نشریه هنرهای زیبا - هنرهای تجسمی
سال بیست و هفتم شماره 3 (پیاپی 91، پاییز 1401)

Images are able to show completely different things fromthemselves and have fascinated philosophers since Plato.Among the philosophers who have dealt with this field arephenomenologists, who approach images from differentangles. Some philosophers who study phenomenologicalaesthetics consider art as the perception of the visible.In this article, we try to answer the question, what is theimportance of art and aesthetics for philosophy, and howcan phenomenological concepts be used to understandabstraction in painting? Does phenomenology add anythingnew to our understanding of painting? Influenced by thefounder of phenomenology, Edmund Husserl, we draw onspecific concepts - horizon, phenomenological reduction,life-world, epoch - and show what the connection is betweenabstraction, the world, and phenomenological reduction.Abstraction shows the relationship between the world andthe horizon. Pictorial reduction reveals how the horizon ofthe world and surprises the viewer. Or how past horizonsmake up for our present experience. Relying on Husserlianframework and descriptive-analytical method, we must beprepared to look at artwork without any presuppositions, toset aside habitual expectations, and to react directly to thedynamic relationships of the visible elements of color andform. Thus, this reading works by reducing, eliminating,and concentrating, and it requires an active response, nota passive acceptance. In this reading, the work of art is anobject to motivate thought, but not in the way that inanimatenature, landscape, portrait, or narrative might be. In fact, ourjudgment of the effect depends on how the effect penetratesour consciousness and affects our feelings and thoughts.Thus, the artist, like a phenomenologist, moves away fromthe natural and everyday world and looks deeper into theworld, reviving the forgotten biosphere and filling the gapbetween consciousness and the world. In other words, theyboth rebuild the world and both return to the world. It thusrefers to the abstract concept of the return to the world and theinternal relations of the world that are not known. With thisreading we have shown that abstraction is not a separationfrom the world or nature, but a different experience of it.In fact, abstraction is a useful tool for expressing a varietyof experiences and ideas. In other words, abstraction maymean something positive, a “return” to a deeply globalrelationship, though not explicitly recognized. Also,considering the distinction between the phenomenologicalepoch and the aesthetic epoch, we conclude that the wholepainting is abstract and non-figurative. Finally, and surely arthas long been the subject of phenomenological philosophicalstudies, which in turn gives way to the expression of humanlife. However, the tradition of phenomenological aestheticsis still in its infancy and its identity is very fluid, and thepossibility of phenomenological aesthetics can still be posedas a living question.

The present article aims to analyze the reasons for the tendency of art graduates to postgraduate studies from 2011 to 2021 using a mixed research method. Iran is one of the countries that has witnessed significant growth in the development of postgraduate courses in recent decades. In the field of art, this includes increasing the number of universities, disciplines, admitting more students and increasing faculty enrollment in the two decades of the eighties and nineties, but this slight growth does not seem very desirable because there is a necessary balance between quantitative and qualitative growth. This imbalance has made it necessary to conduct studies and research on postgraduate studies with the aim of better understanding and planning. Among these, recognizing the reasons and motivation of applicants is one of the aspects that can be considered in order to improve the quality of development of graduate courses. Because of the difference and function of the fields, the motivations of the applicants of the mentioned courses will not be the same. Due to its nature and essence, the field of art is different from other specialized fields in terms of aspects such as courses, scientific production and employment, scientific and social status. The theoretical framework of the research is based on the causal layered analysis method, founded in the nineties by Soheil Enayatullah, a Pakistani-born Australian academic, futures studies researcher and a professor at the Graduate Institute of Futures Studies at Tamkang University in Taipei. As such, an attempt has been made to answer the following question from the perspective of causal layered analysis: Considering the unique nature of the field of art, why art graduates are attracted to continue their education in this field. In this process, the effective factors were first extracted with the help of library studies and content analysis method and then they were analyzed based on the "causal layered analysis" method in four layers of "litany", "social causes", "worldview/ discourse" and "myth/ metaphor". In the quantitative part, the obtained layers were measured with the aim of ranking the effective factors by means of a questionnaire and selecting a group of experts. Experts were selected from among people related to postgraduate studies in the field of art in Tehran colleges, which included 30 department managers, professors, professor-student (doctoral degree) and Master's students. The results of the T-test and Friedman test show that the three primary factors affecting the tendency of art graduates to postgraduate studies include discourse (including the two discourses of modernity and credentialism), economic and cultural factors, respectively. Higher education policies and planning, archetypes, metaphors, artistic factors, individual and family factors, interest in acquiring knowledge and expertise, and finally the worldview factor ranked fourth to tenth. As a result, it can be said that obtaining a higher academic degree, which due to the nature of the field of art has affected the economic status and social status of artists, are stronger motivations than seeking science and research in the tendency of this group to graduate education.

Iranian painters have always depicted the imaginary world in drawing and used imagination and trees are the most common element of nature in most images. the existence of old gnarled trees is one of the main features of the Mashhad schools, its prominent example is visible in Haft Awrang Jami. The Haft Awrang Jami version is the school's most important achievement and it is among the latest masterpieces of Iranian royal painting. In seventeen of the twenty-eight pictures we see of old trees. the last image of this collection is the Alexander's nose and his relief, which illustrate the story of Alexander's death. There is a huge, old tree whose branches are burning. to explore concepts and meanings of this tree, is used of the semiotics science in the process of this research. Bearing in mind that Iranian painting has a deep connection with literature and in the Haft Awrang Jami version, the relationship between the Jamaican characters and the fictional literature is hair-to-hair and in detail and the narrative images are clearly interpretations of the literal expression of the text in question, in fact derived from the mystical and ethical themes of Jami's poetry. so there must be a special connection between this character tree and the storyteller. the main question now is that the old tree's motif in the desired image What symbolic implications outside of its referential way implies? In this research, it is tried to think of the science of semiotics from the theory of Kress& Van Leeuwenin in his book with the name of reading images and Hammidreza shaeeri in a book as a sign-Visual semantics, in order to analyze text and image to the implicit concepts of ancient tree in the image Mentioned. The research method is descriptive, analytical and visual semiotics. The method of collecting information is a library. on the basis of the semiotics studies, the results show that the existence of a tree in this image is not just a visual cue to illustrate the nature & it has a completely symbolic aspect. By analyzing the semiotics in the structure of this picture and examining factors such as narrative processes, symbolic processes, and compositions, it can be concluded that the high tree is a sign created in a structure with the intention of representing the narrative. The tree symbol, with its symbolic features, has become a symbol in the image. A symbol of the power, ambition, life, sickness, and human immortality that made these qualities come alive. The tree that once was the source of blessings is being destroyed by social events. Sheikh Mohammed, influenced by these events and the turmoil that dominates society, and according to the storyteller who speaks of a tree that is originally a symbol of Alexander and is being destroyed by Alexander's death, it may have depicted Ibrahim Mirza in Alexander the Great, and Alexander's troops and mourners could be a metaphor for the people and artists who found themselves in disarray after the overthrow of Ibrahim Mirza.

The Qajar age, and especially the Naseri era, has been the beginning and the origin of the formation of the Modern Persian Historiography and has been coincided with the emergence of the concept of the Fine Arts in the West World. Moḥammad Ḥasan Khan Moghadam Maragheie who has been nicknamed to Etemad al Salṭaneh and also Sanee o’ doleh by Naser al-Din Shah Qajar, has been one of the prominent and famous historians and writers of those days .It would be obvious that due to his new approach to the Historiography, writing the History and also his interest in researching about historical monuments, ancient buildings and antiques, his writings and books are so important in the field of Persian History of Art and Persian Historiography of Art. Through Moḥammad Ḥasan Khan Etemad al Salṭaneh’ s academic studies in the field of History and Geography in France of that days, he became acquainted with the new research methods in the studies of the History and Geography. Therefore he could use these new and modern methods in compiling his Historical, Geographical and Literal writings and books. In this essay, with a qualitative strategy in the historical studies framework and in an interpretive historical manner, we have tried to study and investigate his writings, including such as the book Montazam Naseri History, Maaser v’ al asar, Merat al boldan and Ruzname Khaterat  Etemad al Salṭane (Etemad al Salṭaneh’s Diary book). The main question of the research has been proposed in this way: How is the historical awareness of art in the above mentioned writings of Moḥammad Ḥasan Khan Etemad al Salṭaneh? And what are the examples of this historical awareness of art? The study and analysis of references and descriptions related to the Persian Art in the above mentioned texts have shown the scattering and hidden signs indicating the historical awareness of Moḥammad Ḥasan Khan Etemad al Salṭaneh about the art and also the lack of boundaries between the History, Geography and Art fields in these writings. Also the review of the book Montazam Naseri History, Maaser v’ al asar, Merat al boldan and Ruzname Khaterat  Etemad al Salṭane (Etemad al Salṭaneh’s Diary book) indicates that there are some considerable information about  the Persian History of Art, including  ancient buildings, antiquities and works of arts, which can promise the emergence of a new trend in historiography of Persian Art along the evolution of Western History of Art, especially French History of Art in that time. The historical awareness of art for Moḥammad Ḥasan Khan Etemad al Salṭaneh, as the origin of the emergence of this information, is classified under the title of familiarity with Western studies on the History of Art, and the methods of Historiography of Art for him. The historiography methods of this famous historian and writer of the Naseri era and Qajar age are also manifested in the paying attention to the artists, the Numismatics and Archeology fields, and in reference to the texts and books related to the arts.

Photographic realism has a history as long as photography. It has always been seen that photographers, theorists, philosophers, semiologists and others, directly or indirectly, have written or spoken about this matter. However, this issue is still open and controversial. Realism, in its philosophical definition, is affirmation of entities independent of our thoughts and senses. The process of photography, in itself, is a suitable place for incarnation of this attitude. The photography, by its realistic nature, opens two window into the world: one, in the follow of our vision but through suggestion of various contiguities; other, for development and expansion of our knowledge. The perceptual realism proposes that the objects of our environment are subjects of our perception; that is, the thing we perceive with our senses has real and objective existence and is independent of our perceptions. The conceptual realism is a matter about real existence of genera. In scientific realism, it is supposed that objects of confirmed theories, including unobservable entities, exist objectively. In fact, scientific realism, to discover of unobservable entities, enters to fields like metaphysics, semantics, and epistemology, respectively, to assert that the world has certain natural structure and mind-independent, to explain that scientific theories have face-value and truth-conditioned descriptions of observable and unobservable things, and to claim epistemologically that mature and predictively successful scientific theories are well-confirmed and approximately true of the world. When we speak about authenticity in photography, two important subjects appears to need most attention: the medium of photography and the photographer. As much as it concerns to the latter, intentionality of the photographer, politics of representation, mainstream culture of the era, demands and needs of audience/viewer, opportunities and challenges, and so on, can lead to different conclusions. The former, which is related to recording tool, has always been confronted with objective and pure recording of reality. In other words, the so-called photographic realism follows the expectation which believes that photograph is something the real viewer sees no difference between that and his/her lived and perceived reality. In photography, perceptual realism involves similarity of the object of a photograph to one’s visual perception of the same object, to say that, something beyond confirmation of a thing’s existence in front of the camera— likeness. This likeness needs to be free of any infer of human agent in mechanical recording. The scientific approach in photography believes that this medium, with relying on its technological abilities, can discover act as an assistant to our visual perception system and make the unobservable observable. In this paper, it is attempted to study the perceptual and the scientific in photography, and to analyze comparatively different opinions of the theorists who accept or deny transparency of photographs. At last, by description of realistic realism in photography and epistemological analysis of capabilities of this medium, it will be concluded that in realistic photography it is possible that the reality be transformed to a theory and vice versa, and this type of photography is convergence point of perceptual, critical and scientific realism.

The horse has found its way into the images of books with the same strong presence that it had in the lives of the ancients - especially kings -, so it is considered one of the most important visual objects in the creation of miniatures. Given this issue and the view of the value of the animal, which not only represented the power and greatness of an army, but also played a unique role in the royal ostentation, one has to ask how the painters portrayed him. To what extent did those who lived in the context of the court society and possibly owned a horse, in the depiction of this animal, be faithful to the qualities that indicated a good and beautiful horse? Do these qualities, which are extracted from equine science books such as Farasnamas and other books written about horses, overlap with the criteria of illustrators in horse illustration or are they completely different from each other? Understanding the approach of illustrators in the illustration of designs depends on recognizing and studying written sources that have spoken directly about theoretical and practical issues related to Persian painting. Since this cultural land lacks such a written tradition, other sources have always been replaced and studied in order to understand the rules of this art, sources that may not be directly related to Iranian painting, but their subject matter is about the most prominent designs. It should be noted, however, that these sources can never arrive at a comprehensive theory of the criteria of illustration and ultimately provide a definition of the correct proportions of the motifs, a definition by which a complete work of art can be recognized. The sources studied here are equine science books. These books, which have been written, translated and sometimes illustrated under different titles such as Farsnama, al-beytarah, Al-Khail in different Islamic lands, are classified under natural sciences because they are written based on direct observations of horses. The purpose of writing these books is to transfer knowledge in order to understand good and bad horses, symptoms and treatment of diseases of this animal. What makes equine science book a valuable resource in the absence of artistic books and cited by art historians is their content. In these books, aesthetic qualities such as the beautiful shape of the limbs, movements, the size of each member in relation to the part and the whole, colors and whiteness that indicate the value or worthlessness of the horse is drawn. Given such content, which is full of descriptions of good and bad horses and the most detailed information about its appearance, it can be included in the field of Iranian painting because this art is always defined in great detail. In generally, two conclusions be drawn from this research, first, that the illustration of the horse in these three illustrated manuscripts was not outside the framework of nature. Secondly, the illustrators of Baysonghori Shahnama have made a commendable effort to depict a good horse, and their criteria are very close to those of equine science experts.

A constellation or constellation is a collection of stars that are specially shaped and named from a terrestrial perspective. This part of astronomy has long been practiced in various nations to mark and make astronomy easier to understand. For better and faster understanding and to prevent misinterpretation and further speech, constellation illustration has emerged as a branch of visual arts. In this type of illustration, in addition to illustration skills, the artist must have studies in astronomy. In fact, the artist communicates with illustration, between complex concepts and topics and astronomical details in a simple but attractive way. In general, the motifs and shapes that can be seen from the constellations in the surviving works of ancient Iran  have deep roots in the religious thought of the people of that time, which are symbolically displayed .  This issue appears in a different way in the Islamic era and the reflection of beliefs and knowledge takes on a different color .   Scientific and illustrated manuscripts of the Islamic era were so important in Iran that they were among the first picture books in the early centuries. According to the surviving examples from this period, it can be said that the books that had a higher quality and degree from a scientific point of view,  used obsessive illustrators and more precision in their illustration . Following this, the "flourishing" of art and the political and social peace of the period and the schools of art in which the manuscripts were depicted were effective and influential.  The manuscripts are so numerous that, after years of research by local and foreign artists and researchers, many of them remain intact, and only some of them have been very briefly analyzed and made available. . Constellation illustrations have appeared in some weak and strong in some versions;  and have had most of the effects of previous versions. In these effects, it was possible to change the space or the elements or to change them, but the illustrator refused to do so and remained faithful to the original pattern. Is. Regarding the atmosphere and the importance of the background in the scientific images of this version, it is inferred that the illustrator has no reason to fill the background space and only shows the position of the stars, inserting the image and new discoveries of constellations. In this research, the Persian translation of the book "Sur al-Kawakab" written by the great Iranian scientist,abul Hassan Abdul Rahman Sufi Razi, in the 11th century AH is examined. This copy has been reproduced by the order of "Abolfath Manouchehr Khan biglarbegi", the ruler of Mashhad in the Safavid period(in mashhad school), with the pure artistry and illustrations of "King Hossein Isfahani". Spencer is maintained. It seems that the reproduction of at least two scientific books of Al-Hashaish and Sura Al-Kawakab in the period of Manouchehr Khan indicates the simultaneous interest of Manouchehr Khan in science and art. The method of reviewing the descriptive-analytical version is done by matching textual illustrations.

Contemporary art, in the age of globalization, goes beyond the narrative of national art. Contemporary art is based on multicultural, multinational experiences and hybrid identities. In the intersection of cultures it is possible to form contemporary art. Just as Qatar and the United Arab Emirates are trying to shape the contemporary art in the region as multinational and multicultural countries. Multiculturalism in these countries is due to the accumulation of foreign and international labor. Since more than 80 percent of their population is foreign labor, Qatar and the UAE prefer to follow the transnational identity and art by emphasizing multicultural policies. They want to be known as a "contact zone" or "trans-place". Transnational is a dream land in the universal modernity; in this land, the boundaries of identities are merged and have gained universal unity. A unity beyond the differences that can be formed in a “trans-place”. Bur from a critical point of view, trans-place is not a place for all people or any person from every culture. Actually this space is kind of non-place; where it does not point to any geography, climate or history; the Sterilized space from history, memory and culture.  Marc Augé- French anthropologist- used the term "non-place" to refer to spaces where concerns of relations, history, and identity are erased. Dubai and Doha want to be utopia base on trans-place, trans-modern and transnational; but the non-place is the opposite of utopia: it exists, but it does not contain any organic society. Despite these criticisms, the policy of the United Arab Emirates and Qatar is to shape trance-place. They are international and transnational regions. In this meaning, these regions are not only an opportunity for exchange international art, but also they are a context for the development of transnational art. But how can transnational art be made? The methodological approach of this article is trend analysis. Trend of political change that drives cultural policy making and artistic movement. This article explain how Arab oil-rich countries have established museums and festivals by oil budget and have affected new Arab art movement. In this article we do research the trend of paradigm shift of national art to transnational Art by studying of collection of events (Museums and Art Exhibitions) and art works (Artists' experiences). The results of the study of art movements in the United Arab Emirates and Qatar, showed that in general, three characteristics for art can be enumerated in the transnational paradigm: 1. the creation of contemporary Islamic art as a multicultural experience. 2. Creation of digital and technology-oriented works of art; 3. Creation of environmental works of art as a common chapter of cultures and nationalities. This artistic movements are supported by the artistic events in the region. But these policies are associated with many problems. Critically, these transnationalism developments are alien to the indigenous and traditional culture of these countries; also, these events display the global capitalist economy rather than being an arena for transnational art. Evaluating transnational and transcultural policies needs further study.

Inscriptions have always played the most important role inIslamic architecture, especially in tombs. Calligraphy gradually found a prominent place in Islamic architecture and art.In general, one of the ways to become more familiar withIslamic architecture courses, along with the use of decorative designs, is to pay attention to inscriptions, because inscriptions represent all the creations of Muslim artists in aparticular period. The spiritual spaces created by the inscriptions in religious places such as mosques, schools, shrines,monasteries, etc. lead man to illumination. The themes ofthe inscriptions in Islamic buildings are various, includingthe blessed names of God, verses, and chapters of the Quran,the name of the Prophet, imams, religious poems, the nameof the client, the name of the ruler, the scribe and the date ofmaking the inscriptions, and also Persian and Arabic poems.Wise words are the commandments and covenants of kingsand advice. The Seljuk era is one of the most important periods of Islamic aesthetics that has created many changes inIranian works of art, especially architectural decorations. Inthis era, due to the peace and political stability during theSeljuk dynasty, artists had more favorable conditions andwere able to create numerous works. Working on stone wasmore difficult than other elements, and on the other hand,high-quality stone was found in small quantities. Masonryand stone carving were abandoned after the Sassanid dynasty until a few centuries later. But during the tenth andeleventh centuries AD, artists turned their attention to this artagain. Consequently, stone altars and tombswere created, which in some cases are very similar to thealtars, in other words, the use of stone experienced a reemergence. Before the present study, the usage of poems ontombstones during the Seljuk period has not been observedor published. The purpose of this study is to introduce twoSeljuk tombstones that were discovered in Maymeh )Isfahan( and are now kept in the city museum. The secondpurpose is to discuss the artistic style and examine the similarities and differences with other Seljuk works, especiallytombstones, to comment on the identity of these works. Thequestions of the present study can be expressed as follows:How can the artistic style of these tombstones be explained?Also, considering the lack of direct reference, is it possibleto comment on the identity of the artist who made theseworks based on archaeological studies? According to thetombstone inscriptions of the Gordeh Museum, it should benoted that Arabic poems have also been used in the inscriptions of these two tombstones. The artistic style used in thesetwo tombstones is different from other known Seljuk tombstones, which is probably due to the difference in the placeof construction of these works. Also, because of the greatsimilarities between the tombstones of the Pollen Museumand the stone altar of Maymeh, it can be claimed that thebuilder of the former tombstones is the same as the one whobuilt the Maymeh altar.

Bruno Latour, the contemporary Philosopher and Anthropologist in the era of science and technology based on the actant-network theory with network-based approach looks at the creatures of the world and the existent relationships among them. In a way that world regardless of any prevalent categorizations and distinctions as real-unreal and natural-artificial is full of human and non-human activists and actant s that they are making new nexuses and networks in order to reach to their goals. All of the creatures either human or small and large creatures, technological artifacts and tools function as an actor in this world and in the networks they entered. In this way, the nature of each actant in within network and in relation and proportion with the other actors is changed and made. The concern of this theory is the study of the way of uniting different actors in within network. The theory of actant -network is one of the most important contemporary thought circles in studies of science (technologies, religion, anthropology, law) and technologies that is generalizable to art field especially, photography. Accordingly the photography production can be considered as a network actor and the product of uniting three factors of camera, photographer and the world that the way of uniting this factor with each other led to creating multifarious photos. Therefore, the aim of this study is examination and analyzing photography action based on the actant network theory, Bruno Latour. Consequently this essay is focused on the descriptive-analytic and adaptive method to answer this question that what the place and role of each of the main actants is in photographic practice means camera, photographer and the world in the process of photography production? The results demonstrated that in photography action, three factors as camera (as technological medium with multiple facilities), photographer (in position of human action with especial goals) and the world (as non-human action) are to synthesize and regardless of dominant look, each of them links with the other factors with different ways in the network and influences on the other actors and finally by interaction of them, one photo with especial and distinct features can be made. When each photo exposes to attention after production and supply in photography society can start role playing in within photography network as a new actor and led to create new nexuses and actions. From the beginning, that camera and its components have developed over time until now which digital technology have had a significant effect on photography; definition, nature, role and place of photographer and the world have changed in photography network. The shift from analog and green photography to digital and pixel element had not been merely a change in photography technologies and tools. But it made a revolution in the whole of network and the involved actors in photography field and paved the way for appearance of different orientations within photography network. Photography network is still changing as it affected by new actors arrival. Actant-network theory can be used for photo critique.

The field of inscriptive motifs that known as "Bismillah Bird" is one of the artistic branches of Islamic calligraphy, also called "Shaped Scripts". The artistic branch of Bismillah Bird has been studied and researched repeatedly, both as it relates to studying new trends in calligraphy and as it relates to mystical symbolism. For this reason, when researching the genealogy of this written motif and its origin, a lot of attention is paid to the Sufism view and discourse in the history of Islamic arts. It is also important to note that mystical literature and the random mystical creativity of artists, particularly during the Safavid and Qajar eras, played a major role in the development of this field. As well, it is important and necessary to pay attention to the contextual and historical background of the development of artistic motifs in different periods in connection with the continuation of artistic traditions within a specific culture. Because culture is always focused on the past. Culture also has a history and the history of culture can be written. cultural phenomena aren't natural and are historical and the conditions for their emergence can be determined, and thus individuals can be freed from its domination. Understanding the culture and accurate perception of artistic phenomena is not possible except by relying on their historical essence. In this historical-analytical research, which has been done using simultaneous methods of genealogy and Gestalt theory, the written motif of Bismillah Bird has been measured not only as a product of the mystical ideas of Islamic art, but also in relation to its historical origins. As part of the historical and identity search, the continuation of traditions of visual expression has been studied in relation to artistic currents of Eastern Iran, such as painted pottery from Iran during the fourth and fifth centuries AH. In order to identify the origin of the written motif of the Bismillah Bird in Iranian art throughout the Islamic period, this study is devoted to researching its genealogy. Also, in this study, the analysis of the historical relationship between the correlation of the bird pattern and the inscriptions in the painted pottery of Nishabur in the fourth century to the later specimens in the Safavid and Qajar eras has been studied by referring to 16 samples of artworks. Therefore, the results of this research by using Gestalt theory show that the correlation of the bird motif and inscription in Iranian art, especially in the visual atmosphere of Nishabur painted pottery of the Samanid period has aesthetic and stylistic features that have gone beyond mere decorations or random creativity. Thus, the interaction of these two motifs in the pottery of Nishabur in the fourth century AH can be seen as the origin of the inscriptive motif of the Bismillah bird. As a result, paying attention to the historical and genealogical aspects of artistic motifs rather than overemphasizing their mystical and spiritual features is important not only to recognize the identity and art history, but can also be a barrier against cultural forgery.

Modern societies have created the experience of mixed reality or MR in users’ lifestyle with the advancements in sensor technology and computer processors.  The unique feature of this smart technology in interactive communication has improved human and social functions. With technology smartization, smart design is also carried out by computer tools. Smart interactive design such as mixed reality or MR can adopt a unique process, combining the data increasingly and creating a user-friendly interaction. The main purpose of its interactive design is improving users’ quality of life and welfare. It is evident that user interface or UI design has a crucial role in this regard because mixed reality technology does this by interactively designing two-dimensional or three-dimensional user interface forms called holograms. Smart user interface in mixed reality technology is the most important part of communication that can be perceived visually, audibly and tactilely. The purpose of user interface design is to facilitate the usability of mixed reality products and to make the process of using them enjoyable. This study examines concepts such as form language, interactive design, mixed reality based user interface design, usability, and holograms. The design of formal elements such as line, color, texture, icon, volume and typography in the user interface has visual values that improve the user interaction process through the hologram. From this perspective, design language can influence the usability of mixed reality or MR. It is worth noting that the case studies are purposefully selected and analyzed based on credible international sources produced by leading companies in the field of mixed reality. The main question of the study was as follows: what is the relationship between smart user interface design language and mixed reality function? To investigate, the theoretical basis of the study on the relationship between aesthetic components, the language of formality, and usability of successful projects is the centralized mixed reality user interface developed by Microsoft HoloLens. The main issue of this research is focused on the analysis of user interface design and design language in hologram technology. To examine the relationship between form and usability of the hologram smart user interface, case studies on the Microsoft HoloLens mixed reality headset were analyzed. This applied research was purposeful and the general results of the research showed that the correct design of smart user interface with emotional design or formal and modern design has enhanced the function of mixed reality and users feel comfortable interacting with this type of user interface design. mixed reality user interface design can be used in any field. There is no limit to the use of this technology and it is always used according to the needs of the user. The usability of the smart user interface is based on clear design thinking, has a friendly and emotional communication tone. In other design methods, it is formal and modern with high usability or even includes both. The logical connection between form and function based on usability preferences among users is a unique feature of hologram design.