مجله مبانی نظری هنرهای تجسمی
سال هفتم شماره 2 (پیاپی 14، پاییز و زمستان 1401)

For the "Art" word in different Persian texts, words such as industry have been used. Basically, to explain the essential of the Art word, there is a group of Avestan texts and a group of Pahlavi texts. It seems that for the epistemology study and semantic cognition of ancient art dealing with the words art as Ho, and Woo is not enough. In this research, some excellent and epistemological concepts of art will be mentioned to approach the concept of Art and profession more precisely. Since the arts in the traditional world belong to the same type and order with knowledge and science, it will also have a symbolic meaning because they inherently pay attention to the specific relationship between the levels of the universe. In other words, they originally are symbolic and indicating the relationship between the levels of existence, instinct and nature of the arts. In fact, art is the basis for secrecy and spiritual access.The realization of virtue and its method is based on the teaching that is the model of human wisdom. Such a comprehensive and inclusive doctrine can only arise from absolute truth and pure goodness, because the nature of this doctrine makes it a model for man.Art is the appearance of the pure and beautiful soul of the artist, which is reflected in his works and artistic style, and the language of art, like the language of mysticism, has a symbolic aspect. Art is the most subtle and delicate manifestation of the artist's perception and the manifestation of the face of universe, which originates from the superior worlds of the universe and the artist's superior imagination. Therefore, the spirit of art in its highest manifestation is a kind of manifestation originated from the manifestation of beauty and the beautiful face of truth in the soul and imagination of the artist. Man is also a clear mirror and a beautiful manifestation of the whole of truth, and he has been created in a divine way. "God created man in the image of God". The human soul, since it is attributed to the essence of truth and is a mirror of absolute divine beauty, has an amazing beauty that, according to Victor Hugo, is more mysterious than the beauty of nature and the beauty of the sea and even the sky. Beauty is related to truth and all perfections art beautiful. According to Vandidad Fargard II, in Jamshid's story, the first reference is made to the art of architecture to build a house and a room, and doors and windows to use lighting and decorate rooms with a red coating. According to the cosmology of ancient Iran, goodness and beauty are real in the higher world, and man, by his nature, seeks closeness through resemblance and creation to them. This closeness, according to the principles in Iranian wisdom, has been done with awareness and similarity to this reality is based on truth, goodness and beauty.Since human is the only direct representation of God in the sense of an ascending and perfection-oriented form with a content of totality and comprehensiveness, according to his divinity, and the validity of his divine image by understanding and intuition of God, is a work of art and  is also an artist.Human art can be spiritual or material art in terms of application and content, and in the words of this world or that world. In terms of content and application, art is not entirely material in the realm of civilized art as well as traditional art; because it’s driving force is mainly cryptography and spiritual subjects. Although in the early period, art was limited to the production of tools and tools for work or worship, this construction activity is in the realm of worship rituals and is accompanied by a kind of cryptography. Therefore, it is obvious that it ignores the aesthetic purpose. So, firstly, the beauty of the works is intrinsic and results from their spiritual truth, and secondly, it is broadly due to personal intuition. Careful coding and creating fruitfulness for specific purposes, whether for religious or mystical purposes or for practical purposes, prevented ugliness from reaching these works. Therefore, without paying attention to the quality of aesthetics, beauty as a secondary truth in the form of aesthetic intuition is present everywhere in the works. The basic truth of creating the perfection and coherence of the spiritual nature of the work reduces the importance of the discussion of its visual beauty, which is definitely an innate and inner need of human beings. But something beyond the material world; it determines the cosmic quality and spiritual content of the work, as well as the virtue, wisdom and ingenuity of the creator of the work, and causes him to explain the collective values.However, in a sense, the objective and external aspect of industry and the semantic aspect are mystical and heavenly truths that are provided to the constructive thought and sense with inspirations, and with the help of it, he receives a perception of it in his dignity and rank that enables him to express it. The emergence of the invisible in the form of the visible makes the same knowledge or wisdom of that industry even it comes from mind or hand and the tongue. This art is very far from what is called art from today's perspective. By referring to the art section, it is concluded that according to what is contained in traditional texts, all human creations are called art based on reason. Art means to make anything in the end, perfection and beauty worthy of it and the artist means a human being in the perfection of goodness or in the end of perfection and beauty who can give this attribute or quality to anything. Therefore, without paying attention to the quality of aesthetics, beauty as a secondary truth in the form of aesthetic intuition is present everywhere in the works. The basic truth of creating the perfection and coherence of the code or the spiritual nature of the works reduces the importance of the discussion of its visual beauty, which is definitely an innate and inner need of human beings. But something beyond the material world; it determines the cosmic quality and spiritual content of the work, as well as the virtue, wisdom and ingenuity of the creator of the work, and causes him to explain the collective value.Art must express truths that depend on constructive beliefs and intuitions through its definite dimensions and patterns. Art is objectivity of the heavenly Word. The heavenly Word is esoteric for the person benefiting from talent and is apparent for the ordinary human being. So, those part of human creation which is through the issuance of heavenly words and spiritual truth, including visual and intuitive works, architecture, music, literature, and even the tools are art. Also every nurturing on his body, and soul, is art (heroism and bravery). Therefore all of these types of creations and completions could be called Art.

An important part of the ontology of Persian painting goes back to its mythological themes. Among these, Ferdowsi's Shahnameh is one of the most important texts and literature that is full of mystery from the point of imagination view and visual aspects of poetry. In Ferdowsi's exaggerations, first of all, the issue of imagination is seen in the strongest way, and for this reason, its artistic aspect is tangible. Among the myths in Shahnameh, this article deals with the myth of nature. It is worth mentioning that the most obvious example of the myth of nature is the existence of the four main elements of water, fire, wind and soil. These elements have a unique position and a transcendental and symbolic identity. The concept of "existence" or being is a mental thing, obvious and opposite to the concept of non-existence. Existence; is a truth that always comes true and in which life flows. Ontology is the science of existence because it exists. In this field, the nature of objects, because they are substance, is investigated regardless of the phenomena. Ontology deals with the nature and characteristics of the determined and definite existence and structure of reality, which plays an important role in the analysis of works, including works of art. Iranian sages and philosophers had a special view on existence and ontology. Mulla Sadra believes that existence in art is formed from secret and is revealed from within. According to him, the world of art is God and the current divine creation is considered artistic. God is absolute and creates from nothing, and human being, who is the work of God, is from nothing relative and creates a relative being. Mulla Sadra has a completely artistic and aesthetic view of the world of creation. He knows all these worlds on the one hand, face and image, and on the other hand, he knows the word and the book. In fact, it is the speech and writing of God. Regarding beauty and art, he believes that instead of the ontology of art and beauty, we should focus on their ontology. Art has themes that need to be considered. These themes relate to the ontology of art and are not subject to the acceptance of a particular theory of art. In fact, the association of Iranian culture with wisdom and books causes poetry, music and painting to become religious; that is, to spread his beliefs about Islamic culture and wisdom in art. Persian poetry is understandable music, when music becomes poetry, poetry is created in the artist's mind and then becomes sounds, fictional poetry is processed, but when imagination becomes objectivity, it becomes a painting, in fact, painting is the same as illustrated poetry.  There is a special relationship between Iranian art and poetry, both based on Iranian wisdom. Iranian painting is an art that has been influenced by literature more than other arts, especially Ferdowsi's Shahnameh. From mythology; the four elements of nature in Shahnameh have symbolic and symbolic features in the mythical world that the creation of the world begins with the emergence of these elements of existence. By rotating themselves, these four elements preserve the system of nature and the essence of creation, and with their mythological and symbolic concepts, create the existence of poetry and its affected works, including Persian painting. Aware of the sacred and life-giving background of these elements in Iranian culture and civilization, Ferdowsi has given these elements a transcendental and symbolic identity. In his masterpiece, these elements are not just one substance, but all have an identity with a soul and an authority beyond the algebra of nature that help the hero in various stages of his life. They rush to their aid and protect them from evil agents. One of the best and most superior examples of Shahnameh during the history of Persian painting, a great masterpiece; is Tahmabesi Shahnameh. The Persian painter is a creative painter who has avoided mere imitation of the manifestations of nature and has presented his paintings in an allegorical way in a heavenly and transcendental atmosphere. In fact, the way of existence of these works is different from the way of existence of real lords, and their existential foundation is not only in pure consciousness, but they are derived from imagination and the world of allegory. The present study is one of the four elements of existence in nature; the transcendent wisdom has dealt with the two elements of wind and soil, which have more complex symbolism, visually and aesthetically, as well as analyzing and applying their symbolic meanings influenced by the principles of Islamic mysticism. Wind; It is one of the elements of existence in nature and the air in its active and violent aspects, and because of the connection between the creator's breath and exhalation, it has been considered as one of the main elements. Wind is the most delicate and imperceptible element of the four elements; it is the only invisible element that has great power on which the life of all beings in the universe depends. The wind is the most intense and at the same time the most invisible element of nature. In air painting, like a breeze, it is a refreshing manifestation of an imaginary and mythical world in spring weather. The air is the same as the wind, the most obvious manifestation of which is the painting of the same element of the cloud. Cloud in Iranian paintings is majestic, beautiful, fluid, dynamic and circulating, and is a sign of fertility and growth and an allegory of occult relief. In Iranian painting, clouds are usually innovative and unnatural in terms of visual aesthetics and are seen with a twisted and wavy state. Among the four elements, soil is the most immobile and effortless element. The soil is dry, cold and dense, passive and heavy. It is a symbol of fertility. The earth is a symbol of maternal duties. Gives life and takes it back. The earth is the place where plants grow. The Iranian painter inspires space on a two-dimensional surface without a linear perspective. He depicts a wide horizon with colorful flowers, plants and shrubs that have grown all over the earth, creating an imaginary and legendary atmosphere. In some mythological paintings, the mountain is also the abode of dragons. They live in valleys and mountain crevices or caves. Sometimes it is represented in light purple or blue to imagine the atmospheric perspective in the background. The purpose of this study is to discover the existential factors in the drawings of this Shahnameh and to study the concepts and symbols of these elements of existence in the studied drawings. The article's main question is that firstly, what is the relationship between Iranian and mythological aesthetics and ontology from Mulla Sadra's point of view and painting? Secondly, what is the meaningful relationship between the mythological elements of wind and soil with the ontologies of the Shahnameh? The present article is compiled by comparative-analytical method on pictures from Tahmasbi's Shahnameh by collecting materials in a library and analyzing the pictures. The findings indicate that, visually and symbolically, in these paintings, mythology and characteristics of nature as well as Islamic wisdom and mysticism have been used in order to conceptualize the story and give existence to the paintings, and the painter using this Shahnameh And also the deep concepts of Iranian wisdom and Islamic literature and mysticism of that period have given a symbolic effect to existence in painting by projecting the elements of existence.

Islamic geometric arrays is among the most clear declaration of geometry and mathematics in all kinds of Islamic art including wooden, metallic, painting arts and in utmost architecture as well as Islamic artists and artisans have extensively utilized it in the production of their works. The geographical broadness utilization of these arrays covers the three continents of Asia, Europe and Africa, and in timeliness, simple geometric arrays are evident from the beginning of Islam in the Umayyad palaces up to now which its complex types are plenty found. Scholars have excavated Samarra to prove that the origin of the third/ninth century decorations of the Ibn Tulun Mosque in Cairo was Baghdad during the Abbasid period; On the other hand, the early Islamic architecture of Khurasan and eastern Persia establishes the Samanids, Qarakhanids, Ghaznavids, Ghurids and Seljuks as principle contributors in the maturation of the geometric ornamental tradition. The collective architectural legacy of these cultures reveals the significance of their contribution to our knowledge of Islamic geometric design. According to what has been mentioned, the origin of the methods of drawing Islamic geometric patterns and their differences and similarities can be an arena for explaining, classifying and characterizing the drawing of those patterns. The surviving works, in which the geometry of complex Islamic motifs are used, are available from the early Islamic centuries, but it seems difficult to identify the precedence and lag of the methods of drawing them. Assuming that the method of drawing these designs is very diverse among artists from different regions, the present article seeks to study the similarities and differences between the two regions of Asia (Iran) and North Africa (Morocco). Since in both regions the methods of drawing and execution are usually quoted in the manner of oral speech and can be forgotten. Also, the familiarity of artists and artisans with the methods of drawing patterns in non-native areas can create a change in the production of works of art. It is necessary to conduct research to explain the characteristics of drawing Islamic geometric patterns in both regions; therefore, this article, while explaining the method of drawing Islamic geometric patterns "Hasba" (derived from Arabic word: Hasaba, which means: calculating) is common among Moroccan artisans and the Iranian method, it also seeks to examine the differences and similarities, advantages and disadvantages of each of those methods. The main question is how to analyze the similarities and differences between the theoretical geometry of these two methods using a comparative research method. The method of collecting library information and redesigning the projects has been done by Corel Draw software. The statistical population is 15 Iranian Islamic geometric patterns. The sampling method is selective and in order to refute and confirm the problem, feasibility study, explanation of differences and similarities have been selected. The method of data analysis is visual comparison. Moroccan artisans have strict rules for drawing geometric patterns, based on "Laqtib" equivalent to "Hamil" in the Iranian style, which consists of thin strips that form geometric motifs, and throughout the design, they are tufted and crossed one after the other. The width factor of these strips forms the main background or frame in this method. Also four times the width of the Qassama, they form "Zaqaq" (in Arabic literature: narrow alley). At the four corners and halves of the Zaqaqs, concentric circles are drawn, from the center of which and their tangential points, guidelines are drawn to adjacent circles, which are the primary role of Moroccan geometric patterns. Then, in the circle, the pattern of Mohr Soleiman (Shamseh Shesh) is drawn and along its sides, the rest of the geometric patterns are formed in order. But the theoretical method of drawing geometric patterns among Iranians is known as the radial method, which dates back to at least the fifth century AH, which is the basis of many contemporary writings in this field. In the radial method, the width of the doorway is the basis of the drawing, and usually the length of the background rectangle is determined by dividing the angles into several equal parts and drawing the radii and guidelines. As in the method of Hasba, in this method, a sun motif is placed in one of the corners, and along the sides of that sun, the rest of the motifs are determined. In this article, while introducing both "Hasba" and "Iranian" radial methods, the method and analysis of the similarities and differences between the theoretical geometry of these two methods are explained using descriptive, analytical, and comparative research methods. The main question is how to analyze the similarities and differences between the theoretical geometry of these two methods using a comparative research method based. Finally, the feasibility of drawing fifteen Islamic Geometric Designs ("Dah-Kond", "hasht-Zohreh" in Farsi & etc.) in both "Hasba" and Iranian methods will be investigated comparatively. The result of this research shows that in both methods, the framework is an important and one of the basic elements of drawing. The frame is only square in the Hasba method with the initial proportions, and if it is in the rectangle, it is a repetition of the primary square pattern with a ratio of one to two (Today's researchers have been able to execute it in regular polygons by rotating lattice designs), and in the radial method, this ratio is approximately 1.137 in " Dah-Kond" (the name of Geometric Designs in Farsi), which is closer to the golden rectangle and visual aesthetics. The Hasba method is calculated according to the following pattern with a special rule and a coefficient of the thickness of the Laqtib. Laqtibs sometimes make small patterns impossible, but in Iranian examples, the Hamil is determined according to the needs of all kinds of applied arts, after drawing the knot. In Hesba, the Mohr Soleiman is certain, but the motifs between the suns are unknown and can be variable, while in the Iranian example, the task of all the motifs is determined from the very beginning; the variety of motifs in the radial method is greater than in Morocco; Hasba sub-patterns variety cause other motifs, but can cause confusion and error for the master. The "Shamseh" or the Mohr Soleiman motif is one of the main motifs of Islamic Geometric Designs in both methods. The area of the "Hesar" in Hasba has the status of a border, which does not exist in the Iranian example compared to Hasba, but can be added. Finally, the drawing of many Iranian Geometric Designs, including the case example of "Ten Kond Geometric Designs" cannot be drawn by the method of Hasba. Indeed many Iranian radial knots cannot be plotted by the Hasba method due to the mismatch of length and width ratios as well as matching angles with a multiple of 18 and others. But some simple, such as "Eight and Venus" & "Moje-Asiyabi" & "Chahar Sekeron" & "Hasht-Seli shakhakdar", can be drawn with the Hasba method. The Hesar area may be considered as one of the advantages of the "Hasba" method, which can be drawn but does not exist in the Iranian method.

Painting is one of the oldest forms of Japanese art and includes a wide variety of genres. The Kamakura period (1333-1192 AD) is very important due to the influence of Buddhism and Zen Buddhism in art. In this research, with the aim of explaining the aesthetic components of the form and content of the Japanese paintings of the Kamakura period in relation to Zen Buddhism, after stating the theoretical framework, 15 examples of paintings from this period are analyzed. In this research, data collection was done through library method along with observing the images and analysis is done by qualitative method. The art of painting became popular in Japan when Buddhist monks and Korean and Chinese artists settled there. The supremacy of Zen religion over Shinto and Buddhism in the 14th century had an effect on Japanese painting. Zen monks brought examples of watercolor landscape paintings from the Song period of China to Japan and Chinese landscape painting gained lots of attentions. In general, the characteristics of Japanese painting can be summarized as follows: Virginity and being under the least influence of other arts (except Chinese art) The direct effect of mountains and sea on the art works Lack of distinction between the real and the ideal The dual atmosphere of peace and chaos Japanese aesthetics were first noticed and introduced to non-Japanese audiences almost at the beginning of the 20th century. The most important principles of Japanese art include the five concepts of mono no aware, wabi, sabi, yugen and kirei, which are also used in Kamakura painting in connection with Zen Buddhism. In Zen thinking, the creation of a work of art is the result of the artist's inner connection with nature. The artist must have the ability to become unique and harmonize with nature. Nature is always an important source for inspiration and original creation, and everything in nature has beauty and noble spirit and deserves admiration and respect. In the Zen aesthetic tradition, art in its highest form is the expression of nature. Zen artists are trying to show the impermanence and constant change of nature and its constant movement. Buddhism, and especially Zen Buddhism, significantly influenced Japanese aesthetics; as far as we can say, the concepts whose primary expression was Shinto metaphysics were placed in their right place by the ideals and principles of Buddhism. The perception of Japanese art by people outside of Japan, as embodied and known by themes especially Buddhism, is a distinct understanding of its influences on the country's artistic tradition. Zen path and Zen art pursue a common goal, which is to find a way to escape from limitations, freedom and salvation. A path to mindlessness, which is possible through seeing one's own existential nature. The Zen artist is trying to show us the inner beauty and truth. The general characteristics of Zen art and Zen Buddhism in Japanese art can be summarized as follows:Zen Buddhism: abundance of themes and narratives related to Buddha; the expression of religious ideas by the city; emphasis on narration; long and detailed folding scrolls to facilitate narration. Zen: love of nature, appreciation of beauty and emotions; great emphasis on direct experience of the nature of things; the work of art is a diagram of the unity of soul and body, inside and outside of the artist; Zen art is the result of unity between spiritual energies and human practical experience; showing empty spaces, stillness and silence; abstract and unreal subjects while natural and normal at the same time. The Kamakura period lasted from 1185 to 1332 AD. During this period, there were increasing and constructive contacts with China and brought emerging cultural developments. During this period of Japanese history, the official position of Shogun was granted by the emperor to the Yoritomo family. This caused the military to gain power. They obtained the power with the support of samurai warriors. The reflection of this social and political evolution appeared in the field of painting and sculpture in the form of patriarchal realism, and at the same time, Zen thought entered Japan and had a strong impact on Japanese culture and art. In terms of the art of painting, this period can be considered the middle age of Japanese art, which caused the art of painting to leave its previous artificial and elaborate state. Simplicity and realism, which were in balance with the spiritual aspect, are the characteristics of the works of this era. In this period, thin and fast pencraft, flat and bright colors, visualization of space from a high angle, naturalism and skillful decorations can be seen in the paintings. Passionate narration is one of the other characteristics of the painting of this era. These characteristics can be considered close to the artistic characteristics of Buddhism in Japanese culture. Combining warrior and samurai concepts with religious and philosophical foundations and components of Buddhism and Zen Buddhism is the basis for the formation of Japanese art in the artistic periods corresponding to these developments. Buddhism and Shinto have a strange relationship in Japanese culture. Kami, as a representation of the Buddha, was embodied and displayed in Buddhist art. In the field of art, the artist had the freedom to present a new interpretation of Japanese aesthetics as a way of meditating on Buddha nature and Dharma. This research reveals that the most important features of Kamakura period painting include simplicity and realism in balance with the spiritual side, thin and fast pencraft, flat and bright colors, naturalism and skillful decorations, visualization of space from a high perspective, passionate narration and patriarchal realism. Based on the cases studied from the Kamakura period, it can be said that in this period, most subjects (80%) are religious. This shows the deep influence of religion on cultural and social approaches, including the art of painting in the Kamakura period. This aspect of the works has a direct connection with Zen Buddhism in representing its teachings directly or symbolically. After religious topics, fictional topics (60 percent) have the most used topics in the sample of works. This brings the tendency to narrative in the paintings of this period, which is somehow related to Zen Buddhism, because Zen art is the result of the unity between spiritual energies and the practical experience of man, and the representation of life and man in the form of Zen symbols can display this unity. Another characteristic of the painting of this era is the use of religious characters (66%) and ordinary characters (73%). This topic can be related to the abundance of religious topics and the tendency to narrate in the paintings of this period. The large number of characters in the paintings also shows the tendency to narrative in these works; in such a way that only 13% of the studied works are single characters. Examining the shape characteristics of these works, in terms of composition and color, does not establish a meaningful relationship with the religious approach. The high angle of view, which is observed in most of these works (80%), is due to the desire for narration. The importance of religious and fictional narratives in this period can be related to the formal features of these works in the choice of the top view angle. These works of art are very similar to the art of Zen Buddhism. As a future research, it is suggested to conduct research on the differences between art influenced by Shinto compared to art influenced by Buddhism and Zen Buddhism. Also, this requires an investigation of the relationship between the artistic developments of Japan in the new era and the emergence of Japanese prints, which later influenced the modern art of the West, with religious and worldview developments at the level of the aristocracy or common people.

The works of Mohammad Siyah Qalam have a special place in the history of painting due to their visual and expressive differences. It seems that some of the pictorial elements used in these works have special meanings in terms of expression and in terms of artistic and cultural relations, they represent special intercultural exchanges. The cane is one of the visual elements that is the focus of this study. The thought and thinking about the images of the works of this Muslim painter is subject to the situation and conditions of his time. According to some accounts, he may have traveled to China with a delegation, and works attributed to him have been created along the way. In addition to the figures that make up the majority of the paintings; the entry of various visual elements can be seen in these images. Thus, the purpose of this article is to study the iconography of the cane, how it is represented in the works introduced by the artist and to search for the possible function of the cane in the works. The form, expression and meaning in these works are examined. What is the iconic relationship between the image of the cane in the Siyah Qalam works with the ritual cane of the Lohans in China and Central Asia? It is a question that research seeks to answer. In this regard, the present article intends to study the image of the cane in the works of the Siyah Qalam using descriptive-analytical method and matching the samples. The data of the article have been collected by library method and the iconological approach has been used to analyze the data. Considering that the painter may have traveled to Central Asia and China; or have heard or seen descriptions of that area; studying the works requires referring to the visual documents in Chinese art and the painting of the Lohans. Based on the findings of the article, it was found that in both Shamanism and Buddhism, the cane has a communicative function, and from an iconological point of view, the cane is the manifestation of the transcendent form of a sacred thing. In terms of content, the cane in the works of the Siyah Qalam, in spite of signs, expresses an intangible thing and reflects the connection with a divine world. In the works introduced from the Siyah Qalam, we somehow see metaphysics. An extraordinary thing performed by shamans during their ceremonies and repeated over and over again. During this repetition circuit, actions, movements, and objects such as a cane playing a pivotal role. Examination of the symptomatic factor of the cane in the pictures will reveal its true nature. The cane is also a symbolic sign in Buddhism, and the presence of such an appearance of a cane in the Siyah Qalam works most likely refers to the influence of Buddhism. The cane is one of the sacred tools to facilitate the connection of the shamanic and Buddhist clerics with the spirits and the heavenly worlds and the underworld. The shaman travels with a cane and, as a support, to heal and empower the sick person's soul, as a balance-making between the transcendental world and this world. As the work of the shaman is therapeutic; Buddhism also speaks of suffering and disease. Due to the great similarity between Shamanism and Buddhism, the meanings of the rings in the works will probably not be unrelated to the staff of the Lohans. Thus, in the image of the cane in the second group, the 3 rings in the cane show the third truth and the way of treatment. The presence of two rings on a cane indicates the second truth and one ring means the first truth and the reality of suffering, and also means the shaman's confrontation with disease. With these explanations, it can be concluded that: The cane has a different content in the selected and introduced works of the Siyah Qalam. In these works, we see two different types of canes. In the first type, which is merely a tool for everyday use and only as a support for figures. In the second type, the cane has a different function. This issue is also clear from the appearance of this tool and even by assigning figures with a certain social type in the images containing the cane, it gives a different meaning to the effect. These people are the same shamans who have special clothes in blue, ocher red or black. In the meantime, whether Siah Qalam traveled to China with a delegation, or whether he himself was a native of the Central Asian region, or whether he produced works under the influence of narrations from those regions; this shows the connection and perception between the works of the Siyah Qalam and Buddhism. As he portrays the representative of the Buddhist clergy or the Lohans. In this sense, the cane is a magical symbol for the shamans. A sign of having a license to enter to another world. According to Panofsky, a different form will have a different content. Many people think that the Siyah Qalam depicts shamans and their religion. Considering that shamanism has grown in the context of Buddhism. During this research, by examining the icon of the cane in the pictorial examples of Buddhist clerics (Lohans), some similarities of this tool were identified in the works of the Siyah Qalam. In work of art number 15, the cane is made of a knotted tree and is in perfect harmony with one of the types of canes in the lohans, which is known as «the tiger pewter staff». In the study of an icon of the form, face and content of this tool, which was introduced in the second group of Siyah Qalam works; there is a lot of similarity and connection with another type of Lohan's cane. These items include:In terms of content, the cane in Buddhism is to open the gates of hell and also to ascend to heaven, that is, to pass from this world to other worlds. In shamanism, too, according to Eliade, the spirits of the shamans ride on a cane and travel to another world. 2. Assign a monastic identity to the figures despite the special visual features in the cane. 3. There are metal rings on the cane and also bells on it. 4. The rings in the cane correspond to the four noble truths in the cane of the four rings (lohans) and are about suffering and disease. 5. Both have communication functions.The function of the cane in the works of the Siyah Qalam, despite its signs, indicates an intangible thing and reflects the connection with a divine world. The influence of Buddhism on the works of the Black Pen is great, and since the Enlightenment is one of the elements of Buddhism; so, in a way, the works of the second group of the Siyah Qalam can be considered as reflecting the enlightenment in this society, which the painter has expressed with his own way of expression. Studies have also shown that the painter pays attention to the external laws in her works and adheres to them, and these works observe the real world.

The Mannerists are always measured in comparison with the artists of the high Renaissance and, of course, the creation of such a style dates back to the period of Michelangelo's wall paintings in the Sistine Chapel. European Mannerists have always received both positive and negative criticism, such as an emphasis on artist individuality and genius, and a cultural crisis. In this study, the intention is to study the works of one of the Mannerists, namely Giuseppe Arcimboldo, in a descriptive-analytical method to find aesthetic, perceptual, and cognitive values. To study these works, the theoretical foundations of Gestalt psychology have been used concerning the views of Wertheimer, Arnheim, and Gombrich. During the study, we gradually realize the artistic values of the works, and therefore the methodological path from aesthetic (sensory), as well as perceptual and cognitive steps, leads to artistic ones, and we seek to answer the question of whether all the values of Mannerist`s works can be found in one which Summarized artificial and they make lead to the deviation from Renaissance`s classicism? Are Arcimboldo's works, as they seem at first glance, ornamental works? Giuseppe Arcimboldo created the most artificial Mannerist works in the 16th century. His works are a combination of fruits, foods, fishes, infants, books and roots, and tree trunks. Their contemporary audiences recognized the famous Protestant reformer also, a familiar librarian, cook, gardener, and even Rudolf II in the form of Vertomenus, in Roman mythology. These are the images created to test how humans perceive and how the recognition is happening. The artist has worked in the courts of Vienna and Prague for twenty-five years, so he is a court portrait painter who has painted others in this way with the ability to accurately and intricately identify inanimate objects and nature to show their personality. The faces in his works are not only beautiful and he has also used unattractive creatures or elements so that the figures which he has created have their infections, one (the gardener), has a very big nose, one (Cook) has a very flat face and the other (winter) is a bit badly composed. In addition, the artist has used his imagination to a great extent and has used surrealist methods to combine simple objects and things to allude to deeper meaning. In such a way he has created a metaphorical and meaningful whole from the proximity of insignificant objects. Another point that draws attention to Gestalt principles is that he transformed individuals and their personalities such as gardeners, cooks, lawyers, and librarians into what they produce or deal with. Perhaps in this way, one realizes the alienation of the producer during the production of the product.This study suggested the formation of aesthetics and its intertwining with psychology until their separation from each other and thus the inclusion of psychology as an approach to aesthetics. After explaining the psychology of perception and the role of Gestalt in it, the results of the study of Archimboldo show that he made an effort to elevate himself from an ordinary painter to an excellent and creative painter. He preconsciously used the visual principles of organization as well as the Gestalt principles of perception. In Archimbold's works, most of the portraits are in the center and there is a self-made decorative frame inside the frames, in this sense, they are accompanied by Renaissance paintings, but there is no effort to apply perspective due to their necessity. Also, the colors are closer to real things and the details of things in the world. In these works, there is no dominant color area to focus on, but the dark background color affects the light of the colors and reduces their intensity and their shining. Gestalt is one aspect of the story, the other aspect is the principles that dominate the process of visual perception. Therefore, the process and direction of perception and recognition of things in these works are very important. This process should be done simultaneously without pausing and focusing on the constituent elements of the general boards. After that, the audience can pay attention to the details of creatures, plants, trees, flowers, fruits, animals, etc. What this artist found can be seen differently in the works of Escher, Matisse, and Dali. The artist has created a meaningful whole from the proximity of small and insignificant objects. Perhaps it is because of this closeness and accompaniment or the composition of the whole we can understand the metaphorical aspect of the surrealist figures of his works. In his works, the aesthetics of food, flowers, and plants are also at the center of the painter's attention and many artists still imitate him. He was a court portrait painter who painted others with the ability to accurately and intricately identify inanimate objects and nature by moving in the path of physiognomy. In addition to the principles of Gestalt, he also used the main idea of caricature or cartoon, so that due to his prominent personality, familiar people were known and recognized by his contemporaries. Looking at the faces, we realize that they are not just beautiful in some works. Therefore, the aesthetics of ugliness is another emphasis of his artistic measures.Another point that draws attention while drawing out Gestalt principles is that he transforms the individuals and characters into what they produce or deal with in some paintings. In this regard, he pays attention to the alienation of the producer during the production of his product or work. Gestalt principles, in addition to the holistic view, lead to harmony, balance, symmetry, and closure, which have been associated with the laws of visual perception concerning beauty in the classical sources since ancient Greece. This perception of beauty has occurred in some of the works of this artist. With this two-aspects approach, it can be said that in Archimboldo's works, conscious perception of the form as a whole is effective. Through the principles of Gestalt, the perception of beauty related to form sometimes occurs and realizes the beauty of still lifes, the beauty of nature itself in flowers, plants, and animals, the aesthetics of ugliness, and the aesthetics of “the everyday life” and his works to some extend, show the tendency to physiognomy. Despite his deviation, he succeeds in invoking different aesthetic styles, schools, and genres of art history. Finally, it is necessary to point out that all these results stem from an analysis of the process of formation of these paintings according to the gestalt principles. The artist according to these Gestalt principles could pass the skills in the perspective and visual illusion in drawing flesh, and skin and apply the tromp l'oeil to struggle with the audience's visual perception. Although this study does not fully attempt to evaluate how the Gestalt principles were applied to Arcimboldo’s works, it can say that the artist could have worked more creatively on the principle of ground and figure. Everything in them has been calculated and carefully selected. The relationships of the elements, components, objects, animals, plants, and flowers have been used with great delicacy and it has replaced the acumen of performing scientific perspective and the delicacy of performing human flesh. Hence, there are no opportunities for coincidence in his artistic action.

"Rhetoric" is the virtual use of sentences to create secondary meanings. In children's books, the image is one of the most important grammatical tools of sentences. Conversely, sentences also change the meaning of images. According to Roland Barthes, written text affects visual text, and vice versa. The purpose of this study is to investigate how text and image interact from a narrative and semantic perspective. The present article seeks to answer three questions about children's literary-visual texts, especially in illustrated stories: To what subdivisions are the five semantic relations of the image with the text (listed by Scott and Nikolajeva)  divided? How does typography anchor their content? Morphologically, what interactions can there be between two texts based on image code? The rhetorical function of the image in picture books can be classified from two perspectives: one from the semantic perspective and the other from the narrative perspective. In this paper, first, from the semantic point of view, the types of interactions between the image and the written text, inspired by the Scott-Nikolajeva division, are introduced and also divided into smaller subsections; then, the rhetorical function of typography and the rhetorical function of pictography (an image formed like a line-drawing of letters) in children's narrative texts are examined, and finally, in the final section, the actions of the pictorial subtexts on each other are classified.  The required data for this paper was gathered through library research method. The purposive sampling was used to select the samples. The research method is descriptive analysis, and its field of study is children's stories. Since the art of illustration is an integral element of children's texts and that the most objective language for the preoperative child is the image, the need for interdisciplinary views of the image and visual literacy is felt. To date, the author has not observed the morphological classification of image functions, which is introduced in this article, in a similar study (both internal and external). Also, for the first time in Iran, this study examines the relationship between image interaction and image, as well as the relationship between typography and text.  Golden (1990) offers five categories for text-image interaction: 1. Text and image are symmetrical; 2. The clarity of the text depends on the image; 3. The image is the expander of the text; 4. There is a semantic burden on the text; 5. The main burden is on the image Nikolajeva and Scott did not consider the Golden classification to be comprehensive and proposed a fivefold classification: symmetrical, complementary, enhancing, counterpointing, and contradictory. This study first tries to open the mentioned five semantic relations by giving examples and shows that these five semantic interactions can be considered on a continuum that starts from the complete harmony of the image with the text (symmetry relationship) and tends to intensify inconsistencies and create gaps between text and image; the other end of the continuum ends in complete inconsistency (contradictory relationship). This study shows that "contradictory interaction" is based on the contradiction between image narrative and written narrative and has a high frequency in humorous and ironic texts. Morphologically, it can be divided into two categories: scattered contradiction and anecdote contradiction. "Scattered Contradiction" can also be used in two forms, "regular" and "irregular". In the scattered pattern, there is a contradiction between the image and the text throughout the text. This scattering can have a regular pattern or no specific pattern. For example, if in all episodes of the text, the contrast of the text with the image is repeated, the contradiction will be "regular scattered". Unlike "scattered contradiction", in the "anecdote contradiction" pattern, a contradiction occurs in the narrative ending between the written text and the visual text. Typography can be used in two contexts: in the context of text, in the context of image. Playing with typefaces that are printed is called typography, and playing with typefaces that are handwritten is called hand-lettering. Whether the wording is printed or handwritten, it creates a different semantic interaction in the narrative. If the text code is placed in an image context (not just an anchor on the image), it is called "image writing" or "word image". For example, in the "Vāv" (Zanjanbar, 2022), a picture of a cow's head is drawn with the word "cow". An Image-based text is an image centered on an image (whether or not text is anchored to that image). One of the results of the study is the introduction of image narrative functions (Syntagmatic interaction, Nesting, Substitution, Parallelism, Paratextuality). Syntagmatic interaction is of two types: time-oriented and space-oriented. In Time-Centered Companionship, images along time form a narrative.  Images in collage, logo-collage, episodic segmentation based on place-orientation. In "Substitution Interaction", an image text replaces the old image and can narrate different functions such as "animation function" and "metamorphosis function". In the "substitution interaction" pattern, part of the image changes and part remains the same. In preschool age group picture books, with the help of creative book-making, graphic, and drawing tricks, it is possible to magically suddenly turn one image into another (play with images). In fact, the new image is replaced by removing part of the old image. Substitution interaction can narrate different functions such as "animation function" and "metamorphosis function". The animation technique can be seen in the two-volume science-fiction series "Ricky Ricotta's Mighty Robot Adventures" by Pilkey (2020). Mosquito wants to destroy the planet by capturing mutant mosquitoes, but Ricky fights him with the help of his robot. The book depicts the exciting scenes of their confrontation with animation. Before animation, the reader is instructed on how to place the hand on the page of the book and how to hold the sheet containing the image and shake it. The two pictures (which are slightly different) are on two consecutive pages of the book (i.e. on two pages with consecutive odd numbers). By holding and shaking the first sheet, the child creates an interaction between the two images and achieves a synthesis called animation. In this animation, the robot appears to have killed the monster and is shaking its arms triumphantly like a gladiator over its corpse. "Metamorphic substitution" can be manifested in the form of "single frame" or "multi frame". The pattern of "metamorphic substitution at the multi-frame level is one of Ali Khodaei's favorite tricks. In "The Same and the Same" by Khodaei (2016), the every other pages of the book are cut in the middle and parallel to the width of the book. That means half the page can be flipped. When half a page is flipped; the images change their nature, for example, what is seen as a mane in the image of the roaring lion, turns into hedgehog blades with a half leaf. Transformations that occur at the single-frame level; they are usually based on the "image ambiguity" array. "Nested interaction" consists of two image-based texts, each inside the other, and the semantic gaps are filled by these nested images (along with their text anchors). In "parallel interaction" the same interaction occurs for two visual texts that narrate two narratives in parallel. Contextual elements such as "material texture, how paper is cut on each page, or die-cutting on the cover" can play the role of catalyst and mediator in spatial-oriented accompaniments to create a narrative function.

Afsharid and Zand arts have long been neglected as the artistic achievements of the Safavids and the Qajar in Iran have been under the spotlight. As the currency for business transactions among nations, coins can be studied from a cultural and artistic perspective in addition to their economic dimension. As the time passes, coins, banknotes, and other tools for transactions have gained a function beyond their initial purpose and as documents, they contain valuable information. Preliminary studies showed the difference in the shape and content of legends, framing and patterns of coins minted during the reigns of Nader Shah Afshar and Karim Khan Zand in Iran. Accordingly, this comparative study aimed to examine the inscription, framing and patterns of coins minted during the Afsharid and Zand periods and analyze the roots of their differences. The central question was raised as follows: What were the influential elements in the formation of the legends on coins during the reigns of Nader Shah Afshar and Karim Khan Zand? In this regard, the main purpose of the study was understanding the similarities and differences of the coins in their inscriptions, framing and patterns. There is a lacuna of research on the works remaining from some historical eras although they are temporally closer to the contemporary era. As artistic texts, coins can be read within different discourses. There is an evident change in the legends, framing and patterns of coins minted during Afsharid and Zand periods in Iran. In addition to providing a social study through analysis of coins, the significance of this study lies in expanding the specialized knowledge in the neglected artistic fields of 17th century AD/12th century AH in Iran. Therefore, the analysis of legends, framing and patterns during the Naderi and Zand eras can fill this research gap. It seems that various socio-cultural aspects of the Afsharid and Zand eras were reflected in the various dimensions of the coins minted by the shahs at the time.This qualitative descriptive-analytical study was conducted through library research and observing the coins remaining from the reigns of Nader Shah Afshar and Karim Khan Zand. The writing system (legends) and the visual system (framing and patterns) were examined and the coins were studied comparatively to find the similarities and differences of the samples. The data were collected through library research and the studied samples were selected through convenience sampling. Through non-probability sampling and according to the components of the study (legends, framing, and patterns), a total of 10 coins were selected from the coins minted in Isfahan, Shiraz, Tabriz, Mazandaran, and Qazvin, Iran. The collected index cards were reliable instruments for this study.The comparative study of the legends on the coins minted during the reigns of Nader Shah Afshar and Karim Khan Zand indicated considerable differences in the writing systems of the eras. Given Iran-India relations during the reign of Nader Shah Afshar and his military campaign reaching to the border of India, Iran’s art was influenced by Indian art and culture at that time. However, Karim Khan Zand was much more influenced by ancient Persian arts, Safavid art and even the actions of temporary rulers before him in the field of coinage than the artistic and cultural models of the Naderi era.  It seems that Nader Shah Afshar and Karim Khan Zand saw coins as tools to propagate religious rites and political beliefs. It is interesting to note the variety and development of rites in Naderi coins during his twelve-year reign. Only in the limited studied coins in five mints of Isfahan, Shiraz, Tabriz, Qazvin and Mazandaran during the Naderi era, the legends were selected variously as in the following.“Sekkeh bar zar kard nām-e saltanat-rā dar jahan/Nader-e Iran zamin o Khosrow-e giti-setan” [The Nader of the land of Iran, the sultan who seizes the world, coin in precious metal broadcast the name of this sultanate throughout the world].“Hast soltan bar salatin-e jahan / Shah-e shahan, Nader-e sahibqiran” [He is the ruler over all the rulers of the world/Nader, the king of the kings, the owner of the Qiran].“Az Khorasan sekkeh bar zar shod be toufiq-e khoda/Nosrat emdad-e shah-e din Ali-Musa Reza” [The coin was struck in Khorasan with blessing of God/With help from the king of religion Ali ibn Musa al-Reza (al-Rida)].On the contrary, only a single legend was inscribed on the similar coins during the reign of Karim Khan Zand: “Shod aftab o mah zar o sim dar jahan/az sekke-ye emam bar haqq saheb zaman” [Of the coin of Imam Zaman /Sun and the moon became gold and silver]. Selection of such a legend on Karim Khan coins is rooted in his policy. Karim Khan outwardly kept his links with Ismail III, the last of the Safavids, and the ulema. To gain the political legitimacy he needed to continue his rule, he assumed the title “Wakil-al Raʿāyā” [deputy of the people] and minted coins with the name of the twelfth Shia Imam, Muhammad al-Mahdi (Ṣāhib az-Zamān). In this way, he received the support of the clerics and the ulema to gain legitimacy. Karim Khan tried to continue the discourse of Mahdism propounded during Safavid era. His selected legend on the coins led them to be known as “Ṣāhib az-Zamān” coins. Adherence to this legend could indicate the universality and rootedness of the belief and discourse of Mahdism during the Zand era. Such an approach may have been for the revival of Mahdism, which is one of the initial principles in the formation of the Safavid government, or the need for the support of a savior after the hardships and sufferings the Iranian society went through following the fall of the Safavids. Although these causes may seem correct, lack of social, religious, and political base of the Zands within the Iranian society and Karim Khan’s attempt to gain the trust of the ulema and clerics account for him using the “Ṣāhib az-Zamān” legends on coins.The comparative study of the writing system of coins during the reigns of Nader Shah and Karim Khan showed that the legends had more variety during the Afsharid peiod. The forming principle of inscriptions on Naderi coins were representing Iranianism, displaying power, and endeavoring to eliminate Shia conflicts. However, Karim Khan sought to continue the tradition of legend selection similar to the past rulers, particularly the Safavids.The framing as the overall structure and form of Afsharid coins minted in five mints under study can be categorized into three groups including “pearl-shaped”, ‘simple circle”, and “Tughra”. On the other hand, the framing had more variety in the coins of Karim Khan’s era for which seven types were identified: “Stigma-shaped”, “pearl-shaped”, “simple pomegranate flower”, “four-armed”, “crescent-shaped pomegranate flower”, “citron-shaped with stigma”, and “epigraphic”.The patterns of the coins from both periods were pretty much similar and had no substantial difference. However, the decorations and patterning of Karim Khan coins were greater in number compared with Naderi coins. Two types of patterns, namely connected and broken, were identified in terms of the connectedness of the patterns, and in the studied coins, there were only floral and geometrical patterns. Floral patterns, particularly simple round flowers (seven-, six-, five-, four-, and three-petal flowers) and geometrical patterns such as simple small circles were the most frequent patterns observed on the coins of both periods. Arabesque pattern was observed only on a Karim Khan coin minted in Shiraz. The comparative study of the coins revealed greater variety in the legends of Naderi era coins compared with those of Karim Khan era. A single legend or maximum two types of legends were identified for the Zand period. Framing had more variety in Karim Khan coins. The coins from both periods were most similar in their patterns. The only difference was that connected and highly-decorated patterns were found more on the coins from Karim Khan’s reign. Overall, simple round flowers in floral patterns and simple small circles in geometrical patterns were the most frequent patterns found on the studied coins.

Iranian handwoven carpet is a phenomenon that carries the history, culture, tradition and civilization of Iran. But one of the less addressed issues is the women in the field of handwoven carpets. Since handwoven carpets have always been intertwined with women's lives, the main issue of research is to identify the female discourse in handwoven carpets and to articulate the effective elements of this discourse in Qajar and Pahlavi eras in Iran. Since handwoven carpet has always been considered masculine and women have not been looked at, more deeply than in the role of the weaver or the subject of the image in the pictorial carpets that were part of the productions of these two periods, this article tries to drag out the importance of the women's role in Iranian patriarchal society of those days.  In this study, based on Foucault's theories, a set of propositions producing knowledge in the field of women and carpet weaving in the Qajar and Pahlavi eras have been studied. However, Foucault had not clearly explained how the research must be conducted following the discourse, and it is difficult to find an easy guide to implement  in social research inspired by his work. Foucault uses archeology and genealogy in two major stages of his methodology. In archeology, Foucault focuses on the inner dimension of discourse and shows no interest in examining non-discourse elements. So, The present study emphasizes the method of Foucault's archeology and does not include genealogy as one of its components. The present study deals with the prevailing conditions in the Qajar and Pahlavi eras, especially in relation to the situation of women. According to Foucault's theory, in each period of epochs, a special discourse governs the behavior and actions of people and is accompanied by a series of discourse strategies that are inextricably linked with language and with the collapse of any system. Therefore, women in relation to handmade carpets in the two periods of Qajar and Pahlavi have been discussed and some power relations have been mentioned as well. In this regard, women have been analyzed in relation to handwoven carpets from three perspectives: 1) subjective; 2) objective and 3) the subject of the work. Also, an attempt has been made to discover the relationships of elements related to women and how to create meaning and discourse in the carpet. Also, the purpose of this study is to answer the following question: What was the position of women in Iranian handmade carpets during the Qajar and Pahlavi eras? The research method is qualitative and in terms of method of implementation is descriptive-analytical-historical. To study and understand past events, look at the causes, effects or trends of past events that helps to clarify current events and predict the future ones, Michel Foucault's archeology theory has been used as a theoretical framework and also as the conceptual model of the research to analyze the data and to respond to the problems. Considering the latter triad in Foucault's discourse analysis, the Iranian hand-woven carpet in the Qajar and Pahlavi eras has been studied from three perspectives. That is, women have been given subjective, objective, and conceptual situations in the handmade carpets of these two periods in order to recognize the dominant discourse of these two periods.Finally, a final assessment of the discourse position of handmade carpets in the two mentioned periods in Iran is obtained. Rival discourse sources in the construction of femininity in this period can be considered as written sources obtained from that period. Because these sources, which are at the same time expressive of the ruling discourse of this period, also express the demands of society, especially women. Because the identity that refers to women in modern times is not an absolute concept, but it is completely relative, which is realized in the historical process and within a certain cultural, traditional and social context, and is strongly dependent on the components and factors of its constituent context. The constituents of the context and their internal relations with each other are also involved in the process of application and construction of female identity. Accordingly, we will be confronted with different kinds of female beings and identities, and it is not possible to judge and define the conceptual nature of it. Therefore, woman is placed in different situations in relation to the handwoven carpet, then studied in the historical context of the period in order to understand the dominant discourse and at the same time, to recognize the power relations. In order to better understand and include discourse analysis based on the archaeological approach, it is necessary to explore the propositions confirming the phenomenon under study, to recognize power relations, and to identify competing discourses. Then to understand the current discourse of that phenomenon.  In historical and sociological analyzes, most women have been ignored and a distorted image of them has been obtained because they have always been on the margins of analysis and research. This is not just because of the exclusion of women from research examples, but also as a result of the systematic prejudices and inefficiencies that exist in common male-centered contexts. Even in the examples that include women in research categories, it is from a perspective that considers men as a common standard. Women are related to all aspects of Iranian handwoven carpets in the historical period under study, and according to the documents collected. Relying on the discourse method of Michel Foucault and adopting a triple response method in archeology, the propositions related to Iranian handmade carpets in the Qajar and Pahlavi periods were examined. Propositions whose function is revealed by dealing with historical narratives. Until the answer to the main question was found, which is looking for the place of women in Iranian handmade carpets. The richness of historical material and documents related to the daily events of men compared to women in history is so high and even the smallest daily activities of men have been recorded in the history. But women, as the half of the population, enjoy less of the richness of written documents, and the  recorded history for them is often an oral history. The main purpose of this article is to take women out of the historical isolation of that time and to identify their activities and to record propositions and elements in writing and to include them in the realm of discourse to recite  the forgotten identity of women living in the patriarchal society of that era. An identity that is not inherent in nature and has always been introduced to others by her male relatives. Also, the expression of propositions that may be considered more accurately and in detail in future research. The meaning of each of these propositions may not be important, but how they are combined and united is important. In order to answer the research question, which was to find the position of women in the field of handmade carpets in the two mentioned periods, by granting three special positions to women in relation to handmade carpets, women's footprints were observed in all related aspects of handmade carpets. Although discourse theories are always subject to change and transformation and unstable; However, according to the studied data, the role of women in economic, cultural discourses, tastes and representations of handmade carpets and looking at all its dimensions, from the stages of spinning wool and silk to the stages of production, ownership circle and even its designs in In both Pahlavi and Qajar periods, it can be said that the element of femininity has always been alive and well in the field of Iranian handwoven carpets. Therefore,  the position of women in the context  of Iranian handwoven carpets in this period cannot be denied.

The process of artistic work creation is an experience that leads to human growth and awareness and thus can be considered as a bridge between internal and external experiences of a person who has a therapeutic basis. Art and its connection with the mandala can serve as a bridge of communication with the inner person and help the person through its relaxing state. The mandala can calm the emotions and therefore helps the person to express him/herself deeply and because it is inherently healing, it can be a good medium for communicate with the inside of the person and his/her suppressed feelings, emotions, excitement and repair and to tackle any interfering and vicious cause.   The aim of the present article is to compile an expressive art therapy package based on the mandala pattern and to achieve that, it uses the exploratory research method and approach of expressive art therapy, and uses different types of art, that has been used in this article for reducing loneliness feeling.    Expressive art therapy has been linked to the traditions and cultural precedents of world healing practices because they frequently involve the integration of all the arts. Expressive therapy has been defined as using the arts and their products to foster awareness, encourage emotional growth and to enhance relationships with others through access to imagination; including arts as therapy, arts psychotherapy, and the use of arts for traditional healing; and emphasizing the interrelatedness of the arts in therapy.   About how to compile this package it should be said that first, after examining the consequences of feeling loneliness, fear, sadness, anger, depression, having experience of anxiety and stress, etc. it has been tried to combine the therapeutic feature of art and the adopted art therapy method using expressive art therapy, that used of various art forms such as painting, collage, pottery, music, etc. The implementation of this package in the form of mandala pattern with expressive art therapy approach (which is based on imagination and creativity) was considered to improve the above (loneliness feeling) consequences.   The therapeutic property of the mandala was used as a symbol of self to provide a basis for projecting unconscious mechanisms in symbolic relationships and balance of personality and concentration for the individual. Mandala, which is the best tool for concentration, meditation and mindfulness, as a therapeutic tool can provide insight and awareness, like dream analysis; it also shows the order that so-called imposes itself on psychological chaos. Because in mandala, a person has the opportunity to be creative and can use all of his/her personality and discover him/herself. Finally, mandala causes concentration and relief from stress and anxiety, emptying and refining the mind and calming the person, and helps to empty the mind and its projection, as well as the connection between the unconscious and the conscious in people and with these features, its application in the mentioned package can help the factors and negative consequences of loneliness feeling. In each program, an attempt was made to consider art programs with a variety of types, with the aim of improving the feeling of loneliness and in line with the therapeutic properties of mandala in order to eliminate one of the consequences of loneliness feeling and to be integrated and arranged with the method and approach of art therapy. Finally, with using and combining therapeutic nature of mandala patterns and expressive art therapy, for reducing loneliness feeling, 14 diverse art therapy plans (any plan in one session) was compiled.  As a result, the answer to the research question on how to compile this treatment package and its description will be determined, and to clarify it, three of the schedules will be described:  For example, the plan of the second session, that was called “My Inner World” and its aim was “mental projection”, which has been compiled based on: First, drawing in circle form; because, an important feature of the mandala is helping to empty and project the mind and it is effective in overcoming stress and anxiety (which is a consequence of loneliness feeling). Secondly, due to the simultaneous use of several types of art in the expressive art therapy method, painting in the form of Doodle Art style was used. Because in addition to the expressive and projective nature of color in the release the emotions, the art of doodling as an unconscious stimulus, can be effective in mental cohesion and inner concentration and can subconsciously integrate the scattered elements in the subconscious, which can cause mental fragmentation, with complementary movements on paper, and reduce the scattering of the art work and its internal stimuli and mental associations. This schedule was also done with the method of self-expression in the happy process of inner discovery based on creativity and imagination (which is characteristic of the expressive art therapy approach) and so the rest of the sessions were done in the same way.   The third session, entitled "Me and the Other", was compiled with the aim of increasing communication with the other, overcoming feelings of sadness and anger, and throwing internal issues out and creating self-awareness gained from internal dialogue, and was implemented through the artistic media of painting. In collage and the quilling art, members were first asked to draw a circle and then use their personal photos and magazine photos to think about their relationship and position with others.   The twelfth session was entitled "Creating A Group Mandala" which was created by group interaction programs jointly and improving relationships, creating peace and relief from anxiety and overcoming shyness and withdrawal. Painting media was used alone. Creating a group mandala required a large size of circle  that how to measure it and the layer-by-layer divisions of the inner circle of the mandala were done with the concurrence of the subjects themselves and to draw the mandala, they started from the central point of the mandala, the "Common Starting Point" to its end.   In this research, the person who creates and colors the mandala, talks to him/herself; it means that he/she has an inner discourse with him/her. Mandala coloring can subconsciously improve and regulate the inner discourse by creating awareness; therefore, at this stage, the person has become aware of him/herself of these discourses and gained a clear understanding of the positive and negative aspects of these inner discourses. As a result, the therapeutic properties of mandala can be effective in reducing the consequences of loneliness feeling. Expressive art therapy is also, due to the method of spontaneous self- expression and the variety of art models that can be used in this method and approach, provide different methods for individual expression that can reduce fear and low risk and extreme introversion (consequences of loneliness feeling).   The present study was only about how to compile a mandala-based art therapy package with an art therapy approach to improve the loneliness feeling.   For a case study, it was performed on an experimental group of 10 orphan female teenagers aged 12 to 18 years in Isfahan which according to the statistical results of the relevant test (LACA: Loneliness & Aloneness Scale for Children & Adolescents Questionnaire) before and after the sessions and compared with the control group showed that it has been effective.

Photography entered Iran in 1842, about 3 years after the official announcement of the invention of photography in the world. Although with a little delay, from around 1858, with the beginning of systematic photography training in the court, we can witness the brightness of photography among the aristocracy and the few rich class of the society, but it took many years for photography to enter the visual culture and people's lives. Various reasons have influenced the ups and downs of the development and popularization of photography in this era, but one of the most important of them was the arrival of photographic postcards in Iran. In order to better understand the unique position of Qajar era postcards in the process of democratization of photographic images in Iran, it is necessary to research the history of Qajar era social developments, photography and how it interacts with the events of the constitutionalism movement. This research tries to investigate the position of photographic postcards of the Qajar era by benefiting from the historical method and descriptive analytical approach and by applying the theory of social history. This article firstly describes the beginning of the arrival of postcards in Iran and then examines the types of postcards and their content, visual categories and the purpose of their production. Various cultural, economic, social and political factors and contexts have been effective on the position of photography at the beginning of its entry into Iranian society, and by examining them, we can better understand the question of why the passion and enthusiasm for photography and photographic postcards in the West never happened in Iran. What is of interest and consideration in the current research, is the influential role of postcards and the constitutional movement on this trend. The research problem is what role did illustrated postcards play in the development of photography and social awareness in Iran during the Qajar era, and what path did they follow in popularizing the culture of photography compared to the West? In a way, this article tries to examine the importance of photographic postcards in the process of publicizing the photographic image by examining the position of photographic postcards. In this way, identifying and analyzing the status of postcards and their fundamental role in filling the empty space in the Image display arena and public awareness media in this inflammatory era is one of the basic topics of the present research; because the assumptions of the research are that only by taking a contextual look at the history of photography media and its role in each society and comparing the approach of other societies, according to the situation and equations of each society, we can have a clearer view of how this phenomenon works and the hidden strain of the social life of every society. The local and time frame of the research is focused on the first "photographic" postcards from the time when photography entered Iran until the end of the Qajar rule. The statistical population includes all photographs and photographic postcards of this era, available in private or government (published) archives, books, magazines and reliable foreign and domestic websites. Based on the available findings, photographic postcards in this era are divided into 3 categories: Postcards with the subject of Constitutionalists: This group of postcards, which also play an important role in the current research, includes the largest number of photos remained from the constitutional era. Photos of armed or unarmed people gathering in sit-ins, single or four-person photos of fighters with weapons, photos of those killed in the revolution alone or with their comrades, photos of the dead soldiers of the government, the display of conquests and victories and finally the formation of National Consultative Assembly of Iran and its representatives and members, the display of the inaugurations of the celebrations related to the constitutional revolution, such as the year of the first and second celebration of the constitutionalism, as well as different photos decorated with engravings and collages, which contain a special message, are the subject of the photos in this category. Government postcards In general, the number of these postcards are significantly less than the postcards of the Constitutionalists, and this group can be divided into the following based on the subject: Photos of Qajar kings, especially Mohammad Ali Shah, who shows himself as an angry and strong ruler. Photos of the execution, torture and chaining of criminals and constitutionalist fighters with the aim of creating terror in the hearts of freedom fighters and their followers. Photos of officials, leaders and government officials of the Qajar government individually or together with group photos of soldiers. Photos of courtiers attending ceremonies and historical events. Decorative, popular and touristic postcards A part of decorative and touristic postcards in this era through printing photos of Nasser al-Din Shah's entertainments and travels, harem women, people's daily jobs and activities, architectures and historical buildings, cities and their landscapes, etc. have been formed. Also, part of these cases are the postcards that were sent by Iranians living outside of Iran to their relatives in Iran. In addition, decorative postcards with purely commercial purposes were also prepared and reproduced in Iran by photographers and manufacturers. Postcards in Iran entered the country at the same time as the political upheavals of the constitutional revolution. Although photography was introduced and used in the Qajar court about 60 years before the introduction of postcards to Iran, but until the end of Nasser al-Din Shah's rule and the beginning of the constitutional movement, it was the monopoly of the court and the wealthy class of society, and few of the common people were aware of the nature of photography. Weakness in the regular and up-to-date publication of newspapers and the limitation of printing photographic images in them, along with 95% of the country's population who were illiterate, caused photos and postcards to become a media and communication tool. To narrate and inform the events of the constitutional revolution to the society of the Qajar era. In this process, the photographic postcards of the constitutionalists have played a significant role in breaking the court's monopoly on photography and creating a deep transformation in the subjects, content and goals of photographs, as well as photographers and their audiences in Iranian society. Although photography in the early decades of its arrival in Iran was a luxury phenomenon and exclusive to the Qajar court, but later with the spread of postcards and the freedom fighters of the constitutional movement benefited from it as a platform for public display of the events and ideals of the revolution, photographs became a factor for political and social changes and developments. Postcards not only popularized photos and photography in Iran, but also by turning photos into a political, social and religious statement in the society, they gave them a value to be seen, to be exchanged and to be bought and sold, and the ability to become a visual symbol of freedom and victory.

In contemporary terms, the body was used as the object of art. The performances have a message and sometimes refer to sexuality and highlight the fact that the human body can be used as a canvas. Some used images of others on their bodies to integrate them with body art, such as Hannah Wilke, who used images of herself and her mother on her body. Performance art can be seen as the evolution of other arts such as cosplay, which were drawn from entertainment to creating a work of art. This depicted the presence of the audience in a space and its participation to examine various feelings and results. The performance art movement integrates elements of various arts through the body of the artist. This research points to the investigation of the effect of each of the elements of performance art in the types of mixed arts in Abramović's works. The art of performance, which is called live art in some Anglo-Saxon countries, is branched from the visual arts, but while it is close to the show, it is very different from it in nature. Being alive, real and in the moment and emphasizing the use of the performer's body as artistic material is one of the main features of performance art. The art of performance started from visual arts and painting. After some time, this group of artists came to the conclusion that their art has become commercial and is only bought and sold by merchants. To prevent this, they proposed body drawing as a solution, in such a way that she began to roll on the white surface with her body, to which music was added over time. Over time, the art of performance opened a path for itself and found its fans. This art contains many other arts in its heart, which has caused the emergence of special features for it, but the effect of each of these features on the performance art itself is different. This research aims to extract each of the features and specify each of them in Abramović's works answer the question of what is the most effective contributing factor for each of these features in Abramović's works.The research method in this research is a combination of qualitative and quantitative nested type, which is chosen in the qualitative stage of selecting Abramović's performances by means of Delphi, a future study with three phases (brainstorming, limitation, selection). Their weight is calculated for each of the works and selected works are selected as the examined sample. Sampling at this stage is based on a purposeful and preference system. After selecting Abramović's performances, the quantitative stage begins. In this stage, a questionnaire with a Likert scale is compiled and distributed to each of Abramović's works. The sample size is 384 informants who were selected from a society with the criterion of entering the research and according to the upper limit of Morgan's table. The results are analyzed in JMP software by means of descriptive and inferential statistics. The results are presented in the form of comparison. Validity is calculated with CVR=0.76 and reliability with Cronbach's alpha (0.78).The research findings include two parts: qualitative and quantitative findings. In the qualitative findings, the expert panel is requested to first study the features extracted in the theoretical bases and to clarify the types of performance art works of Marina Abramović. Give a score of 1 to 10 according to each of these features and the ability to check. In the next stage, the experts were dealt with as a separate panel and they were asked to rank the works selected by each panel. Experts are asked to rate the works on their board's editing lists; Average rank is calculated for each item. In each list, evaluation is done using W Kendall and this continues until they reach an agreement and some of the variables of the first round are removed.In the quantitative findings, the coefficient of determination of each of the characteristics in relation to each of Abramović's works is done separately to determine the range of the variables. The highest concordance of answers and the lowest amount of range after the narration of the performer and improvisation belong to the focus on confusion, and the lowest concordance of answers and the highest range are found in the feature of stillness.According to the results specified in this research, it was found that the various features of performance art have high coefficients and the majority of features have appeared in different ways in her works, but the use of stillness in her works has been different. Sometimes as a determining role and sometimes as a secondary factor in Abramović's works; but according to the obtained results, the majority of the respondents consider the characteristics of the works to be the narration of the performer and improvisation. In general, according to the obtained results, it can be understood that the coefficients of the characteristics are higher in the performances where the audience has a greater determining role, and the more the audience and sensory involvement, the more the effects of higher coefficients are noted.The uniqueness of Abramović's performance can be seen in challenging the audience. She considers the audience to be the main pillar of performance art, so that this art gets its meaning through the performer and the audience. These two important things cannot be separated, like the subject and the object in other works, they are directly next to each other and are a reason to define each other, and the art of performing art is a synthesis based on the art of the body, which in order to preserve its nature needs to include features that every artist shows some of them more in their work. Marina Abramović observes all the features in her works with high coefficients, but she considered the most obvious feature of her works to be improvisation, an art that appears specific and appropriate to the time and can respond to the present and the times. It is a performance and news innovation attracts the audience and arouses the maximum attention of the viewer as if it has distinguished him from the world. also, her own narration in her works plays a decisive role in creating her unique art. She breaks the boundaries of time and space with her body and from it. In her view, the body has the highest potential to attract the audience because the audience feels that nothing is represented and that everything is real and emerges in time. In domestic arts, the mentioned features can be used for the success of local arts in the form of performance art and try to increase the coefficients of these features in a special way.

In today's world, with the fast development of technology, ease of access to works of art, cultural pluralism, and the emergence of new styles and schools, it seems that the previous standards and definitions of art have lost their effectiveness. Moreover, the field of art is changing every moment while its scope is expanding. On the other hand, the distinction between works of art and everyday objects, due to the use of non-artistic objects by artists in creating their works, requires a review of the standards and definitions of art. Therefore, it seems necessary to find a way to reject or accept these works as a work of art. George Dickie (1926-2020), a philosopher and art theorist, defined the work of art by presenting and compiling the institutional theory in order to be able to keep up with the aforementioned changes in contemporary art. On the other hand, in the field of contemporary art, works created by imitating precedents may classify as adapted or illegal reproduced copies. The works have been the subject of many critical and analytical debates regarding their authenticity and have raised many disagreements among theorists, historians, and art critics. Regarding the authenticity of adapted works with concepts and ideas behind them, less might be doubted. Still, the dispute on authentication of reproductions such as kitsch, pastiche, high copy and restored works of art can hardly be settled. Evaluating art reproduction and determining its authenticity then requires a model based on which the meaning of art and its representations can be determined, especially in the contemporary period. "Institutional Theory" as one of the most prominent and recent theories for valuing art can be among the best options for appointing the mentioned model. Although it has been criticized by a number of philosophers and some theorists labeled it elitism in art; Dickie, over the years, has always tried to fix these flaws by developing "Institutional Theory". Dickie calls the three initial formulations of "Institutional Theory", "the first narrative of institutional theory" which was introduced between 1969 and 1974. He calls the fourth formulation, "the next narrative of institutional theory." The followings, which are the main and final components of the "Institutional Theory" of art, were presented by Dickie:1- An artist means a person who participates with understanding in the making of a work of art. 2- A work of art is an artifact of a kind created to be presented to an art world public. 3- A public is a set of persons the members of which are prepared in some degree to understand an object which is presented to them. 4- The art world is the totality of all art world systems. 5- An art world system is a framework for the presenting of a work of art by an artist to an art world public. This article aims to categorize the types of art reproductions and verify the authenticity of each based on the five main components of the institutional theory. In this process, the extensive literature is reviewed with a descriptive-analytical research method. This study thus seeks to answer the question that which of the types of art reproductions might be original in a sense to be considered works of art in accordance with the main components of the institutional theory. In order to achieve the results of this qualitative study, first the reproduction works were classified into different types such as forgeries, high copies, kitsch, as well as replicas for the purposes of education, restoration and reproduction. After examining each type, the following results were obtained based on the components of "Institutional Theory". The most important reason that may reject art reproductions with the purpose of "re-producing" from the institutional theory standpoint is that the artist's "understanding" of their production was not to create a work of art, and the artist knows that he deals to reproduce someone else's work. However, today, by over aging or for the fame of their creators, some of the old art replicas are labeled and stored at museums or art institutions, therefore, have gained material and spiritual values. According to the conditions mentioned in the institutional theory, such works are exceptions and can be considered works of art. In the "replica works for the purpose of education", because the "artist's understanding" of what he does is just learning, they cannot be considered works of art. In addition, these works do not have an audience from the "art world". However, amongst there are few works that, like the previous case, have made their way to galleries and museums with aging, and perhaps not considering such exceptions in "institutional theory" can be considered a weakness for this view. In the case of the "replica with the purpose of restoration", because the "understanding" of the restorer is only to preserve and maintain the original work, it is not considered art from the "institutional theory" point of view. In the "replica for the purpose of glorification", the condition of "being an artifact of a kind" is met, but the "artist's understanding" of what he does is outside the scope of creating an original work of art; although the purpose of this work is to present that work to the "art world." In market art replicas, despite being an artifact of a kind, the artist does not intend to produce a work of art, and the public is not from the art world and has no understanding of the art world. If they have a possible understanding of art, they know that the works are just copies. Therefore, such works are not considered authentic in the framework of institutional theory. "Kitsch" works, except for the condition of being an artifact of a kind, do not per se include any of the theoretical and institutional conditions and are not considered original works of art; but a type of "kitsch", called "sweet kitsch" and also the works created in the field of "pop art" due to the existence of conditions such as being an artifact, "artist's understanding" of what he does (such as creating an arrangement, framing or presentation) is to present original works to the "art world public” In "high copy" works, we are faced with the coercion of artists in performance, and as mentioned earlier, performance techniques in arts cannot be faked. Also, the result of this work is an artifact. Therefore, if the artist's understanding is to create a work of art to present to the art world, it can be accepted as an authentic work of art. "Pasteish"s belong to this type that, despite being similar to the original work, is considered a new work of art with an excellent performance technique. Fake works are not considered works of art due to not having all the conditions of "institutional theory" except being an artifact of a kind. Finally, the findings of this article, in order to answer the main research question, reveal that among reproductions, only the works that are placed in the kitsch, Artist’s Self Copies, pop art and pastiche groups might be considered works of art. The rest, according to institutional theory is rejected except for some exceptions mentioned.