hole in the bottom floats on this water tank. Gradually, over a period of time, the container fills with water and sinks slowly into the water, pulling down the three chains to which it is attached. This, according to a controlled mechanism, causes the eagle to rotate over the dome and release a metal sphere, which in its path, from the top of the palace, reaches the mouth of one of the two eagles and from there falls into the mouth of the dragon. The weight of this metal sphere causes the dragon to descend, so that the sphere falls from its mouth into one of the two cups next to the elephant, making a resounding sound. Meanwhile, the person raises and lowers his hands to indicate the passage of half-time, the secretary spins on a circular platform, and on the top plate of the palace, the size of the half-unit changes. In the next half of the time, the same thing happens on the other side of the machine. The method of this research is descriptive-analytical and there is a partial comparative approach in the study of samples. During this article, the collected library data and manuscripts of Jazari book have been observed and described and based on these data, analysis and study have been done. The study population of this study is all known manuscripts of the book "Fi Ma'rifat al-Hiyal al-Handasiyya", which led to the identification of new versions of this book. The illustrations of the original shape of the elephant water clock in these versions were examined as much as possible. Out of 24 manuscripts, 11 had the mentioned image, 9 copies were definitively devoid of this shape, and the status of the other 4 copies remained unclear in this regard because did not have the necessary access to determine the presence or absence of this image in them. In the next step, 11 images of the elephant water clock were displayed and analyzed, and by presenting a summary of its illustration in the form of a table, a kind of comparative study was performed. In general, it can be said that 8 examples of this image are paintings with good, average and poor qualities, and the other three examples can only be called illustrations. Also, 3 examples of these images can be defined in the Abbasi International School (Baghdad school), two of which were depicted in the workshop of the court of the Artuqid and the other one in the workshop of the Mamluks. The other 3 copies can be attributed to the style of Indian Mongol painting. It is "Sina'at al-Hyial" that, in addition to the mechanical functions of the product, pays attention to the user interface, user experience, aesthetics, identity and symbolization. This study showed that the international language of Jazari in designing a leading clock in his time, as a scientific achievement, showed the superiority of Muslims, and its installation in the city of Diyarbakir, which is a destination for foreign businessmen and ambassadors, could be a sign of domination of Muslims over other nations. The nations whose symbols were used, namely India, China, Egypt and Iran, were in fact the greatest nations of the civilized world at that time, and in a way, showed the scientific, political and cultural superiority of Islam over these nations. It can be said that the use of many signs and symbols of the world by Jazari, such as the Indian elephant, the Chinese dragon, the Egyptian eagle, the Persian carpet in a completely advanced and progressive product in its time, indicates the existence of product design process in Jazari work, and brings it transcends engineering and closer to the concept we know today as industrial design.

This research has been done with the aim of knowing more about the necessities of conceptual art experience in Iran. To achieve this goal, first its theoretical foundations and the motivations for the emergence of conceptual art trends in western countries have been examined. Also, the existing cultural and artistic contexts for accepting this tendency in contemporary Iranian society were explored.   In recent years, due to special political, cultural and social conditions, many artistic tendencies and movements in the country are being formed and developed. Such movements, known as conceptual art, have been designed by cultural and artistic policymakers. Although the history of conceptual art in Iran dates back to the Pre-Islamic Revolution, it has grown significantly in recent decades and has been supported by the government.  Conceptual art has been formed and matured according to cultural and artistic necessities in the West. In fact, the purpose of this art is the direct transfer of a concept or idea, in which the artist considers the material means of this transfer to be insignificant, extinct, and devoid of aesthetics. In fact, it was formed according to the cultural and artistic needs of western societies and to get rid of the deadlocks created in modernism. The West has always been at the forefront of presenting schools and art styles and has always tempted artists from other countries, including Iran, to try these experiences. Other curiosity and insistence on using methods and elements that are contrary to our culture, will act as a barrier to the activity and creativity of the artist. Conceptual art attracted the attention of Iranian artists with a delay of several decades, and artists tried to create works with conceptual art paradigms. Now these questions   are raised: What is the need for experience and development of conceptual art in Iranian society? To what extent is the current situation in Iran ready to accept such artistic tendencies? The movement of conceptual art in Iran has also been widely criticized despite governmental and non-governmental organizations support. These criticisms are not only in terms of form, but also in terms of content. Exotic aspects of conceptual art, which often reach the limits of imitation, have always been criticized as not having the main and intrinsic features of the schools in question, and because they originate from different social, cultural and artistic origins and are the result of needs of western society; such experiences in Iran, with a geography with different historical coordinates, is merely an experience of contemporary western art. In fact, conceptual art has come to fill the void left by rituals and ceremonies in western societies and to heal the old wounds of confused, depressed and tired of life of the humans. Modernism appeared in western art with the slogan "art for art's sake" and the negation of concept and content. Modernism in the field of visual arts, in contrast to traditional western art, was to achieve a pure form. Western artists have been searching and experimenting for centuries to realize the "idea of ​​modernity." In today's Iranian society, despite the effects of modernism, we do not agree with the category of spiritual vacuum like the west and national religions and rituals are practically experienced in various forms at the society. Ethnic and local, which are the result of resistance to global cultures, are gaining more and more power, and global culture is even predicted to be a very diverse and wide range of small local and ethnic cultures.  Therefore, religion, rituals, local customs and national identity in general require more attention. The need for self-knowledge and the revival of national identity have long been important to Iranians. This cognition is derived from the definition of "self" in the shadow of looking at the "other." From ancient rituals such as: Nowruz celebration with its various ceremonies, to religious rituals and ceremonies show the dynamism of rich Iranian culture. In the absence of contexts and texts that can understand and recognize conceptual art and such artistic movements and activities, it is not possible to define a specific and independent definition for such a category, which is the originality and perfection of a western matter and the offspring of liberal democracy and living conditions in there. We should try to provide the background for such a thing in society; it should be examined that what this kind of art actually is? Is it compatible with the cultural, social and economic conditions of the country? Not to seek an independent and local definition and to inject elements of traditional and indigenous art into it. In fact, this type of art is a product of foreign culture and is foreign to our cultural and artistic identity. Most of the conceptual works of art in Iran do not have the creativity and innovation that are the tools of modern art, and the ideas are repetitions and imitations of western works. Conceptual art in the West claims to take art out of museums and place it among the masses, and it has succeeded in doing so; conversely, in Iran, the presentation of conceptual art is more in museums and galleries and for specific audiences, which is in contradiction with the philosophy of conceptual art. The west has passed through these historical stages with the mental and practical experience of modernity and modernism and has reached this new stage according to the requirements of its time. Given the presence of countless national and religious ceremonies and rituals that naturally exist in society, the experience of conceptual art in Iran, in an extreme form - which today does not matter much even in its origin, the West - seems futile.  Of course, this does not mean not using new arts and technical and technological facilities properly in the contemporary art of the country. This art has emerged in the west due to the cultural and artistic necessities resulting from the deadlocks resulting from the failed experience of modernism; and in order to fill the spiritual void, the stage emerged. Therefore, its experience in Iran is not necessary due to its rich cultural and artistic background and completely different from the west. In fact, when Iranian society is full of spirituality through traditions, ceremonies and religious and national rituals interactively and with the presence of a large audience; experiences of the conceptual arts of other nations, even in imitation, are not necessary. Now in the current economic climate, the need to establish museums and galleries across the country and to purchase works of art and to provide extensive financial support to artists in cultural planning must be prioritized. Therefore, basically, economically, there are no necessary economic bases and infrastructures in the country to experience it. The results show that due to the lack of sufficient experience of modern art in Iran and the lack of sufficient cultural and economic infrastructure, as well as the existence of indigenous cultural and artistic needs different from western societies, it is not necessary to deal with this art in the current situation of the country. This research has been done using descriptive and analytical methods and as necessary in parts of the historical method.

In the developments of postmodernism and with the beginning of the discourse of the generality of art in cities, the relationship between the work of art, artist, audience and urban context with new relations becomes meaningful and due to new approaches of artists in the city, its relationship with urban institutions and a wide audience creates a variety of approaches in the field of works and theories of theorists. Cities as a context of discourse and multiculturalism, become a platform for the presence of art, and communication with a wide urban audience becomes the goal of art. In the midst of these developments, urban spaces, that previously designed only by urban organizations and their careful planning and collaboration with artists, became the context for the entry of various arts. The relationship between art and the urban has faded; the art-urban component is accompanied by the artist-audience component, and here the public art discourse begins. In the public discourse of art, which most theorists have defined as "public art," artists ideologically turn to the public context to communicate with a wider audience. Because, in addition to environmental contexts, Urbans were considered as a context for discourse with a wide audience, governments and urban institutions try to create a discourse context for art and intervene by creating a percentage for art works. However, urban developments in the postmodern period, which are based more on audience-oriented approaches and define the urban space in relation to the urban audience, do not consider most of the artworks of the public art genre in relation to the urban and the urban audience and after the first decades of this approach, the public art controversy begins. Its conflicts are mostly between urban theorists, audiences, artists and institutions that support art works. By Criticizing the works, they demand the coordination of art with the urban context, the cultural and pluralistic context of the city, the urban audience and its association with local institutions. Therefore, it seems that despite the semantic similarity in the basic components of urban art and public art, the mixture of these two areas and the semantic ratios of components such as audience-citizens, city-public spaces and institutions-artists are different. Because, despite its proximity to urban-public spheres, the discourse of public art is different from that of urban art and is based on artist-centered components. Therefore, it seems necessary to question the ratio of similar and different components in the two genres of public art and urban art, both in the semantics of the terminology for it and in its basic components that are the audience-environment and artist-institutions. Therefore, the purpose of this study is to answer what and how the art is in the public spaces of the city; through the two terms of public art and urban art, by examining the common and differential components of these two areas, which is based on terminology and analysis of works. The research method in this article is descriptive-analytical and comparative. It begins with the collection of historical artworks and documents related to the art of public spaces in the city and the extraction of its variables has been done by analyzing related texts and artworks in both: urban and public areas. Due to the interdisciplinary nature of the article, research, collection and classification of works and texts have been done by comparative study in two areas of city and art and to enter the main and semantic issues in these two areas, how and why the discourse of the generality of art in the second half of the twentieth century has been discussed historically and socially. Its semantic aspects have been studied in the terminology of public art and urban art and in terms of comparing the commonalities and differences between these two areas, the important semantic components that have been found in both how and why of Public Art and in the semantics of terminology, have been analyzed by comparing the artworks and discourses of this period. Examples of research have been selected from the important and prominent works in this field in the public spaces of the city and by analyzing and studying the previous fields of works and their turning to the public space of the city, public and urban questions have been studied. Researches show that the art of public spaces in the city, after the changes of postmodernism, freed itself from previous constraints such as: purely aesthetic, political, memorial, heroic, messaging, etc. and by re-reading the city and space, found a public context for its expression. Its expressive approaches, sometimes in the form of interactive installations, re-read the urban context. Sometimes, with the conceptual ideology of artists, questioned the meaning of place with Its presence. Sometimes the artist's conceptual idea became so original that changed the urban context and confiscated it in its favor, and sometimes expressed its message in relation to it. During this period, the city became a place for the narration of artists, audiences, and public and private institutions in the form of multiple contexts. Its space that moves structurally and identity between the past, present and future; created a multiplicity of time-space that is no longer imaginable in urban spaces. However, what separates the components of urban art from public art is the meaningful dependence and location of urban art to the public spaces of the city and its connection to the audience and urban life. Urban art transforms the spatial-local contexts of the city into a new context for the evolution of events and offers a new reading of the city and art to the audience present in the place. Interactive approaches between art and society predict the technological nature of new art, a futuristic function, and a place for the city. Urban art considers the urban components that have been, are and are becoming. In this multiple context, art is identified in relation to the location of the city and moves in the intermediate relationship between the artist-institutions and the audience. The confrontation with the city is sometimes personal, sometimes is through the institutions of the art world and sometimes is against the institutions of power; but it always participates in the urban landscape discourse. The components that in public art lead to the space-time of the place and the extension of the artist's idea in the audience, here become one with the space-time of the city and accept its container. Therefore, despite the widespread use of the term public art in the postmodern era and the application of the term public to works created in the field of urban landscape; the nature of the basic components of these two areas are different. In public art, priorities are understood in artist-centered and audience-oriented ratios; whereas in urban art, these proportions find meaning primarily in the location of the city and below the audience of the citizen. Where it was located, where it is and to where it extends. It is dynamic and evolving and transformative, participating in the artist's participatory idea, creating a new context for reading, and creating a new encounter with the event.

The present article studies and analyzes two different viewpoints on art and philosophy of contemporary art. On the one hand, Arthur Danto's philosophical views on the challenges of definition of art that lead to the theory of the End of Art and the Death of Painting, and on the other hand, the thought and works of Gerhard Richter, which led to the revitalization of painting. According to Danto's theories, the main purpose of this research is to study the position of painting after its announcement in the works of the German contemporary artist Richter and seeks to respond to topics such as the definition of art and the role of aesthetics in contemporary art. The main question is: why and how, after technological advances in the structure and methods of creating and producing works of art, the entrance of new media and challenges in the basic concepts of aesthetics, the art of painting returned to the Avant-garde  art scene and revived? To answer this question, Danto and Crimp's views on the End of Painting were first attention in a descriptive-analytical manner, and then the important role that Richter played in reviving the painting was discussed. The results of the research show that in such conditions, Richter knows painting as something beyond the image, and as this process continues, he opens a modified view of art history, which is a way to find personal and historical language in postmodernist experiences. Arthur Danto's attempt to evaluate Endism in the late twentieth century has been a source of inspiration for many contemporary artists and theorists. He believed that painting could survive only if it negated itself and could continue the efforts of conceptual and avant-garde art. Danto does not claim that no one works in art anymore, nor does he claim that no good art is made anymore, but he believes that a certain history of Western art is over and that "Art after the End of Art" pursues a new goal. In the face of this pluralism, Gerhard Richter focused his artistic work on how to continue painting in the face of the End of Painting and created a collection of artworks in which a critical and in-depth understanding of art history can be found. His strategy was to cope with the End of Art and break the deadlock of painting in the 1960s by turning to photography and confronting the efficiency of photographic imagery as a means of representing the outside world. Richter turned to photo-painting as a way to deal with the crisis in painting. Instead of creating his subject or inventing it, he turned to painting from photographs, thus trying to overcome the artificiality of painting and bring reality back to his artworks. But what is interesting about his work is the connection with his predecessors, the endless sequence of realism and abstraction that is evident from the juxtaposition of the paintings. A realistic view that goes to abstraction in the next work and reality is redrawn with a reference to abstraction. An endless rotation that spins on Richter's career path. The general goal is to know and discover correctly the issue of the End of Art and the Death of Painting and to determine the boundaries of art from non-art in the contemporary world and to explain the impact of these philosophical theories on art. When signs of Death of Painting were ubiquitous in the 1980s, even in the painters' own works, artists allowed their paintings to blend in with alien elements such as photographic images. Only in this kind of manifestation, which was in fact a kind of conceptual painting, could painting have a place for itself in the life of new art, and there was no way for it, except to infiltrate itself in some way in critical discourse and avant-garde approach and try to theoretically challenge art and painting while creating a work of art. In the contemporary interpretation, art was no longer a process of creation and construction, but a product of study, thought, and theoretical challenge. Danto found an infinite variety of art, as if the contemporary artist had invented a new kind of it, so that if one wishes, can interpret the End of Art not as the beginning, but as an invitation to unfettered freedom. He guided the way for a new kind of critique that could help us understand art in the post-history era. On the other hand, Gerhard Richter willingly declared his heartfelt allegiance to the great tradition of Western painting, and with his diligence in this field, he revived the Painting after the End of Painting. Richter's every attempt to add meaning to the photographs was his attempt to create illusion and nothingness. He used the artificiality of his artwork to cast doubt on what people thought of the photographs. If there is nothing to cherish, one's belief in the reality of photography is challenged. In this regard, Gerhard Richter's message should be clearer than anyone thinks. The truth has never existed. Therefore, enjoying art never seeks reality or truth, but pursues the labyrinth in the image, uncertainty and nothingness. This paper is extracted from PhD dissertation titled «Analysis and Criticism of Arthur Danto’s Theory about The End of Art and The Death of Painting Based on Gerhard Richter’s Ideas and Works» written by the first author under the supervision of the second author at the Central Tehran Branch of Islamic Azad university.

Handicrafts represent culture and economics of a society and are produced to meet basic human needs and livelihood. These types of artworks are inspired by the myths, desires, ideals, the surrounding nature and the history and literature of each nation. The most important aspects of Turkmen lives are their handicrafts. The Turkmens, considering their livestock and animal husbandry occupations, are skilled in the production of various types of silk and wool yarns and their dyeing from natural materials. Turkmen handicrafts represent the ritual, doctrinal, religious, mythological and belief aspects of weavers that meet their living needs. Each role contains various codes and meanings borrowed from ethnic beliefs or from other cultures. The authors seek to answer the question of how the patterns and colors in the Turkmen arrays are explained from Malinowski's functionalist perspective in order to examine the identifying elements in the symbolic arrays in the motifs used in the Turkmen underlayment. Based on this, some of the famous Turkmen designs called Namazliq, Namazliq Kaaba and Asmaliq are examined and their function and place in the culture of these people are analyzed. Abstract colors and motifs are assumed to being originated from the religious beliefs, rituals, culture and ecology of the Turkmen and from a social perspective, have a direct relationship with the characteristics of ethnic identity. Arrays in Turkmen carpets are representative of an abstracted nature and have a symbolic and decorative function. According to Malinowski's theory, every part of society has an effective function in relation to the whole society, and its job is to meet human needs. For most contemporary semiotics, direct and implicit implications include the use of cryptography. Codes are dynamic systems that change over time and are therefore as historical as they are socio-cultural. Encryption is the process by which contracts are established. Opinions and emotions must be examined, along with all other aspects of culture, both functionally and formally. According to Malinowski, the function of culture is to meet human needs. The three human needs include: 1- Basic needs: biological needs such as nutrition and reproduction; 2- Derivative needs: needs arising from culture such as education and laws and 3- Spiritual cohesive needs: such as religion, ideology and worldview. The definition of function from Malinowski's point of view is the fulfillment of a need by an action. In his view, functionalism is intertwined with culture, and culture is a system in which all the elements are intertwined. Needs go back to human biological existence and share some needs between humans and animals (basic needs such as nutrition and reproduction). According to Malinowski, the satisfaction of primary needs by cultural requirements is called secondary needs. Secondary needs are, the need to create social, economic, and political institutions that are formed to meet basic needs. Alti Bazaar motifs in Turkmen handicrafts indicate this issue. Finally, a third group of needs occurs in the form of language, ethics, religion and communication. Malinowski's other analysis is about myths. He considers any kind of belief system that is a cultural response to basic needs as a culture that looks to the past (belief in the original lost paradise) and the future (belief in the end). On the other hand, there is a tribal system among the Turkmen people, and each tribe has its own mark, which has no meaning in other tribes. Turkmens have designs to avoid danger and to attract goodness and blessings. Daghdan is seen in Turkmen handicrafts to ward off danger and create peace and the role of Ashiq for benevolence. According to Malinowski's point of view, the understanding of beliefs and myths must take place in the cultural context of society. Religion has four dimensions in his views: 1- Maintaining social stability; 2- The nature of evacuation from social pressures and tensions; 3- Increasing the capacity of human beings from problems and 4- The specific field that defines religion and science separately. He considers the secret of religion to be its functional and intrinsic value. Most floral motifs, with broken lines and general themes of plants, animals, humans, nature and inanimate nature. The designs of the underlayment studied in the article are as follows: 1- Namazliq with flower design which has symbolic and mythical aspects. The prayer beads are woven in different shapes and the motifs of ram's horn, tree of life, Sarichians, flower, Kaaba and ram are seen in various compositions on them. 2- The Kaaba of Namazliq is depicted with motifs reminiscent of the house of the Kaaba with the feathered textures of kilims and the motifs of the Kaaba of Ghe'ri, Alaja, Alem Ghe'ri, Avingh Ghae'ri, lampstand, ram's horn, flying Grus and winged mythical creatures. 3- Asmaliq with plant and animal motifs seeks goodness, blessing and fertility.
In this article, in addition to re-reading the meanings of the motifs used in some of the Turkmen underlayment, those motifs were also examined from the perspective of Malinowski's functionalism. The theory of positive functionalism was expressed in Turkmen society in line with their culture. Explaining the hierarchy of human needs from Malinowski's perspective, examples of the emergence of visual elements derived from the needs of the Turkmen were extracted. Accordingly, in the designs of Namazliq, Kaaba of Namazliq and Asmaliq Turkmen, the function and position of the motifs taken from the culture of this people were analyzed. The pivotal role of these forms in conveying the central meanings and values of Turkmen culture according to their iconic symbols and their representation was recounted in an abstract way. Also, the decorative function of the designs was seen in the carpets. All the findings are in accordance with Malinowski's views, who consider the motifs in any society to have a specific function and their goal as the excellence of society. Assuming that these motifs are derived from the religious, ritualistic, cultural and ecological beliefs of Turkmen and a sign of their ethnic identity, their representation in the rituals, customs and its place in meeting basic needs and changing the direction of meeting derivational needs and ultimately spiritual cohesion of the Turkmen people were investigated. The important thing was the status of religion and ethnic identity, the concepts of which are reflected in the motifs of the carpets. The research method is historical and content analysis of the designs has been done by collecting documents and visiting the Carpet Museum of Tehran. The results indicate that these forms play a key role in conveying the central meanings and values of culture and are often iconic symbols and have become abstract over time. Also, the functional and decorative function of the designs can be seen in them. According to Malinowski, motifs in any society have a specific function and their goal is the excellence of society. These motifs originate from the culture of the society and should be analyzed in their own cultural context.

The importance of professional competencies as a developer in higher education continuous review and evaluation according to the existing conditions and needs of individuals. Lack of attention to this issue in the higher education system of Iran handicrafts and also the application of a fixed curriculum with the same approach since 1987, caused the present study to address this issue with the aim of identifying the professional competencies required by graduates of handicrafts. The research questions are also as followed: What are the professional competencies required for the bachelor course in handicrafts from the point of view of experts? What is the validity and priority of the identified competencies from the experts’ point of view? Addressing the educational system, expressing the domains and boundaries of knowledge and skills, as well as identifying competencies determine the general boundaries, perspective and educational approach of each discipline. It can be inferred that a large part of the development of Iran handicrafts is the responsibility of graduates of this field in higher education. Therefore, it is necessary to review and evaluate a set of professional competencies required by graduates of this field in order to properly cultivate it and present it as a solution in the development of handicrafts. When competencies are applied in a specialty and professional context, conditions arise that distinguish competencies from other disciplines. In other words, quality and competence in each profession has its own definition that distinguishes a profession from another and shapes its essence and nature. This characteristic, which gives rise to specific knowledge, skills and attitudes in a particular ground, field, job and organization, can be interpreted as professional competence. The present study is applied in terms of developmental aim and was carried out by exploratory mixed method. In this type of research, qualitative data is more important and in the data collection sequence, first qualitative data and then quantitative data are collected. For this purpose, in the first step of the research, using the qualitative method of interviews and their analysis by the method of content analysis, the required professional competencies were identified; then, using the Delphi method and quantitative binomial tests and the mean of the answers, as well as using the tools of a researcher-made questionnaire, validation and prioritization of competencies were performed. Data were collected through semi-structured individual interviews and virtual offline and online, which was the most important tool used in the interview form. The statistical population of the research consists of members of the faculty of handicrafts of Iranian universities. Theoretical sampling method was used to select the participants, the two main features of which are purposefulness and theoretical saturation. The sampling and interviewing process continued until theoretical saturation of the data was achieved. Thus, after interviewing 24 experts, data saturation was obtained and sampling and interviewing were stopped. Text content analysis method was used to analyze the interviews. After implementing the interviews in MAXQDA software and re-adapting them to the interview text, the analysis operation began. In performing the content analysis of the text, in order to access the themes and categories, it is necessary to use a meaningful and encryptable unit. In the present study, the “theme” recording unit was considered. Selecting the appropriate sections of the interview sentences, considering the common theme between them, led to the extraction of the initial themes of the research. The initial themes were then placed in a conceptual network of common meanings, ideas, and sentences, and sub-themes (competency components) were derived from them. The main themes (competency dimensions), which are the most abstract part of the content analysis, were expressed in a few words. The selected words in this section are comprehensive in that they express all the current conceptual dimensions in the sub-themes. Then, in order to validate and prioritize the identified competencies, Delphi method was used. The researcher-made questionnaire was based on the main topics of the research, with a five-point Likert scale. Twenty scientific experts (interviewees) answered the questions and agreed with each of the competency dimensions on a scale from very high to very low. In order to validate the binomial test and to prioritize the indicators, the mean of the answers was used. It should be noted that the questionnaire related to accreditation and prioritization has content validity due to the fact that it has been completed by experts. On the other hand, in preparing and constructing the questionnaire, the designer is not able to provide a specific orientation and all the criteria and components are evaluated and therefore there is no need to measure reliability. The research findings, in other words, the professional competencies of handicraft graduates was obtained in three areas of knowledge, skills and attitude. In general, most of the theories that were proposed, consider these three as important areas of competency, and it is from the combination of these cases that competencies become operational. In the field of knowledge, competencies such as “environmental knowledge and concepts of sustainable development”, “understanding the current social and cultural conditions”, “improving product quality and branding”, “linking theoretical and practical knowledge”, “aesthetics”, “safety and professional health” were obtained from experts’ views; in the field of skills: “communication skills”, “communication with the market and product sales”, “customer orientation”, “entrepreneurship and teamwork”, “presentation and display of works”, “knowledge of digital technologies”, “professional abilities” were obtained from experts views; and in the field of attitude: “Belief in the cultural development of the country”, “promotion of professional life” were obtained from the experts’ views. In continue, the result of the binomial test was significant for all dimensions of competencies (p <0.05) and all the indicators were approved and according to the mean of the answers, their priority was determined. It can be inferred that what has been achieved in this research has a good generality in relation to various fields of handicrafts in line with the development of education in this field. Paying attention to the promotion of handicrafts competencies in the fields of knowledge, skills and attitudes, various aspects of which were explained in this research, can lead to appropriate achievements. This modification will be effective in the development and expansion of specialized and interdisciplinary knowledge of handicrafts, promotion of technical and essential skills, change of attitudes and professional values, promotion of the position of learned knowledge in society and in other words in eliminating many professional needs of the graduates of this field and ultimately the growth of the country’s handicrafts. Accordingly, it is suggested that the acquired competencies for their operational application be studied in more detail. In other words, it is necessary to study the practical aspects of each of these indicators from the perspective of curriculum components (purpose, content, teaching methods, evaluation) and to be considered in the curriculum of this field. In general, after the research that is done on the competencies, it is necessary to pay attention to its additional dimensions and examine its specialized and operational areas in the curriculum of the field in detail.

According to Veblen, fashion is conspicuous consumption. That is, it is a means of showing off the social class.The most important characteristic of fashion is its changing nature. It means that the reduction of prestige value of fashion leads to the death of fashion and the appearance of new fashion. The reason for this constant change and renewal of fashion is in the behind of the concept of need for conspicuous consumption. Consequently, the fashion industry has counter-cultural effect named consumerism. Conspicuous consumption is nodal point of fashion discourse, and discourse articulation is strengthened in conjunction with the other elements which are around it. Fashion discourse educates subjects that are women and act in the direction of consumerism or materialism. It is obvious truth that the relationship between fashion and high-volume consumption conflicts with sustainability goals. Because, overconsumption of clothes leads to more waste, more pollution and more sustainable issues. Consumerism has caused serious, long-term environmental, social, and economic damages, and subsequently sustainable development discourse has been revealed to counteract or mitigate these problems. Since the 1980s, by the advent of the discourse of sustainable development, the discourse of fashion has been pushed to the margins. The main aim of this research work is critical discourse analysis of fashion and Survey on transformation of consumption signifier from Fashion Discourse to Sustainable Development Discourse. The research method is based on Laclau's and Mouffe's discourse theory. The two questions we are facing are: Firstly, what is the meaning of “consumption” in fashion discourse, and secondly, how semantic change of "consumption" signifier has happened from fashion discourse to sustainable development discourse. Today's the most important approaches that are used as a method in the field of social sciences are: Positivism, interpretive, and critical. Among the critical approaches, Laclau and Mouffe's theory of discourse has received more attention. The theory of Discourse Analysis, which was born in linguistics, have developed in the best way by Laclau and Mouffe in the field of culture, society and politics. They emphasize on the discursive nature of all social domains. Therefore, this theory can be used to explain the phenomenon of fashion and the discourses in it. This research is done in a qualitative way and through the method of Laclau's and Mouffe's discourse analysis. In it, the concepts related to the mechanism of conventional fashion system and sustainable fashion system are extracted. To collect the data, the study has used the library method of data collection. Finally, after discovering all the discourse’s signifiers, the discourse components of conventional fashion are analyzed one by one from the point of view of sustainable fashion discourse. Finally, the conceptual model of fashion discourse, which is criticized by sustainable fashion discourse, is presented along with all the components of discourse and their relationships. Creative consumption can be considered as an empty sign in the fashion discourse from two points of view: Need Theory – Value. If a higher economic value and less of cultural value create a need for some kinds of garment, those garments are classified at the lower level of the needs pyramid, and vice versa. Hence the pyramid of need for garment from the bottom to up will be: clothing - general fashion - high fashion - sustainable fashion. There is the greatest cultural value in sustainable fashion, which meets the consumer's need for self-actualization through creativity. For this reason, the consumers are willing to pay more for sustainable fashion than other types of clothing, and therefore the economic value in it will be in lowest level. So the reason for the changing in fashion, and willingness to pay, is value. Value is a multiple signifier which is reduced to a prestige value in the fashion discourse. In sustainable fashion discourse, value is in the line with ethics, altruism, and creativity. Consumers will only be inclined to accept sustainable products when they are satisfied with deeper values. Sustainability adds value to the brand. The value of sustainable fashion consists of four elements: environment - stakeholder management - economic value and growth potential - innovation and creativity. Sustainability is an opportunity for innovation, and sustainable luxury goods have three dimensions of value: social-cultural value, individual value, and environmental value. The results show that the fashion discourse has an empty signifier which is creative consumption. Creative consumption is derived from the semantic transformation of nodal point of fashion discourse and has become nodal point in sustainable development discourse. In fact, the sustainable fashion discourse is emerged to fill the gaps in the discourse of conventional fashion, and its mission is to reduce the environmental, economic and social harms of consumerism. The proposed conceptual model of fashion discourse shows that how and by what indicators of sustainable fashion discourse, each of the indicators of conventional fashion discourse criticized, and finally how conventional fashion discourse loses its discourse power. The most important discursive weaknesses and fluctuations in fashion discourse are due to the fact that the subject becomes a passive consumer who has conspicuous consumption in her shopping behavior. So consumption in the sustainable development discourse means "creative consumption" and sustainable fashion discourse, which is the dominant discourse in the new era, fills the gaps in fashion discourse with creative consumption as central signifier to stabilize power relations and breaks the hegemony of competing discourses. The subject that sustainable development discourse with "creative consumption" nodal point makes is an ethical and creative consumer, whose most important concern is reduction of consumption, and tendency to sustainable creative consumption or authentic consumption. In the semantic fixation processes of creative consumption, backgrounding of conspicuous consumption and sustainable development hegemony happen. The hegemony of sustainable fashion revival versus the death of fashion, and the hegemony of creative consumption versus conspicuous consumption is the result of dislocation of fashion discourse articulation through sustainable development .Eventually, the discourse of sustainable development comes to power as dominant discourse. Sustainable fashion’s mission is reduction the environmental, economic and social harm of consumerism. In this way, the creative consumer is emerged in the sustainable fashion discourse which works in in line with the vision and goals of sustainability. In sustainable development discourse creative consumption means fashion revival, which can be accomplished in three primary ways: 1) Reusing of clothing, through donation, or resale and second-hand clothing, even by ecommerce; 2) Repairing clothes or replacing parts of it; 3) Recycling clothing materials to create new clothes. In this way, a creative consumer, will feel more interest to his product and will be able to implement sustainability in his lifestyle in the best way, because he plays an important role in stabilizing the fashion he uses. Thus, the passive consumer of the fashion discourse, which is a tool for the capitalism and the commercial goals of the fashion industry, becomes the active creative consumer in the sustainable fashion discourse.