مجله مبانی نظری هنرهای تجسمی
سال هشتم شماره 1 (پیاپی 15، بهار و تابستان 1402)

The ritual ceremony of Cheleh Havin has a historical background and is related to the Zardui village, one of the environs of Kermanshah Province. This ritual is held every year in Mordad (beginning in July and ending in August) and on the longest day of summer. The celebration of Cheleh Havin (Summer's 40th days on) is held for four days from the end of fourteenth day of the summer. This ceremony is being meaningful with the presence of activists. The ceremony always emphasizes and relies on a part of the past and creates the present presence of people according to the connection and disconnection with this past. The important part of this ceremony is made up of people and farmers and the purpose of holding it during the action to change the time of paying the annual tribute and giving thanks for the harvest is to create a mind-oriented process for the transition from a habitual body society to an unrested and idealistic system, also, it is an action against the rulers of the time and against everyday life and an attempt to produce a social and ideal-oriented process. In fact, activists display their awakening, and this awakening is a metaphor that takes them away from rationality and makes a mythical and idealistic process by passing through negative and positive functions and daily dos and don'ts. The official situation is the product of human experience and class history, and the carnival situation is the product of reaction to the official situation and at its opposite point. Ridicule and mockery in opposition to seriousness, giving importance to the individual in opposition to the domination of the church, etc., mocking the formality and its values, connecting death with life, giving importance to plurality and polyphony are among these oppositions. The age of celebrations is the same as the collective life of people, and the celebration is a cognate of the rituals and mythological beliefs of ancient times. Despite the fact that the identity and reason for the existence of carnival or celebrations, especially in the recent era, has undergone many changes, but the common spirit binds them together; which is on the one hand, the product of the desire for a collective and common life of humans, and on the other hand, it is the importance of the body-pleasure and the creation of happiness.From Bakhtin's point of view, carnival gives more importance to life and its physical and material dimensions and to joy, relationship and pleasures, and although the participants in a celebration and carnival know each other in advance, in the text it is joy and happiness, which is more comfortable and unharmed. They are connected with each other. Bakhtin considers carnival to be the most obvious manifestation of popular culture and considers the most important achievement of carnival to cheer and not being taken seriously.Although the background and main thought of this ceremony is in highlighting the concept of happiness and laughter and making fun of the existing situation, and on the other hand, from the utopian view-like the utopia that Plato also refers to- people are being placed next to each other in equality, freedom and same power, regardless of their social status, age, and gender difference.But in that collective voices, the voice of inferior people can be heard as a single voice. This movement from "me" to "us" and from "body-habit" to "unrested body" and towards collective ideals, the actor always judges and evaluates himself based on the time he is in. Activists abandon their daily life and use the process of carnival and celebration in order to reach their goal through a kind of metamorphosis. This transformation takes place in three stages: 1- Being broke from everyday life and body habit system. 2- Appealing to the system of unrested and being another person. 3- Combination with music and foot stomping to create an ideal function. Which means, at the first step, the participants stop repeating their daily routines and body habits which can be called an inner chaos ceremony. A chaos that restores the presence of the activist in a metaphorical way and finally, by means of gestures, prosthetics, new clothing, scarecrows, movements and removing gender, social, age, class contrasts, etc. which leads to an ideal presence and manifests itself and which is different from the everyday body. In this article, we try to provide a semiotic-semantic analysis of this ceremony by emphasizing Bakhtin's carnival theory.The atmosphere of the ritual ceremony has been opened by relying on the format of the discourse, and this conscious facet of the discourse has paved the way for the symbolic-semantic analysis of this ceremony. Discourse is a thoughtful, intentional and conscious action. Ritual ceremonies are examined from three aspects, which include: 1- Ritual ceremonies as fantasy and chaos. 2- Ritual ceremonies as external reality. 3- Ritual ceremonies as energy and power. The existence of social, gender and age contrasts in this ceremony, and this conscious aspect of the discourse has also paved the way for the symbolic-semantic analysis of this ceremony. On the other hand, according to the characteristics of the carnival, which include: laughter, utopianism, grotesque, coronation/dethroning we will raise the three questions of this research, which are:a) What are the most important symbolic-semantic features of the Cheleh Havin ceremony? b) What characteristics of this ceremony can be adapted to Bakhtin's carnival theory? c) What are the ideal functions of this ceremony in the examination of its carnival? This semiotic-semantic research and analysis has been carried out using a descriptive-descriptive and case study method and the collection of data and images is based on library, field studies, interviews and the use of relevant image archives. The results of the investigation, emphasizing Bakhtin's carnival theory, show a sign-semantic process and the fact that in this ceremony, people making the use of masks and dolls, laughter and grotesque bodies, while moving from self-centeredness to collectivism and passing from a completely general and unstable situation to a stable and defined situation, they are confronted and challenged with beliefs, convictions and value standards, and they try to find their identity from informal discourses against official discourses while trying to find their own identities. Identity is always a shared and common phenomena. It is moving and has a dynamic and process cycle. Rather than being formed based on similarity or identically, identity is subject to difference and heterogeneity by breaking up the system of repetition and habitual body are in the pursuit of a kind of metamorphosis towards idealism and changing it towards the unrested system. Finally, the identity leads to an ideal presence. The ceremony is a process that is always moving from rationality to fantasy.

In the modern era, due to the growing industrialization of the world and the change of lifestyles and the aggressive approach of humans towards nature and its manifestations, many crises and issues have appeared in nature and its manifestations. These crises include a wide range of problems; such as air and soil pollution, water crisis, destruction of the ecosystem, noise pollution, the issue of the ozone layer, cutting down trees, hunting and extinction of animals, etc. All these problems caused environmental concerns, especially for thinkers, social groups and also groups of contemporary artists, and finally the conceptual view of this range of artists and a set of causes and the factors led to the formation of a wide flow of environmental art, the scope of which soon went far beyond the initial boundaries, and it must be said that it is still alive and dynamic. Environmental art flourished from the heart of new art in the contemporary era, although it has historical roots in past eras. New art combines the postmodern conceptual view with industrial facilities and new human products and inventions, such as computers, film and video, internet, etc. presents to the contemporary world. In other words, postmodernism; It is an era for the wide body of mainly idea-oriented and conceptual styles, which is not so attached to countless distinctions and nouns, nor can its artists be included in the group with traditional lines. artistic styles and styles were easily accommodated, and in other words, broad and numerous schools and styles gave way to mostly personal styles, and perhaps the styles and tendencies can be counted according to the number of artists of this era He searched for distinctive and special art. Among the types of artistic movements of this era, we can mention various types of environmental arts, land art, art composition, video art, performance art, body art, event art, etc. In the meantime, with human progress regarding new technologies and the emergence of field media such as film and photography, network, internet and digital media, new arts, including environmental art, benefit from this new category in the best way. they took. This research was conducted with the aim of investigating and analyzing the effect of environmental art on the level of environmental literacy of people (statistical population in this research: the student group of Kharazmi University of Karaj) and in order to achieve more complete results, the role of cultural capital of people (as a factor the interventionist in the research) to investigate and obtain specific results of these effects with quantitative and statistical analysis. Accordingly, the research questions are: "To what extent and with the intervention of which factors can environmental art be effective in the level of environmental literacy of people (group of students of Kharazmi University of Karaj)?" And "Which cultural components have more interference in the effectiveness of environmental literacy than environmental art on the target society of the research?" And according to that, the main hypothesis of the research is as follows: "Meaning with the intervention of cultural capital is effective in increasing environmental awareness and ultimately improving people's attitudes and inclination towards environmental behavior (group of students of Kharazmi University)". New art combines the postmodern conceptual view with industrial facilities and new human inventions, such as computers, film and video, Internet, etc. Contemporary has offered. Environmental art is one of the types of new art, which is directly related to natural open environments, one of its most important concerns, along with the aesthetic approach, is collective concerns caused by environmental problems and crises. In the contemporary era, due to the growing process of industrialization of the world and the change of lifestyles and the aggressive approach of humans towards nature and its manifestations, many crises and issues have appeared in nature and its manifestations, such as air and soil pollution, water crisis, ecosystem destruction, noise pollution, ozone layer problem, cutting down trees, hunting, and extinction of animals, etc. On the other hand, one of the most important aspects of human literacy, especially in today's world, is environmental literacy, which emerges in the field of environmental awareness, attitude, and behavior. This research aims to achieve the influential role and position of environmental art in today's crisis-stricken world, and seeks to achieve a clear and articulate picture of how environmental art may affect the level of environmental literacy of people by considering and intervening in cultural capital. The questions are as follows: To what extent and with the intervention of which factors can environmental art be effective in the level of environmental literacy of people (group of students of Kharazmi University of Karaj)? And which cultural components have more intervention in the effectiveness of the level of environmental literacy from environmental art on the target society of the research? And therefore, the main hypothesis of the research is as follows: "Environmental art seems to be effective in a meaningful way with the intervention of cultural capital in increasing environmental awareness and finally improving the attitude and inclination towards environmental behavior of people (group of students of Kharazmi University)". The results of the research show that environmental art has been significantly effective on the environmental literacy of the statistical population, although this effect has been different on its three aspects. According to the findings, environmental art did not have a significant impact on environmental awareness, but it did have a significant impact on environmental attitude and behavior. Also, according to the Multivariate Analysis Tests, in general, cultural capital has not had a significant effect on the effect of the stimulus (environmental art) on the dependent variable (environmental literacy), although it has interfered with the level of environmental awareness of the statistical population. And of course, in an independent state - and not as an interventionist - it has influenced the level of environmental literacy of the statistical population, especially on the environmental behavior. The type of this fundamental research and the method of conducting it, experimental and analytical in the way of pre-test and post-test and the method of data collection; it is a library document (in the theoretical foundations section) and especially a questionnaire (in the main and field research section). According to most of the writings and researches that have been examined as the background of the research, despite the thematic connection and sometimes some similarities, the present research with a more distinct approach, in a specific and comprehensive way, to the effect of art on the level of environmental literacy. Of course, with the entry of an intervening factor (cultural capital) into the research, it has been compiled and written, a point that has not been addressed in previous researches with this particular point of view.

The artworks of any society represent the cultural spirit that governs the society or at least the ruling class of that society. The historical and sociological background of the formation of artistic phenomena can provide a logical model so that the characteristics and components of cultural behavior can be analyzed. Sociology of art and along with it historical sociology are the scientific branches for investigating this aspect of human culture. Basically, the sociology of art has a specific definition for art. From the point of view of experts in this field, art is a phenomenon that can be criticized, examined and analyzed by sociologists. As a result, the description and explanation of the philosophy of the discovery of art is not paid much attention. Rather, the impact of society and art on each other is important.  The theories of reflection and formation are considered two examples of important and practical theories in the field of understanding the art of any society, including the past and the present. The sociologist has given a definition of the shaping approach as follows: "The effects of art on society" are called shaping. Or about the reflection approach, he mentioned that "art reflects the feelings and emotions of its society like a mirror". The art of Iran during the Achaemenid, Parthian and Sassanid periods is a clear example of the reflection and shaping approaches, which include the visualization of lunging and leaning person on a pillow(s). Lying/leaning on the pillow of an official, on reliefs, metal vessels and seals indicate the influence of the ruling class of Iranian dynasties encounter of Hellenic and later Roman culture. The aim of the present research is to examine the state of social relations (mostly the ruling class), including religious and political components, in the context of portraying a lying person from a privileged class. What made the present research necessary is the historical evolution of such a motif in the different cultural contexts of the ancient world in the East and West. Also, the identification of these different cultural backgrounds that have their roots in the philosophy of their intellectual life. In this article, the authors have tried to answer the question, what is the relationship between the state of lying down and leaning on the pillow in the art of ancient Iran (Achaemenid, Parthian and Sassanid periods) with the context of the active society of that time? And how these artistic platforms have caused collective formation in society or reflection in artistic actions?The current research is considered fundamental in terms of type. The approach of the current research is sociology of art and historical sociology which has been achieved with the help of the usual methods of data interpretation in the research of art and archeology through two theories of reflection and formation. The two mentioned theories were considered as the framework and the data obtained from citation and survey studies with these two theories have been analyzed in the form of historical description analysis. Archaeological data and evidence from the study of historical texts, such as the writings of Roman historians or Greek historians in the Roman and later Byzantine periods, were used for the studied society (Iran in ancient times). In this research, the art works of art of the three important periods Achaemenid, Parthian and Sasanian have been examined and evaluated through museum experiences and archaeological evidence in order to be able to examine the results of the research, i.e., the visual examples of the king lying on the bed and leaning on the pillow. The result of the investigation indicates that the art of ancient Iran used various methods to give to the audience or to influence them. From the point of view of sociology of art as well as historical sociology, reflection and shaping approaches are two examples of these methods that can be examined and analyzed in the context of sociological art. Regardless of the Assyrian background of the lying human motif in Mesopotamia, which sometimes is seen in reliefs; This motif has a Hellenistic basis; and for the Achaemenians, it seemed like a relatively unfamiliar concept. Therefore, in order to manage the tribes under their subjugation, in the satrapies located in Asia Minor, they tried to use this motif in the form of prominent motifs (including banquet scenes and burial steles). Perhaps Takht-Jamshid can be considered among the first manifestations of attention to the artistic approaches of reflection and shaping in the field of sociology of art in the Achaemenid era; But what is taken into consideration in the upcoming research is the subject of artistic assimilation with regard to the aforementioned approaches in the territories outside the political territories of Iran today and in the soil of Asia Minor, which in ancient times was considered a part of the territory of the Achaemenids. During the rule of the Seleucids after the Achaemenid empire and with the popularization of the statue of Hercules, this element entered the cultural geography of Iran. and in the Parthian era, especially in the prominent Elimai motifs, the frequency of using this element became more apparent. This increase in the use of the motif of the lying man in the relief motifs and sometimes in the dishes from the Seleucid period until the end of the Parthian period should be considered as a result of the growing population of the Hellenic colonies in Iran which from the point of view of sociology of art, they represent both the reflection and shaping approach. If we observe the influence of this concept in the Sasanian period with the highest frequency in movable works, it is obvious. This concept is not depicted in Sassanid reliefs. Because the Sassanid period began with the slogan of nationalism and returning to the tradition of the predecessors of the Parthians, namely the Achaemenids.   But the use of lying and leaning man is not in the prominent motifs that appeared on the silverware and also on the seals from the point of view of shaping and in order to provide a legitimizing format and along with other symbols known as Farrah Izadi. In this way, the motif of the lying man in the Achaemenid art was more in the direction of communicating with the Hellenic audience. This situation in the Seleucid era until the end of the Parthian period was the result of the growth of the Hellenic population in the cultural geography of Iran. In the Sassanid era, this element was continued in order to declare legitimacy along with other related symbols and in unofficial artistic contexts such as vessels and seals. The activist of the Sassanid society traveled the centuries until the Achaemenid period with such artistic approaches and could establish a close relationship with the culture that was created by their predecessors. The mediator and supporter of such cultural formation was the state religion and also the religious state of the Sassanids, which tried to realize the legitimacy-giving aspect in two official and unofficial fronts, where the official front is the prominent motifs and the unofficial front as well. The same seals and containers are considered. It is necessary to explain that the foundations of such thinking, which led to the prominence of the motif of the king/ruler/officer lying on the throne or leaning on a pillow, were well expressed in the literature of later periods, especially the Islamic era, and this is Shahriari's four pillows, which is considered as a political/religious aspect

The history of human social life is full of the examples of societies which have represented “The Other” through the visual and verbal media. The main point of the “other” definition is the importance of “difference”; in other word, the “other” is not always hostile, but its existence is necessary to identify and differentiate the “self”. Societies have always constructed several “others” to obtain local/national unity. From the point of political interactions in globalized world, visualizing the independent “self” is very important, as well is the illustrating of the relation between the “self” and “others”. Although, modern media is widely used for this visualizing, some contemporary versions of traditional media proven to be applicable yet; environmental advertising is an example of this sort of media, which has a long history in political propagandistic use. Billboards, in public urban sites, may convey instant and localized messages to their numerous audiences. In this regard, in addition to displaying cultural values of a society in order to enhance cultural and national unity, environmental propaganda is also used to portray and distinguish the “self” from the “other”. Illustrating political approaches in urban billboards, in which the interaction between the “self” and the “other” is shown by the use of pictorial signs with explicit and implicit concepts familiar to their specific audiences, not only make the government’s political approach (in relation to the “other”) observable, but also (by visualizing the reasons of a political decision) makes it acceptable. “The truth American Style” billboards, with explicit reference to Islamic republic of Iran and United State of America negotiations in the first half of 2010s, are the examples of this sort of environmental propaganda. It was not the first time that environmental propaganda in Iran had been used to illustrate a political issue with reference to a problematic relation with the “other”, but the straight connection between what can be seen in these billboards and the political event, is the reason of selecting “Truth American Style” billboards as our case study. So, by analyzing the visual components of the picture of America in mentioned billboards, we try to   explain the explicit and implicit concepts and the main message of these images. The main research questions are: 1. What are the main features of the image of the “other” in the “Truth American Style” billboards? 2. What are the semantic implications of the visual elements used to construct the American image in these billboards? For answering the questions of the research, a qualitative research method based on descriptive-analytic study of visual and verbal documents has been used. The research samples include 5 billboards that were displayed in different locations of Tehran in the first half of the 2010s. The pictures of the billboards were studied with the approach of visual semiotics from the perspective of visual representations of the “other”, and the meaning of the signs were defined. The concept of the "other" in intercultural communication and the way it can be represented visually is the theoretical basis of the present study, and data analysis was performed based on the classification of codes in Umberto Eco (1932-2016) visual semiotics. Umberto Eco, Italian semiotician, and novelist, believes that all semiotics is not made up of "signs" but of "semantic roles". Eco is among the semioticians who considered the verbal semiotics as not appropriate for visual analysis. Relying on Pierce's theories, he argues that although the possible meanings created by the signs are hypothetically infinite, these meanings are in fact limited by social and cultural contexts. Eco, in his studies on semiotics, explains the different ways of invention of signs and offers a new classification of them. He believes that the main concern of semiotics is the interpretation of signs; in other words, in order to read and understand a sign, one must pay attention to the context in which the sign is created and used, and on the other hand, to the reader and his/her social experience. These two are important categories in reading and perceiving the sign, and define the limits of interpretation (Eco, 1976). According to his theories, the invention of a new symbol means the establishment of a new correlation between a form of expression and a content, which requires the production of new codes (ECO, 2008: 87-88). Codes can be considered as institutions that modify, determine and, most importantly, produce meaning (Sojudi, 2011: 144). In his studies on visual semiotics (1988; 1985), Eco divides visual codes into 10 categories based on the type of interpretive relationship that is established between the form of expression and the content. As it was conceived from Eco’s semiotics, the semantic reading of visual signs is not possible without considering the cultural and historical context of the creation of image. “Truth the American Style” collection consisted of five billboards with the same theme and some differences in pictorial details. These billboards are commissioned by the Owj Arts and Media Organization and produced by the House of Designers of the Islamic Revolution. “Truth American style” billboards had been issued at the height of the Iran nuclear negotiations, which led to some controversies and the premature end to the exhibition of these billboards. The billboards were unveiled at a time when the Iranian two main political parties were at loggerheads over the Islamic Republic of Iran's negotiations with the United States. In this regard, by defining the signs which make the picture of America in the “truth American Style” billboards and reading them semantically, one can understand the explicit and implicit meanings of the images, and the overall message as well. In “Truth American Style” billboards, two counterparts of the negotiation are identified with explicit signs such as national flags. On the other hand, the text of "Truth American Style", which is embedded in both Persian and English in the image, is deliberately in conflict with the narration of the image and provides the audience with the necessary anchor to read other signs of the visual text. From the point of syntagmatic relations, the image of “other” is created with the juxtaposition of iconic symbols such as weapons, military uniforms, and black dogs, which are generally in conflict with diplomatic negotiations. By the way, the representation of body language and staging in these works are such that the “other” is conceived as aggressive and violator. The main message of the image, which is in fact "American dishonesty," is best illustrated by the contrast between the American negotiator's tuxedo and military trousers. The overall reading of the billboard’s pictorial signs portrays the “other” as deceitful and untrustworthy (in short, as enemy). The importance of engaging the audience with the message of this set of images has led the designers to ultimate use of cultural codes in a way that limits the implications of the visual signs as much as possible and make the message of the billboards clearly visible. For this reason, the photomontage technique has been used to simulate the objective reality and therefore becomes acceptable and believable for the audience. Finally, since the signs must be interpreted in their historical context, it can be said that the “Truth American Style” billboards, by portraying the United States as an enemy, intends to influence public opinion and promote the views of one of the most powerful domestic political parties. In fact, the producers of these billboards, in addition to protesting the foreign policy of the government of the time, by showing the reasons for the unreliability of the United States in these pictures, have represented their legitimacy in disagreement over political negotiations with United States of America.

Childhood plays a critical role in the formation of the human personality both individually and socially. The spaces in which children interact are one of the main factors in the formation and development of their personality and education of children. In this regard, we can consider the impact of urban furniture in these spaces on children. This group of society, in terms of their physical and mental characteristics, needs their own special design to use products made in the field of urban furniture. Finding the needs of children, which often involves providing a sense of security and a sense of belonging to and participation in the environment, can be the subject of research and design. Accordingly, the present study seeks to find the needs, feelings, and optimization of urban space through the design of urban furniture in parks. On the other hand, due to the inadequacy of the three elements of urban furniture, benches, public drinking, and trashcans, for children to use in this park, as well as lack of coordination and visual and conceptual fit of the mentioned elements with children's playgrounds, these three elements are selected from the urban furniture collection for research. Therefore, the main question of the research is based on whether the design of urban furniture with an emotional-oriented design approach facilitates the emergence of personality, social independence, and excessive dependence on parents in the child? This research is applied in terms of purpose and qualitative in terms of type, in which the descriptive-analytical method is used. In the method of data collection using scientific sources with emphasis on the method of survey, observation and questionnaire, the necessary information was extracted. This study was carried out in Laleh Park of Tehran using Kansei engineering method to measure the emotions of children aged 5 to 12 years, considering the issue of growth as the most important part in child psychology, the three concepts of child needs, activities and growth and considering all aspects of children's existence which includes psychological, emotional, personality, intelligence, cognitive and moral aspects. In designing the questionnaire, the method of semantic differentiation, which is the most common method of measuring the perception of emotion in Kansei engineering, has been used. Questionnaires voluntarily and with descriptions and interviews by children (9 to 12 years) and in cases where children could not complete the questionnaire, researchers by asking questions according to the words of Kansi and using flashcards that are designed the furniture in question was drawn with the words of Kansei, and the questionnaires were completed based on the children's movements in reaction to the left or right, or their verbal reactions. Data analysis in this study was performed through Excel software to calculate the average score of each word in relation to each element and then after these comparisons using Excel and SPSS software to relate each word to the characteristics of one or more products, the cluster analysis method was used using the k-mean algorithm, factor analysis, and cross-tabulation analysis. According to kansei's engineering process, all products related to the subject of the project, including items available in the city, Laleh Park, and items found on the Internet, were collected and examined in terms of product design criteria such as ergonomics, performance, and aesthetics. General and details of each product were identified and categorized. Among these products, images of five products from each bench, trash, and drinking element were selected to ask, understand, and analyze user requests. Related sites, books, and articles were studied to obtain Kansei's vocabulary, and children were interviewed about their feelings about the elements in question. All the adjectives that described the product area were recorded in the form of bipolar adjectives, which finally, after sifting the obtained words and deleting similar words, finally 29 words for the drinking element, 29 words for the bench element, and for trash element 28 words were selected. Kansei words were compared in each number 1 to 5 of the benches, trashcans, and public drinking with diagrams to better display the information obtained. In reviewing the average scores of adjectives, the highest score associated with the bench element is related to adjectives that are familiar, functional, reliable, solid, and in the next degree, adjectives that are pleasant, relaxing, cheerful, appropriate color, appropriate to the environment, Beautiful, friendly, attractive, innovative, modern, different, ergonomic, safe, enjoyable and simple, other traits rated less than 4.30 were considered ineffective. Also, the highest score associated with the trash element is related to the attributes familiar, creative, childish, attractive, happy, lightweight, appropriate, and kind color, and then the attributes of simple, safe, ergonomic, functional, different, modern, solid, exciting, friendly, beautiful, healthy, fits the environment, well-made, and other traits with a score of less than 4.30 were evaluated as ineffective traits. In the case of drinking elements, the highest scores are related to the attributes of creativity, modern, attractive, well-made, different, and in the next degree enjoyable, functional, beautiful, happy, childish, pleasant, ergonomic, friendly, reliable, standard, fits Environment, relaxing, safe, suitable color, exciting, kind, delicate, controllable milk, sturdy, simple and stylish, and other traits with scores less than 4.30 were evaluated as neutral traits. After these comparisons, using Excel and SPSS software to relate each word of kansi to characterize one or more products, the method of cluster analysis and factor analysis, and cross-tabulation analysis are used.The results of this study on urban playground furniture for children, including benches, trashcans, and public drinking in Laleh Park in Tehran, showed that the elements did not have any proportional spirit and feelings of children, and from the point of view of complying standards and standards of ergonomics, they do not have a favorable fit of children's anthropometry dimensions. Also, using a questionnaire, the audience's consensus about these three elements of the urban furniture collection was measured and according to the results, the characteristics of the ideal product were identified in each category. Based on the evaluations performed, the criteria for designing urban furniture for children 5 to 12 years old for the bench element are round body shape, backrest, without handles. In the case of trash elements, these criteria are round body shape, the lack of the door, the lack of confusing, and the invisibility of waste inside it, and in the case of drinking water, these criteria include round body shape, for water to fall from top to bottom and pressure being a tap button. Therefore, according to this research, children's playground urban furniture should be designed in such a way that is suitable for the anthropometric dimensions of the child's body and responds to the child's desire to participate in doing things and his insistence on doing things by himself. This provides the need for children to belong to the environment. This helps children reach social maturity and personality development and increases the child's sense of independence and self-confidence by eliminating feelings of inability to do things. Also, using the emotional design approach, in addition to paying attention to the instinctive and behavioral levels in designing children, which leads to the use of colors and forms appropriate to their interests and physical dimensions, can emphasize on a design based on the level of thinking, the child's perception and inference of the environment are also considered and a include a concept for teaching and learning in the elements of urban furniture and by creating memories and feelings of satisfaction in the child, make these elements to remain in the child's mind  and increasethe desire to re-use these elements in them.

The notion of existentialism and existential authenticity in the philosophy of Heidegger is explained as a particular individual subject, encountering the ultimate emptiness of life, experiences the anxiety and lives at present (being there), and Dasein, in that way, creates the world through the radical leaps of freedom. Also, considering Schiele’s Works, one is faced with the states of face and body that can be explained along with existentialist thought. Based on the claim that, thorough picturing the subjects, he transcends the reality to illustrate the genuine life, this study puts forward the question of how it is possible that the manifestation of states in his works can be interpreted along the notion of existentialism and existential authenticity as developed by Heidegger. To answer such a crucial question, using the descriptive-analytic method, and based upon valid references, it is concluded that the various states of face and body in the paintings of Schiele strongly suggest a sense of anxiety, thrown projection, and death-awareness, which are comparable with the main elements of Heidegger’s existentialism. He has worked during the flourishing time of existentialism, so the claim of some parallel between them is acceptable and worth examining. The significance of such inquiry is to connect existentialism and artworks, which can be regarded as a suitable method for discovering similar correspondence between philosophical works and artworks.     Existentialism resonates with Heidegger’s thought in such a way that it seems to detach human beings from the normative comfort and stability of public life, leaving us alone to create and choose our unique meanings and values in the background of ‘nothingness.’ The authenticity of Heidegger’s existential analysis lies in his unique conception of human existence as Dasein. According to existentialists, human existence is interpreted as a specific and autonomous subject that can freely separate itself from the social, cultural, and historical conditions. Contrary to the way in which existentialism sometimes depicts - that human beings are entirely free to choose - Heidegger’s conception of facticity is that the parameters within which human freedom is situated are limited. The existentialist interpretation of Heidegger’s authenticity is mainly due to his interpretation of the temporality of human beings. For Heidegger, the significance of existence that manifests itself in human actions is temporality.    Moreover, Dasein points to the fact that human beings have always been created with “being-in-the-the-world,” indicating that human beings are already situated in the world. By this interpretation, we are not independent subjects but beings who are tangibly involved in a particular historical situation. We grow through the process of socialization, whereby we have the opportunity to interpret ourselves in terms of the common actions of our historicity. For Heidegger, history determines the structure of existence so that the authentic being is never an isolated individual. (S)he can never revolt or overcome his/her socio-historical situation because a human being is always a historical being.    For Heidegger, our public world forms the ground of social action in which we are “thrown.” As a result, “others” predetermine our understanding of Being and control the context of meaning and understanding for us. In this sense, the world of others provides possibilities for who we are and what we are. Dasein is thrown into the world, which means, in a way, a person is not always the product of the time, place, and culture in which he is born, lives, and dies. In other words, when we are thrown, we are situated in a set of conditions, and freedom consists of accepting the possibilities of being thrown. This duality exists in every moment of our being and affects our ability to be authentic. Dasein has indeed surrendered to himself and his capacity to be, but as being-in-the-world. As it is thrown, it is dependent on a world and really exists with others. For Heidegger, authenticity does not require exceptional effort or order, but rather a change in attention, a recapture of ourselves from the way we usually fall into our daily ways of life. This is about how we cope with the world in our daily activities. Dasein inevitably moves between our daily encounters with them and a glimpse of our more genuine and unique possibilities. The challenge is to bring ourselves back from the loss so that we can become our true selves.     Heidegger emphasizes individuality and its importance in society to deal with living authentically and explains other elements such as anxiety, death-awareness, projection, the voice of conscience, and being-with-another in this regard. The author of this piece shows how the concept of authenticity, as explained in Heidegger’s early work, can be examined in art, because, according to Heidegger, the great artworks are the occurrence of truth, that is, the occurrence of the truth of beings, and indeed art is the way in which truth occurs, and the origin of the work of art in the sense in which Heidegger considers is not the artist but the art itself. In fact, the role of the work of art from Heidegger’s stance is to clarify a pre-existing world. Egon Schiele represents the world not as it is, but as a new world in which the truth of existence can be attained. The anxious states of the faces, the elongation of the human limbs, the color contrast in Schiele's works, have revealed that these beings are inseparable from the world of their owner, according to which Schiele's works can be read with the themes of existence in Heidegger's works. By claiming that Schiele's way of depicting his subjects goes beyond reality to depict the original life, we raise the question of how it is possible that the representation of moods in Egon Schiele's works can be read in the sense of Heidegger's originality?    Thus understood, this study clarifies the relationship between existentialism and existential authenticity and the paintings of Egon Schiele in three stages: In the first part, the concept of existential authenticity is examined through the discussion of Dasein. It is discussed that to achieve such authenticity, we must encounter human truth, thought, and reflection on the unique human existence. In the second part, the states illustrated in the painting of Egon Schiele are described, through which one can understand the concept of existentialist authenticity, which is not only a work of art, but also reflects the inner aspect of the painter himself. In a way, he presents a dual meaning and structure of the real self through his works. Drawing on Egon Schiele, this article aims to analyze how truth and existence are decomposed in painting to reflect the authenticity. In the third part, components of the existential authenticity in Heidegger’s thought are compared with an instance of the works of Egon Schiele, and each one is explained based on analysis along with a reading of the concept of existential authenticity.

There is a great interest in using traditional products in a certain section of society despite what is often produced in modern lifestyles and used by people. This can send a very clear message to designers and manufacturers that redesigning these traditional products can have many important and beneficial incentives for both users and manufacturers. There are many traditional products in any part of Iran and for each of them, in order to discover cultural factors and deep design elements, independent research can be done. However, given the real cultural values of the Iranian people, the design elements extracted can help designers re-think traditional new products.A product contains a combination of tangible and intangible factors. Many non-physical factors are overlooked during most product development processes, and the process of globalization is imposed on users, while diversity in terms of national culture remains strong and we should address the needs of individuals. In fact, consumer’s culture is based on a set of values, norms, behaviors and opinions. Therefore, designers must be sure that the features of a product and its benefits are aligned with cultural values.Design for cultural characteristics has certain features that can be significant for both designers and manufacturers who are interested in designing products based on cultural characteristics. According to the cultural needs, the design elements that are extracted from this research have shown a process for designers.  It is obvious that some cultural features have a greater impact on the design elements and discussing the cultural features and their related design elements can increase the ability of designers.In general, any cultural features can be represented by several design elements. In fact, for many years, artisans, as producers of everyday products for routine life, have had an unspoken duty and that is the manifestation of the cultural characteristics of the surrounding society in the form of elements designed into the products. This means that each product meets the needs of users, but these needs have always been intertwined in the culture of societies. Therefore, intentionally or unintentionally, artisans and producers have been the creators of society's culture in a way, and it is the same to this day. That is, the product is expressing several characteristics of culture through the design elements. Therefore, products with latent cultural characteristics can have an impact on consumer's culture. There are only several modes for this effect. If the cultural characteristics of the product match with the cultural characteristics of the user's community, this can cause cultural synergy in that particular characteristic. But if it does not match the cultural characteristics of society, it can lead to cultural disorders. Of course, it depends on the strengths and weaknesses of the received cultural characteristics (communication quality) as well as the duration of the impact on the user (communication intensity). For example, in the case where the cultural characteristics of the product conflict with the cultural characteristics of society and occur in a short period of time and poor quality, it cannot have a serious impact on the culture of society. However, if the intensity of communication and the quality of communication of the users is high, it may cause deviations in the culture of the society over a considerable period of time. It seems that many products that have become popular among the people today have caused cultural changes in the customs and traditions of societies, especially Iranian society.This research has created a framework to guide designers in designing products for Iranian culture and of course this method can be used in any cultural-based redesign. This study describes how designers can understand culture through traditional products and develop design elements that can be used to represent cultural characteristics that have been established over the centuries. Redesigning traditional products is possible only by examining their cultural characteristics. Through social findings, it can be seen that some cultural features are more common in traditional products and some less so. In addition, there are some design elements in relation to cultural characteristics that show the talent of Iranians in strengthening the culture of society with products, and some cultural characteristics have a greater impact on design elements. There is a difference between the priorities of the design elements for each traditional product due to the cultural characteristics influencing the design of that particular product. Although this study shows those cultural characteristics that designers should know about traditional Iranian products, but this method can be used for emerging cultural needs of other societies.Traditional Iranian products were created based on the cultural needs and beliefs and customs of the people as well as functional needs, and disregard for cultural needs can create anomalies in the culture of society by the products. Traditional products cannot be redesigned unless the cultural and functional characteristics that gave rise to these products are examined. This study aims to create a framework to guide designers in redesigning traditional products based on cultural characteristics for the Iranian people. In this study, the researcher intends to examine his understanding of the cultural characteristics that have influenced the creation of a particular traditional product as well as how these factors influence design practices. This study was conducted using a qualitative method and an interview tool to identify specific traditional products that have a strong impact on cultural characteristics. This study also examines design elements that have the ability to represent cultural characteristics. Thirteen "cultural features" have been identified to produce ten "design elements" that can be used to represent cultural features that are useful for designers to develop products in the future.Through an experimental study, the researcher identified products which could be used to extract some cultural characteristics. It also showed how this process could be developed and applied in the main study. This research shows a process that designers can use to identify the cultural features used in traditional products. The main purpose of the analysis of this study was to identify the themes of cultural features in preparation for the next stage of the expert interview. But before that, all the raw data extracted from the interviews had to be coded. Coding is the organization of sections of text before bringing meaning to information. During data collection, the researcher divided the text of the sentences into categories that were named according to the actual purpose of the participants with a term.Of the eighteen traditional products that are shown to participants (collected by the author and added by participants in total), 6 were more eligible to extract cultural features than the rest because the rest were used by most participants in everyday use. Traditional products that are mentioned in this research are: carpets, tablecloths, Poshti, traditional beds, pottery dishes, Korsi. Cultural characteristics are extracted through interviews with users include: aesthetics, health, hospitality, multiple uses, comfort and tranquility, family centeredness, respect for elders, simplicity, extravagance, blessing, reminiscent, habits and customs and training.Design elements that are extracted through interviews with experts were: function, patterns, form, color, production method, materials, ergonomics, coordination, layout and dimensions.In this study, using designers a special method of design and research is shown that can be adapted and acknowledged by designers when responding to a specific type of design situations. Since this approach is developed by designers for designers, the nature of combining the cultural characteristics of users in the design process can be important and relevant to this research situation.

Decorative arts had emerged in various forms in the Islamic world, and Gireh is one of the most complex forms that constitute an essential part of the Islamic arts in the world, which had developed over time. These rely on the geometric rules in the mathematical sciences. One of the most critical issues in the studies of Gireh is the methodology knowledge of their designing and drawing that different researchers emphasize on different methods. Knowledge of the design methodology of Gireh is closely related to its aesthetics and originality. Iranian Islamic architecture significantly contributed to the development of Girehes, but their connection with their methodological knowledge was not obvious. Many scholars consider the method of developing Gireh in Iran based on the radial (Falaki) method, which has remained in the written sources of the last traditional Master of Iran. However, studies on historical documents such as the Topkapi scroll and the Girehs that remained on the Gonbad Soltanieh show that Iranian architects and artists were fully aware of the polygonal method and Gireh production techniques based on it and it used for developing Girehes in Iranian architecture. Therefore, this research seeks to answer the following questions with descriptive-analytical and reasoning methods by collecting information through libraries and field studies: 1- What evidences are left from the past that shows the use of polygonal technique to produce Girehes? 2- How had the application Process of the polygonal technique to the development of Girehes in Iranian architecture? 3- Why did the Iranian Master introduce the radial (Falaki) method to drawing in their books despite the polygonal technique? To answer these questions, after introducing the methodologies of Girehs production, the structure of Gireh is examined from the polygonal technique point of view along with its historical documents. Then, the developing process of Girehs in Iranian architecture is studied based on the development of underlying generative Tessellation. Finally, the radial and polygonal methods are compared, and Their application among the traditional Masters of Iran is examined. Despite numerous studies on the development of Girehs and polygonal technique, the new achievements of this research is new evidence of Girehs left on the surfaces of historic buildings, which presents the application of the polygonal technique in Iranian architecture. These expand the methods of using the polygonal technique to develop Girehs in Iranian architecture. These documents also show a new path in the development of Iranian Girehs, which indicates the use of the Gireh as an underlying tessellation in producing more complex Gireh such as Pili and dual-level Girehes, which is investigated in this study.The Knowledge of Girehes designing and implementation was a family knowledge and available to certain people in the community that architects passed these methods from one generation to the next generation in a secure way to prevent the revealing of this knowledge and usually transfer permission of this knowledge didn’t happen easily. Despite these limitations, methods of designing and applying Girehs were developed in various branches. Although the methods of producing Girehs are extensive and varied, some artists even invented their drawing methods. The four methods are prevalent among designers and researchers of this art and are widely used, including Radial (Falaki), Point-Jointed (Moroccan), the Grid, and the polygonal techniques. The polygonal method is the subject of this research discovered by Ernest Hanbury Hankin when he was visiting an Indian bath and was introduced to the contemporary world. Later, researchers realized that this method is historical by studying historical documents such as the Topkapi scroll. This method is often determined by drawing lines that connect from midpoints to each other’s in the underlying main polygon to create the main stars and the application of pattern lines. The presented method approximately adheres to J. Lee Registration, which creates a given star by identifying the number of sides of the main polygon relative to the number of consecutive sides at the midpoint to the midpoint of the line.Suppose the development Process of Girehs in the Islamic architecture of Iran is examined. In that case, it can be seen that the historical development Process of Girehs began with the formation of patterns on an orthogonal Grid and ended with a very complex tessellation. In addition to observing this method in the Topkapi scroll, the application of this method in the tiling of Gonbad Soltanieh is also evident; the designer kept the underlying generative tessellation in the final design. In addition, the same underlying generative tessellation was used to create another Gireh. Instead of arranging the Alāt (motif) at the midpoint, the Gireh was arranged according to the vertices of the underlying tessellation. It caused three Alāts of Shāmseh to meet at one point. Despite contemporary researchers emphasizing the midpoints of polygons in underlying tessellation in applying the polygonal technique. In addition, the use of Gireh as underlying generative tessellations is also evident in this building to produce Girehs, due to which the next generation of Gireh such as Pili Gireh was created in the Yazd Grand Mosque. In these Girehs, the Alāts of underlying generative Gireh were interweaved by Alāts. Due to this, the number of hidden layers increased. Because in addition to the generative Gireh (underlying tessellation of pili Gireh), there is also another underlying tessellation for the generative Gireh. The last stage of Gireh development is the dual-level Gireh (Shah-Gireh), which uses one Gireh as the preliminary design for the secondary Gireh inside the Alāts of primary Gireh. It is impossible to achieve such a design by using the radial method or applying the symmetry of a fragmented Alāts of Gireh. However, the polygons must be manipulated in the underlying tessellation, which shows the application of the polygonal technique in the history of Gireh development. The polygonal technique is evident from the existence of polygonal tessellation in the Topkapi scroll and Girehs on the remained surfaces of the monument and considering that in the evolution of Gireh in Iranian architecture. The main problem of the radial method is the impossibility to design a new Gireh, the whole process of drawing a Gireh in the radial method is step by step, and the artist needs to follow all the steps, the way of determining the secret line Also is not clear in this method which other arcs are defined. This line in the drawing of the written sources of the masters shows predetermined. In contrast, the polygon method is based on the combination of underlying polygons. Understanding this process makes it possible to place motifs in tessellation, draw the Gireh shape without following a special process, and change the tools based on the underlying tessellation. He came up with various designs. As well ass, it reached various designs by changing motifs based on tessellation. According to the study, the application of the radial method can be for implementing the Gireh on different bases that work be easier based on the tools of architects and artists of the classic era and prevented the disclosure of the design method of Gireh.

The process of visual perception has systematic principles that can be useful in recognizing works of art. Accordingly, Gestalt laws play an essential role in assisting the human mind in analyzing the illustrative effects of children's books. In the field of graphic works and illustrations of children's books, using the principles of visual perception and Gestalt psychology, new, important and significant data can be obtained. The purpose of this study is to discover and identify properly and accurately the nuances and characteristics of children's book illustrations. A seemingly simple picture, depending on the page of the children's book, has a wide variety of structural features that can be used to properly understand the nature of the criteria in the field of visual perception. The basis of the present study is the "image" element. The presence of the image in human life from the distant past can always be traced. Contemporary man has established far more complex relationships with the image. The image narrates cultural, social, insightful, etc. variables, which are directly related to human "consciousness" and "perception". Just as human beings have undeniable reasons for communicating with each other, so seeing and confronting an image requires understanding, revealing, and comprehending it, both superficially and deeply. Visual language is the only common language of all human beings. Since the syntactic structure of this language goes back to the ability to perceive images, therefore, recognizing these abilities is essential for the artist who intends to convey his message in the form of an image to the audience. He must be able to organize his visual cues in such a way as to be received by the audience in the best possible way. Illustration, without a doubt, has always been indebted to the art of painting and the history spent on it. Although illustration should be considered as a link between painting and graphics on the one hand and children's literature on the other, but the main elements used in illustration and its visual representation are first the effects of painting and the basic elements of visual perception. Visual perception in art can be recounted with a theory in psychology called the Gestalt theory. The principles and rules proposed by researchers in this field can be used in visual analysis of visual arts. In fact, despite such capabilities, the need to use these achievements in the new analysis, analysis and shaping of the works of children illustrating children's books can be justified. The purpose of the present study is to study the compliance of the visual principles and rules of the psychology of emotion and perception, the illustrations of the veteran artists of the forties of Iran and the visual analysis of the illustrations of these artists by modeling the theory of visual perception. In this study, two artists among the illustrators of children's books of the forties in Iran, according to their level of activity and use of Gestalt principles and laws, in an improbable situation type, and also among their works, a work by sampling method. Purposefully selected and analyzed. The present study has been done in order to answer two basic questions: 1- What principles of visual perception have been used by the leading illustrators of children's books in the forties in Iran in their works? 2. How can the works of the illustrators of Iranian children's books of the forties be analyzed with the principles and laws of Gestalt? The research method was descriptive-analytical and the method of collecting information was library and documentary. Book illustration in Iran dates back to centuries ago, but the new illustration of children's books in this land is about seventy years old, which is mostly related to the emergence and development of education in a new style and the expansion of schools. During this period, illustration for children not only became especially important, but also became a necessity for the books of this group of society and went so far that from 1340 AH (1960s) onwards, illustration of books for children and adolescents as a specialized branch It was defined and categorized in Iran. In addition, the activities of the Children and Adolescents Intellectual Development Center, Franklin Publications, and several private sector publishers have had a significant impact on this. During this period, the efforts of children's book illustrators were so extensive and successful that they can be found in other similar fields of art. The establishment of the first exhibition of children's book illustrators in 1989 showed that many children's book illustrators with different minds and perspectives are taking steps to spread this art. Among the illustrators of the forties, we can name Farshid Mesghali, Parviz Kalantari, Noureddine Zarrinkelk, Gholam Ali Maktabi and Morteza Momayez. In this research, an attempt is made to study the works of two artists among the illustrators of Iran in the 1340s AH (1960s) with a theory in psychology called Gestalt Theory. In this study, a work from the book of Crows and a work from the book of Little black fish were selected and analyzed based on the sampling method mentioned. Zarrinkelk was one of the first to illustrate children's books as well as education textbooks for children and adolescents. Zarrinkelk began his first serious and professional illustration endeavors at the Franklin Institute. His Crow in 1970 was awarded the UNESCO (Tokyo) Book of the Year Award and in 1971 the Golden Apple of Bratislava (Czechoslovakia). Zarrinkelk is a different artist because of his story writing for children and his tendency to write text and illustrate for non-fiction books. Crows was the first book he illustrated. The story of the crows is a symbolic and metaphorical story, Because in mystical and metaphorical tales. the protagonists of the story, whether they are animals, plants or inanimate objects, each of them, is undoubtedly a symbol of a particular stratum or group of human society; Therefore, in order to understand the meaning of the author, one must first understand those human instances that the author wants and replace the protagonists in the mind. Farshid Mesghali illustrated more than 15 children's books in the 1340s and 1350s (1960s to 1970s) and received numerous awards, including The Little Black Fish, which won the Bratislava and Bologna Exhibition Awards. The story is hero-centered. The protagonist and protagonist is the little black fish, a hard-working, thoughtful, intelligent, and unyielding hero who stands in front of all his opponents on a belief he rightly believes. Findings indicate that the laws of form and context, similarity, proximity, context, common destiny and symmetry have had the most presence in the works of these artists and artists of these principles in creating a high Pregnancy and the highest level of influence and realization of strong perception. They are used in proportion to the subject of the work in the mind of the audience. The laws of good extension and continuity, due to the presence of less or less compared to other principles, create a low level of frequency in the process of visual perception of the case studies of this research. In general, it can be said that the main reason for the effectiveness and durability of these works has been the high level of utilization of these capabilities by their creators in their works.

Color is a visual element that has long been regarded in the two scopes of physics and metaphysics in scientific discussions. In the first scope, color is defined as the result of light decomposition which yields the primary colors and, from their combination, secondary colors. However, the second scope defines light as the agent of emergence and manifestation which is intuitively visible. Shahabuddin Suhrawardi, Najmuddin Kobra, Najmuddin Razi, and Alaeddin Semnani are among metaphysics scholars that consider light to be the condition for the manifestation of color rather than the nature of color itself and believe that one manages to see color intuitively only be findings themselves in a specific position. Thus, the present study seeks to review such scholars' opinions and rely on credible desk-electronic resources to answer the question of how the process of color comprehension has been explained by these scholars, and what the similarities and differences in their theories regarding the aforementioned are.A qualitative-quantitative analysis of the results of the present study indicates that the studied scholars associate the color comprehension process with visual perception, indicating that visual perception is distinct from visual sensation. Sustentation refers to the transmission of a stimulus from the sensory receptor to the central nervous system with objective traceability, whereas perception is a mental and psychological process capable of organizing sensory information and assigning meaning to them, and can take place in the mind swiftly enough to seem simultaneous with sensation. However, illuminationism scholars considered the aforementioned a judgment on the integrity of human experience in spiritual journeys and believed that perception can grant symbolic concept and meaning to sensory experiences and encompass cognitive values beyond the mere physiological act. Hence, they proposed theories sharing the components mentioned in the following:All the scholars considered the presence and human’s act and impact from it to be definite, so they gradually developed the types of color and their observations into comprehensive, systematic, and interconnected theories on light and expressed their intuitive cognitions in this regard symbolically.Since color perception is considered to be intuitive, no scientific effort has been paid to confirm or deny its presence, and no indication on how different types of colored lights are visible to humans in a specific order is offered.According to these scholars, color and light are not separate in nature, and the way light is influenced by color does not impact how various types of colored lights are discerned.The combination of colors and how secondary colors are obtained from primary colors have not been discussed, since the scholars believe that no sensory organ is required to discern colors, and the colors appear to humans through meta-sensory vision.Healthy eyes, enlightened objects, and the lack of visual obstacles between the object and the observer have been considered as the conditions for illuminationist vision.Although all theories agree on the four colors of white, black, red, and yellow, they only agree on the symbolic manifestation of red and consider it a symbol of wisdom, rationality, courage, power, awareness, and the establishment of the peaceful soul –where the soul diminishes and the light brightens.However, the scholars have proposed a specific color spectrum from the beginning of spirituality to the discovery of the existential light of the Lord Almighty but have not considered the same perception of light for humans and have rather presented different opinions and distinctions in this regard. It can be inferred that:Although the color green has no place in Suhrawardi's theoretical spectrum, it has been considered a certain symbol of the integration of the light of the soul and the purity of heart that befalls in the middle of the spiritual journey according to Najm Razi. Au contraire, Najm Kobra and Semnani believe that this color symbolizes the final stage of freedom from the veils of darkness and ensures the greatest levels of institutive vision and comprehension of the divine essence.According to Suhrawardi, Najm Kobra, and Semnani, the color black symbolizes the material world, and the farthest point from the great light is the color of darkness veils and borrowed existence and manifests the darkness opposed to light. However, Najm Razi considered black to be the color of the final stage of spirituality and an equivalent to the divine light. Notably, Semnani proposed another variation of this color called “transparent black” which manifests the inspiration and divine nature to keep up with Najm Razi and validate his master.The color azure is among the colors not discussed by Suhrawardi, but other scholars have considered it a manifestation of human stepping outside the boundaries of neglect and nature through penance and spirituality on one hand, and not achieving purity of heart and peace of soul yet.The color yellow has been considered to be the symbol of one stage before reaching spiritual excellence, the representative of God in Latifa Ruhiya, and a sign of purity of heart and dominance of light over it. Given its brightness and radiance, the color yellow has been considered as the symbol of brightness, radiance, purity, the sun, divine grace, royal glory, and perfection, and compared to a flame with transcendental nature and the light of victory manifested as a light halo.The color white is the only place of a dispute between the scholars; however, they all consider it to contain the meaning of divine light manifestation stemming from prayers and pleas.Suhrawardi’s predecessors added the two colors of green and azure to what he suggested regarding the colors white, black, red, and yellow, and considered one color in both forms of opaque and transparent to complete the seven stages of the spiritual journey.Suhrawardi is the only scholar to point out color combinations while other scholars believed that colors turned from one into the other in a specific order.Overall, the aforementioned indicate that given that the scholars have proposed their theories based on illuminationism comprehension and visual perception, firstly, excessive attention has been paid to the symbolic applications of colors for spiritual exploration. Secondly, the scholars have defined a range of pure colors between black and white and assigned various values to them, so that the emergence and manifestation of color are sometimes considered a symbol of the soul and its darkness and other times as a divine manifestation. Still, all scholars debated a limited group of primary colors corresponding to the existential levels, colors in the form of various types of light whether opaque or transparent that can carry specific meanings and contents for spirituality seekers and become the foundation for their spiritual interpretations. The final point is that deep contemplation of the color exchanges through the existential order reveals their correspondence to the color exchanges created in nature by God, which means that not only illuminationism school scholars presented their thoughts and opinions from an intuitive viewpoint; they also sought the divine signs and symbols in the material world.

The main issue of the contemporary world is the crisis regarding the climate in all of its dimensions, which also involves various aspects of natural phenomena. Aligned with the environmental issues and natural phenomena, preferred themes of contemporary art, coupled with the achievement of rejecting the art object, are related to the definition and alteration of the artwork’s presentation, the presence of the audience with the experience and understanding of the aesthetic object, along with focusing on the natural phenomena and matters concerning them. By discovering the limits of artwork’s presentation and by broadening its definition of them, contemporary art has established the possibility of perceiving them in terms of experience in the form of three-dimensional installation beyond the horizon of sensory experience and in a tangible connection with the material world. On the other hand, addressing the social problem is a mission that contemporary art pursues pragmatically, in the dimension of biological concern, and by relying on making its dangers tangible for the audience. Therefore, contemporary art is a wide area for choosing social themes with a focus on sensory perception and perceptual forms for the audience. The knowledge of philosophy, which seeks to explain the essence of all phenomena, while studying any kind of them and their description, along with the manner in which they appear in the time and place which the knower perceives, focuses on the appurtenances of the perception of phenomena using a phenomenological approach; meanwhile, Mikel Dufrenne’s reading of phenomenology is to elucidate the object and cognitive aesthetic experience (understanding the aesthetic object through experience) and aesthetic perception in art. According to Dufrenne, the perception of aesthetic experience in art is drawn on three levels: pure physical presence, representation (mostly as imagination); and feeling (leading to expression). The description of the experience of the work of art in this reading is important for the reading of the works of contemporary art, which creates the possibility of sensory experience for the audience, in that it focuses on the experience of the object and the experience of the observer as a cognitive aesthetic experience. Since phenomenology, in philosophical terms, focuses on the experience and perception of the world, and its dependent components in contemporary works of art are rediscovered by the audience through renewed understanding and in an interactive and experimental way. According to this reading, the object and aesthetic experience are inseparable, and with the presence of the audience based on sensory experience, the cognitive aesthetic experience becomes possible, and through that, the inclination to deal with natural phenomena in contemporary art can be explained. By relying on the study of the weather qualities and using humidification devices, the weather project by Olafur Eliasson in the space of Turbine Hall, immersed in a thin fog, which, together with the sun, is reflected at the end of the hall by hundreds of single-frequency yellow lamps that are installed in the form of a semi-circle behind a semi-transparent semi-disc, which creates a new understanding of the category of weather with the illusion of being close to the sun and the sky, so by suspending the lived experiences, stimulates the visualization of presence in the time situation and redefines the place, and changes the audience’s attitude towards living in the world.The first stage of the phenomenology of aesthetic experience in Dufrenne’s terms is the stage of presence, which includes sensory presence. In the experience of the work of art, presence is as a body, and artistic awareness is as a perception of the body. The weather project, which was presented in the form of an installation, by benefiting from the atmospheric qualities that are basically perceived with the body, is inclusively based on the presence and perception through the physical senses of the audience (phenomena includes the senses of touch, smell, and sight and activates them), and the meeting of the work of art and the body is the starting point of the artistic perception of this work. Therefore, by adapting the way of presenting the work in the form of installation, focusing on the position of the audience in contemporary art, and identifying and applying the aesthetic object in Dufrenne’s reading, which insists on the observer’s experience, the weather project provides both the fulfillment of the stage of presence and identification of the aesthetic object. Therefore, the aesthetic object in the weather project is the very same principle of the formation of the work of art, which is the atmospheric qualities and representations of natural phenomena.The second aspect of Dufrenne’s aesthetic perception is reappearance or representation or imagination; which is called the intermediate representation between presence and reflection, which mainly appears in the form of imagination. In the weather project, the atmospheric condition in time and place is represented in a fixed way that everyone is facing (time is created based on the light and the representation of the sun and the presence of fog, and the perception of the color of the light determines the specific moment for the audience and the spatial representation is provided by visualizing the proximity of the sun and the expansion of the place by means of a mirror that increases the size of the surfaces, and on the other hand, creates a situation of reflection). In fact, it is the creation of memories of fog, along with humidity and yellow light, which evoke London air pollution with the centrality of Tate Modern for the audience, and despite the absence of pollution in the hall, the memory of being in such an atmosphere is predicted for them.In the third stage, the process of perception proceeds with reflection, feeling, and organizing the imagination, which dialectically and simultaneously leads to an aesthetic experience. In the weather project and through a phenomenological process, the spectator has the opportunity to see their reflection in the ceiling mirror to perpetuate the memory of air pollution; In the weather project, the audience apart from daily life and by suspending the assumptions they feel about the weather is presented with the opportunity to experience the representation quality. The audience’s action (in the form of feeling) is actually a response to the process of experiencing the aesthetic object as if the mirror reflection is the completion of the perception process in the aesthetic experience, which is an empathetic approach in response to the image of the audience in the mirror in dealing with atmospheric phenomena and spatial and temporal location. Therefore, according to the phenomenological aspects of environmental settings, the work of art will never be complete until the spectator experiences and interprets its specific qualities; and its effectiveness will take place through physical perception, and eventually, reflection on it.The result is that the weather project, by creating an unmediated reminder of the weather, objectifies the time and place, which is the evolution of the state of the public in the urban space as a collective matter, and the visitors ultimately experience the aesthetic object with an emotional and reflective quality, following an empathetic approach. Therefore, the recent approaches of artists in raising awareness about the environment (in line with the increasing growth of biological crises) are the use of phenomenological approaches in the perception of nature; since this genre tries to put the audience back in the experienced space, so they could get a deeper understanding of ontological qualities of natural phenomena (as they are), and to understand the current situation and their own relation to it in the form of redefining the physical totality of the natural world and uncertainty. [1] This article is based on the first author's Postdoctoral research project entitled "Critical Approach of Contemporary Art to Environmental Justice" at Iran National Science Foundation, Tehran, Iran.

Any definition of an artwork relies on the definition of art, and art definition is based on an art theory revealing the specific perspective of that theory to the art. While giving various definitions of art and artwork, one of the most prominent definitions, which is related to modern art development, considers two primary specialties for anything to be an art: first, to be about something, and second, to tell a tale about that thing; these qualities point to the subjectiveness and narrativity of the art and artwork. George Dickie, in the institutional theory of art, also believes that the artwork must have the dignity to be presented as one, and the institution of art must recognize this dignity. On the other side, Howard Becker gives particular importance to the audience according to “Art Worlds” (1982). In his belief, a thing is an art once it has an audience, and the audience accepts it as an art. Perception and feeling of the reader in confrontation with the artwork and the artwork's effect on the reader in this deal have always had a special place in philosophical studies of art; this made it possible to redefine the reader's place as an audience based on this "confrontation." Almost every artist will create an ideal audience in their minds. The same audience whom the artwork calls. Since while there is no artwork, it seems like a thought in the artist's mind which has not turned into an aesthetic reality. The artwork presents its communicative aspect just as it becomes available. This aspect acts independently from the artist's will. This research tries to analyze and interpret the confrontation of the audience with artwork based on Derrida's deconstruction theory and studying Monir Shahroudy Farmanfarmaian's mirror works in pursuit of finding an answer to this question: "What is the relationship between the audience's confrontation with the artwork based on Jaques Derrida's deconstruction theory, and performance art creation?" We also try to demonstrate the relationship between its results and outcomes with performance art creation and, based on this collation, exposure their common and distinction points. Monir Shahroudy Farmanfarmaian was one of the most significant artists of her generation who produced different and famous artworks in the field of Islamic geometry basics, with a western modern abstract rhythm. Her artworks trace a tendency to mix symbolic geometry and sophistic cosmography aligned with Frank Stella's potent effects. Geometry is one of the fundamentals in Farmanfarmaian's artwork production, and one could see a mixture of the cosmographic geometric pattern in Islamic tradition and modern expressionism in her artworks. Focusing on repetition and renovation in contemporary art is one of the other features of Farmanfarmaian artworks. The Iranian Mosque pattern could be her inspiration and a turning point in her work, which caused her to focus on eternity and the creation of sacred geometry in her artworks. This descriptive-interpretive essay is based on theoretical studies. In completing qualitative research, we put the outcomes and results of deconstructive confrontation of the audience with the artwork in comparison with performance art creation based on the opinions of performance theory with an analytic-interpretive method. So we can also call it comparative research. Hermeneutic and the interpretation of meaning made the importance of the audience in reading and confrontation with the artwork clearer. Then, Derrida and his thoughts weakened past imaginations about the text, the meaning, the concept, and the essence in philosophy and other fields of science and art. Deconstruction is an objection to construction and the western thought of philosophy and art procedure which is defaulted on presence, emphasizing the critical importance of language, and prioritizing speech on writing. "Deconstruction" refers to a picture of construction or a thing floated between ground and sky, which could image something falling, collapsing, something not yet ruined, or wreckage. According to this definition, "deconstruction" of anything implies that collapsing process might be the beginning of a path to a new perception of it. Using Derrida's deconstructive method in analyzing the audience's confrontation with the artwork leads to renewing the concepts (suspensive) and lets the artwork portray something which could be present and absent simultaneously in and from it. So, the audience will confront a set of suspensive and dual contrasts, which makes it possible for the specific boundaries of creation and reception of the art and also the audience, artist, and the artwork to confuse; this causes the audience to recreate, percept and receive the notions of the author (creator), audience (reader), and the artwork in this confrontation's process as an interactive and multi-perspective atmosphere. This study believes that a hesitance on dual contrasts of Parergon, difference, and rejection of Derrida in the confrontation process provides an opportunity for prominent parts of the confrontation (audience, author, and artwork) to lose the clarity and certainty in notions and boundaries, to join and connect. Then it follows with shared points and overlaps that make it impossible to tell them apart quickly. As a result of the erasure of notions and boundaries, redefinition in the union's possibility makes them interactive and cooperative. It causes the recreation of notions and the aesthetic notion of distance fitting the deconstructive analysis of this confrontation.  Recreation of notions would be a beginning point to present a new perspective on the entrance of uncertainty in notions of audience, artwork, author, and the aesthetic distance; especially since the study is about to analyze the relationship between deconstructive analysis of confrontation and the performance art creation, which is a possibility to transition from limiting definitions to interactive, interdisciplinary space in confrontation with the artwork. Based on this research, an audience is someone present in the confrontation process, and their presence leads to the recreation of basic notions of confrontation based on developing suspensive and dual contrasts (audience-audience's alter ego), (reader-creator), (artwork- art work's alter ego). The audience is not an audience only because they are confronting the artwork but as readers. The art only legitimates as an artwork with their understanding, and this perception would be exclusive to them, distinctive, and related to their specifics and physics, and also the layout and composition of confrontation. So, in this article's case study, in the audience's confrontation process with mirror works of Farmanfarmaian, the audience's presence and their placement in the layout of the confrontation with the artwork simultaneously lead them to participate in creating another artwork (including the layout of their confrontation with the artwork). This participation causes renovation and recreation of basic concepts of the confrontation and layout. Also, what happens in this confrontation has considerable relevance and common points compared to what happens in performance art creation. The audience as a reader complements the artwork in this confrontation, giving a dynamic and uncertain identity that is connected and related to this event, the artwork, audience, creation process, reading process, artwork's aesthetic distance, layout, and the whole confrontation in the form of participation in a performance art creation. The audience's presence in this confrontation as participation and interaction in performance art creation leads them to be the reader of the deconstructed artwork. Also, the artwork is not what the artist creates, but it will be created and deconstructed in confrontation with the reader, participation, and interaction in the layout of this confrontation as performance art creation. *This article is extracted from Ph.D. thesis of Art Research by Mehdi Yarmohammadi under the supervision of Dr. Marziyeh Piravi Vanak at the Fine art research and entrepreneurship faculty of the Art University of Isfahan.