مجله رهپویه هنر
سال ششم شماره 1 (پیاپی 18، بهار 1402)

A significant part of the visual arts of prehistoric peoples is illustrated. This type of visual arts in prehistoric Iran is also considered a significant art.Studying the existing images, as documents left by the prehistoric people of Iran, will provide in-depth information.In addition to recognizing a part of the history of visual arts in this land, this information provides a reading of many cultural-human and artistic phenomena.Among them, we should mention the various ritual-belief phenomena illustrated in that culture, the implicit study of which provides the basis for the genealogy of cultural and artistic phenomena of the present and the future.A significant part of prehistoric painting in Iran is performing ritual human movements that will provide more accurate recognition of overlapping phenomena such as symbolic rhythmic movements with samaacheh and the reproduction of other movement and dramatic arts.This study, while studying a part of the study history of visual arts in Iran, tries to read and decipher the remaining images of symbolic rhythmic ritual movements in prehistory in this land, in order to recognize and introduce the dance called Samaacheh as a descendant of the performing arts in Iran.The main concern of this research, while reading the neglected cultural and ritual parts of the rhythmic-symbolic movements in the past of Iran, is a good genealogy of the performing arts in Iran. The result of this reading will make it clear that dancing with samaacheh, one of the ritual-social dances, will get a suitable interpretation for the descent of the performing arts in Iran.Among the rhythmic movements painted on the vessels and tools left from that time, different rhythmic movements can be identified and are more characteristic than other dance motifs, which can be divided into a group called “Samaacha dance” today.The results of scientific and symbolic studies indicate that this dance is a type of this art among the prehistoric people of Iran, which with the support of their intellectual-doctrinal foundations and worldview, in a symbolic-religious and functionalist way, a large part of It has covered their collectivist beliefs and rituals.Samaacha dance is known as a symbolic ritual movement that has the capacity to become a ritual art in its essence. The symbolic appearance of this mixed-religious art and the ontological knowledge of this phenomenon, reveals that by using this capacity in its essence, it can organize the advanced and other systematized mixed arts and movement in a way that can be considered a suitable origin for arts of the same shape and structure as their own, performances and dance_shows.By studying the discovered works left in Iran and carefully examining the designs on them, it is clear that 5 of those works, which are also considered as works of art today, the designs on them clearly illustrate a kind of Shows a dance that is directly related to the so-called “dance with samaacha”. The first document of this type of dance in Iran is more than seven thousand years old. The place of discovery of this pottery is “Tel Jerry hill”.

In critical discourse analysis theory, there is a tendency to analyze images as if they are linguistic texts. In the Qajar era, the institution of court painting (Naghashkhaneh) was the place of creation and supervision of various genres of the arts of illustrations, which Single-Page watercolor paintings were one of them. Some of these paintings show the royal family and courtiers; therefore, they directly relate to power relations and structures, and contain ideological indications that were often creating to represent the regnant power and to consolidate its ideological content. The watercolor painting from “Nasir al-Din shah Qajar” and two courtiers” which created by the court painter, Mohammad Hassan Afshar, and the support of an anonymous court patron- both as the participants in creation stage- is one of the artworks of Nasir al-Din shah period, which is studied in this article as a discourse based on Norman Fairclough’s theory of “Critical discourse analysis”. Fairclough’s theory is one of the important and reference theories in the field of “discourse” in which he has discussed linguistic phenomena and discourse actions, ideological processes of discourse, relations between language and power, dominance and power relations, and social reproduction in inter-discourse and inter-textual relations. According to him, discourse is an interwoven set of three dimensions of social action, discursive action (production, distribution and consumption of text) and text. As a result, the analysis of a specific discourse requires the analysis of each of these three dimensions and the relationships between them. In this discourse, there are verbal text in the composition of the image that describe the characters, so the image has an interdiscoursive space and both verbal and visual text and their interaction with each other have been analyzed. In this painting, the painter, in a symmetrical composition of asymmetry, places the minister, Mirza Aga Khan Nouri, sitting on the floor on a  hypothetical vertical line in the middle of the image as a traditional symbol of power, the king, Nasir al-Din, on the left side and Seif al-mulk who was Iran’s ambassador to Russia and a general on the right side; so according to the rules and concepts of Persian painting which always were showing the king as the source of power in the middle of the image, the painter based on his background knowledge from political situation of court, Has started the process of making denaturalization and has revealed a hidden power struggle between the king and the prime minister The main question of the present study is what is the hegemonic and dominant ideology in this discourse and whether the orders of discourses influencing this discourse has taken steps to consolidate, weaken or change the hegemonic ideology and power? To answer this question, based on Fairclough’s three-dimensional model, this painting has been studied in three stages: textual description, discourse interpretation and social explanation, which, as a matter of necessity, and as Fairclough has argued in his theory, the authors have been constantly moving between these three stages. It seems that this painting in the stage of social explanation shows that the painter- in the position of both an activist and a creative commentator- has attracted the opinion of the possible patron of the artwork, Mirza Aga Khan Nouri, in order to show his great power on one hand, and on the other hand, he identified a secret conflict that by presenting multifaceted signs that no one except Nasir al-Din Shah could win finally, because of his absolute power as the shadow of God in Iran!      Therefore, the achievement of this research is that in this struggle, contrary to the first semantic layer, which seems to show the Prime minister as the source of power and the symbol of traditional ideology, in the hidden layers of meaning, the dominant ideology still emphasizes the absolute power of shah. But this absolute authority follows a new structure based on a mixture of discourse orders of modernism and westernization, archaic thought based on the concept of charisma and royal charisma, and the utilization of religion; Also it can be said that Hassan Afshar’s view as the artist who has worked in the institution of the Painting House of the court, was not only a reflection of the orders of discourses in political and social institutions and structures, but also it has done a hidden change in the orders of discourses of painting institution in the court. According to this perspective, in a dialectical relationship, the artist as a discourse activist in this visual text has been effective on the changes on orders of discourses in the field of court politics in a small level.

Intertextual reading is considered one of the methods of new criticism that tries to relate the text with other texts and by considering the relationships between different texts and their influence on each other, to clarify a new approach to meaning. On this basis, this article intends to reread the Shams painting by Nasrullah Afjaei, read the written and visual signs in it, and answer the question of what each of these signs indicates. What hidden meanings can the relationships between them form? This research is qualitative and descriptive-analytical, and practical in terms of purpose. The subject of study in this research is a painting by Nasrullah Afjei, executed in 1359 with paint and oil technique on canvas. In the analysis method, the approach of intertextuality is described first, and among the theorists of this field, Gerard Genet’s opinions and the intertextuality process were discussed. Since this work includes two types of written and visual signs, written and visual cues are discussed, and then the interactive effect of written and visible text and their intratextual and extratextual relationships in intertextuality and hypertextuality is explained. The writing system includes Thuluth and Nastaliq calligraphy; One of the notable points in the work is that the frame of the work is considered part of the work; Master Afjehai wrote the translation of Surah Shams in Nastaliq script, and a frame maker carved them in relief on the width of the wooden frame. Based on this, the writing of Nastaliq and Tholut on edge is also among the written signs of the work. The symbolic system of the image also includes four parts: the portrait of Hazrat Imam Khomeini (RA), which is in graphic form; vertical lines covering the Imam’s face; The color of the work, and the decorative shapes around the writings of the wooden frame. It should be noted that the textual data of this research was collected in a documentary, fiche, and library manner, and image data was collected based on field research, photography, and direct observation of the work. The results of the study indicate the existence of solid intertexts in the fields of Iranian-Islamic culture, as well as the purposeful creation of the work based on hypertextuality relationships between the Tholut script, the Nastaliq script, and the image of Imam Khomeini (RA), which ultimately forms a position that, in addition to having an aesthetic dimension And adherence to the principles of calligraphy art represents the artist’s heartfelt beliefs about the most important historical development of his time. Also, this analysis showed that the relationship between the architextuality of the work depends on the Calligraphic painting. Its metatextuality is the type of confirmation and description, and the paratextuality of the work was formed through Ayatollah Taleghani’s interpretation of Surah Mubarakah Shams and caused motivation in the artist to create the piece. Written and visual systems complement each other and effectively form the final meaning. Explicit intertextuality in the use of the written Arabic text of Surah Shams and its Persian translation is shown in the frame. Its implicit intertextuality can be seen at the linguistic level, in the selection and writing of Surah Mubarakah Shams in Arabic and its translation into Persian, and at the paralinguistic level in Punctuation and typography tricks on a non-linguistic level, he investigated the cultural dimension and aesthetic codes of the two calligraphy of Thought and Nastaliq. The symbolic system of the Nastaliq text of Surah and Imam Khomeini’s image of intra-cultural intertextuality and the Arabic text of Surah Mubarakah Shams indicate the work’s intertextuality. Also, although the twisting of the letters of the Thuluth has an aesthetic dimension, it can mean the visual interpretation of the mention of the holy word in Islamic belief. The dark and light vertical lines created by the stretching of the letters Alef and Lam of Surah Shams, in addition to the decorative meaning, show the concepts of standing and clear victory over darkness, which, due to the content of Surah Shams and the hidden sense in its good verses, refer to resurrection, There is a national uprising in which symbolic meaning is formed between the portrait of the revolutionary leader and the importance of the sun, The audience is promised the good news of victory and the resurgence of Islam. Also, the work of Shams in the context of hypertextuality, in terms of function, has a serious role, and similitude (imitation) has a forgery similitude. The type of use of the Thuluth has formed the sameness of the pastiche. The image of the Imam’s face is a type of forgery. In reading transformation (change), there is also a reductive transformation in removing photo details, which also has a slightly increasing torque due to stretching the letters Alef and Lam. This work is because it is the first calligraphy painting in which the art of calligraphy is combined with the art of graphic portraiture and has an intermodal transmodalization aspect. It has been able to create a new form in the creation of works in the genre of calligraphy, which looks creative and original

Literature has always been a beacon of a path for Iranian-Islamic art, and among the arts, Iranian painting is most influenced and indebted to the literary order. Many books such as Khamseh Tahmasebi are the product of the synchronicity of Iranian poetry and painting, which has given it a multidimensional property. In this research, an attempt has been made to deal with the category of love in the story of Khosrow and Shirin from another perspective, and the inner meaning of love has been achieved through the form of Shirin’s poetry and drawing in Cheshmehsar. The purpose of this study is to identify and introduce the theme of confrontation and emphasize its centrality as the main component of love in poetry and sweet drawing in Cheshmehsar. The main question is: the encounter in poetry And how did the Sweet painting appear in Cheshmehsar? The research method in this research is descriptive-analytical and comparative with the approach of termite theory and data collection has been done using library-documentary sources. As result, this research indicates that in poetry, the basis of contrast is expressed in structural and lexical elements as well as in different dimensions of characters, furthermore, in an intertextual relationship in the image, the contrast element is obtained from the connection of contrasting visual and visual elements. So that in the field of pictorial elements, which itself consists of background elements, human, animal, solid, and vegetable, the most important aspect of the contrast between the example role played by the artist (state and form of figures, transtemporal and transcendental objects and the location of elements) and form of the forms are revealed. This state is well seen in the figure of Shabdiz, which is a symbolic expression of the widespread presence of love on the stage. Also, in the field of visual elements, the theme of love is the result of using contrasting structures in color, texture, line, surface, and volume, which is the most tangible contrast between the abstract face and the real face of elements such as the texture of rocks or the dark color of springs and sky. Golden, obtained. In addition, the contrast in poetry and imagery based on transsexuality is such that the intertextuality relationship is explicitly and implicitly, the intertextuality relationship between drawing and painting of Tabriz II, and the intertextuality relationship in various symbolic effects, including the establishment of solid and vegetative elements. Animal and human moods, created with the help of subtle colors and textures, translate a visual image beyond military poetry or like sweet faces and moods that differ from the military description of the beauty of this Armenian prince. Shabdiz’s verse, which, unlike military poems, emphasizes internal-external confrontation, is also visible.

This study focuses on the localization of graphic design and user interface of digital products, taking into account the Islamic visual heritage and the Iranian culture of the audience, based on Gerard Genet’s hypertextual theory. The use of pre-text images of  Surah al-Kawakib version in the design of the Iranian calendar is a perfect example of multi-textual examples and references to Iranian-Islamic art, which is the relationship of the second text (Iranian calendar) from the first text (Surah al-Kawakib version); In such a way that if the first text did not exist, the second text would not have been formed. The French Gerard Genet expanded intertextuality studies more than other researchers and proposed the term hypertextuality as one of the types of transtextuality for the relationship of each text. This research tries to answer the question: which genetic hypertext and cultural models have been explained in the localization of Iranian calendar graphic design-user interface based on the version of Surah al-Kawakib? This article is descriptive-analytical and its information is collected through library and observational sources. The examples are the designed images of the months of the year in the design of the calendar, from the pre-texts of the Zodiac region in the Surah al-Kawakib version. This astronomical book was written by Sufi Razi and the illustrations of the Oxford Bodleian Library edition were created from the original treatise shortly after the author’s death. The way of designing ancient constellations are drawn without perspective and necessary details, and a kind of orientalization (post-Sasanian or Persian-Iranian) has taken place; And therefore, it has been a suitable choice for designing the Iranian calendar. This research is focused on the study of one example of Persian calendar localization in harmony with Iranian culture based on genetic polytextual studies and the influence of culture (Hofstede’s model) on the design of experience and user interface based on the pretext of Iranian Islamic art heritage has been investigated. Visual resources such as pictures of books are an important part of any culture and suitable for their use in hypertextual user interface design. Knowledge of cultural models is needed for designers in understanding the audience today so that designers can localize a product specifically based on the needs and expectations of their audience. The case study of the Iranian calendar is designed and localized based on Hofstede’s cultural model and according to Iran’s cultural index. High power distance index (with structured and guided access to information, symmetrical design on the home page and focus on traditions using images inspired by the book of Razi), Collectivism index (using formal terms in passive voice and giving users limited access to Changing or modifying the program (and on the other hand, the index of average femininity (with attractive and detailed images and colors), avoiding high uncertainty (by a simple navigation system, symbols and different color codes) has been done. Out of the six types of Gennet’s hypertextuality: Homogeneity (pastiche, charge, and forgei) and Tragonage (parody, travesty, and transposition), three of them, namely forgei, parody, and transposition, revolve around the graphic design of the Iranian calendar. Forgi is one of the most widely used formats, which has a reproduction aspect with imitation and similarity, and in a way, it is a continuation and complement of its previous and subsequent works in the months of the year and pages similar to the calendar. In the category of tragongi, parody is a change that is used by increasing and decreasing the constellations of the constellation version in the design of the calendar by accepting the changes in both traditional and more modern ways. Also, the last type of transposition (substitution) that by adapting the pretext of Sural-Kawakb version, changes are made in the form of symbolic references in the hypertext of the user interface, which refers to the effect of Surah-al-Kawakb’s pre-text. A book whose image design style is post-Sasanian or Persian-Iranian and they are drawn simply, without the third dimension and necessary details, and a kind of orientalization of ancient constellations has been done, and for this reason, it is quite suitable for use in the localization of Iranian calendar user interface design. More and more complete research in the field of culture and its representation in the design of experience and user interface of digital products should be done, especially in Middle Eastern countries such as Iran, which ultimately aims to improve the user interface design of applications and websites based on the culture of their contacts, with the aim of meeting the needs of local users.

The Qajar’s collapse and the rise of Pahlavi was a beginning of a new cultural system in Iran. Modernism and other debates derived from it such as Nationalism, Secularism and Archaism led to lots of cultural transformations that its important part was a tendency towards western culture: But despite of this tendency towards the modernity and western culture, this era was a beginning point for the traditional arts, especially for Iranian paintings. Now the question is which factors, in the Pahlavi’s modern cultural atmosphere, intensified paying attention to Iranian paintings and made a new wave of stylistic transformations in it? with this question and the aim of recognizing the process of renovation and transformation in the First Pahlavian era’s Iranian paintings, this article deals with the factors which influenced on the transformations of the First Pahlavian era’s Iranian paintings. This article, in order to draw a Semiosphere uses the Yuri Lotman’s Semiosphere theory which led to design a pattern of an Iranian painting’s semiosphere with a core which is Iranian painting’s Isfahan school and its margins that are such factors as being affected by the European paintings, Individualism and getting influenced by the dominant semantic horizon of that era. Based on this pattern, First Pahlavian era’s Iranian painters taking Isfahan school as a core tantamount to an original and national element, made a set of transformations in the Iranian paintings of that era which all of them were based on First Pahlavi era’s various cultural debates. Meanwhile this accompaniment of Iranian paintings with the debate of Pahlavi Modernism in the shape of being affected by the Europian painting, Individualism and dominant semantic horizon made so many changes in the form of Iranian paintings which led to the prosperity and legitimacy of this type of art in First Pahlavi era. Iranian Paintings’ semiosphere in Pahlavi era is based on the Safavi era’s Iranian paintings specially based on Reza Abbasi’s works. But in this era this type of Paintings added some new elements to the old one. So, some radical changes have occurred in the revived version of Iranian paintings that couldn’t be seen in the past. The faces of characters have been altered to the Iranian faces instead of Mongolian ones. Under the influence of the Government’s attitude as an anti-religious one, religious themes were not be chosen by artists to be drawn. In the Pahlavi Iranian Paintings, yet the link between literature and Iranian Paintings is seen. The paintings drawn for the Khayyam, Hafiz and Ferdowsi’s poems or verses are the best examples to indicate this link. In this era, artists were under the influence of the western style of paintings and as a result some factors were added to the Iranian Paintings such as Perspective. Presence of tourists and artists’ journeys to foreign countries, specially to Europe, added these events to this traditional art. Besides, there was a real tendency towards Iranian culture, literature and art in Europe which made the Iranian people interested in their culture and art as well. Under the influence the influence of the layers of cultural sphere of the first Pahlavi era the layers of the Iranian paintings of this era were shaped and each factor was derived from the cultural elements of this era. Art in each historical era is fully under the influence of the culture and this fact is undeniable. Cultural atmosphere of the first Pahlavi era was fully under the influence of western Modernism; So, any artistic updates which occurred in this era was under the influence of this factor. Reza shah wanted to build a modern country as a result any type of art produced in this country should have become updated with some new elements which should be added by the artists. In Iranian Paintings, the first on who did this job in first Pahlavi era was Hadi Tajvidi and we can say that he was the founder of this type of Iranian Paintings. But unfortunately, he died soon and his students became the followers of his painting style. They did great. They became famous all over the world, specially in the second Pahlavi era. Via their artistic works, foreigners became interested in this traditional art which belongs to Iran. Iranian Paintings in the first Pahlavi era became revived and has so many fans. This fact was under the influence of cultural atmosphere shaped by Reza shah’s Government, but this couldn’t last too much cause in the second Pahlavi era the cultural elements totally changed and in the cultural sphere of that era the Iranian paintings couldn’t follow the pace of growth started in the first Pahlavi era.

Photography, as a powerful communication medium, has always shown us a real and tangible world of cultural richness. Every tribe and nation has its own culture with its own special beliefs and different customs. Just as every historical object carries a message, photos, like a visual language, narrate the untold stories of history that encompass the historical legacy of a nation. This article deals with the investigation of the historical context of the city of Rasht, the first Pahlavi period. The current research, which is of historical-analytical type, and the materials and photos have been collected from organizational archives, institutions such as libraries, and also private archives. The findings show how with the beginning of Reza Shah’s reign, we witness a change in the outward process of people’s lives, especially the change in educational and cultural institutions due to the change in the political and economic system. Urbanization has faced many changes in the first Pahlavi period. Due to having suitable and sufficient infrastructure, people’s receptiveness from a cultural aspect caused new changes to take place quickly in this city. Along with these developments, we are witnessing progress in the process of the city and urban development. With the help of these developments, photography also expanded and the number of photography studios of that period increased. Access to the camera became much easier than in the past, and better light-sensitive raw materials entered the market, and cameras gradually became smaller and portable, the sensitivity of films became much higher, and people took photographs more easily than in the past. With the boom of photography and the same progress in its tools and equipment, we are witnessing an increase in photos of ordinary people and people of streets and markets. The findings related to the city of Rasht show that the presence of people in the city is visible in all the photos of the urban landscape and the photographer is not afraid to record people in his images, and this is a proof of the technical progress in cameras that, unlike in the past, the photographer, to take photos of the buildings, Due to the movement of people and the low sensitivity of the films, which caused shaking in the photo, they were not required to leave the photo scene alone. In the political changes, which was led by the ousting of Mirza Kochak Khan Jangali and the destruction of the cemetery of Sheikh Abu Jaafar, it laid the groundwork for the subsequent changes in this city, which according to the images found, a large percentage of cultural changes such as the construction of cinemas, theaters, hotels and The construction of numerous schools can be clearly seen in the pictures of this period. Since the growing city of Rasht was the origin of changes and transformations related to the events of that period, without a doubt photography had a relation with these developments. During this period, unlike the Qajar kings who only pretended to show their glory in photographs, Reza Shah tried to show the settlement activities, progress and development in urban development as the king of the country and used the photographs not for his personal purposes, but for it is used for political purposes. Among these images, we can mention the opening of railway lines, the construction of bridges, mansions, etc., all of which are being visited or inaugurated. Among the famous photographers of Rasht city in the first Pahlavi period are M. Markarian, Monsieur Soren, Isa Shafaq Gilani, Naghi Motamedi Hamdani, Hossein Mesri, Hassan Ahmadian Moghadam, Shahrabano Noushari, Mohammad Ibrahim Elmipour, Musiqar Photography Studio, Nik Photography Studio, Raphael Photography Studio, Markazi Photography Studio. Looking at the archive of photos of buildings and urban landscape of the first Pahlavi era and comparing it with the Qajar era, it can be said that this branch of photography, by order of Naser al-Din Shah, acted as a reporting news media and helped him in the administration of the country and public awareness of the state of the country. . In order to have more complete information about the cities and villages along his journey, he hired photographers. In reading these photos and putting the images together, it draws attention that despite the presence of many historical places in the city of Rasht, photographers were more inclined to record new and newly established buildings and showed less desire to photograph historical buildings. It can also be seen in the existing images that despite the beautiful nature of Rasht city, local photographers were not eager to record such images, which is believed to be due to the current government’s desire to show urban development and modernization.

Any improvement and renovation that takes place in the city must be according to the needs of human beings. Paying attention to the demands of all sections of society in the city requires proper and comprehensive planning. Urban planning must meet the needs of all citizens, especially the part of society that is in the minority or forgotten. Urban furniture is one of the essential elements in the public space that should be adapted for use by all people, especially the disabled. Unfortunately, less attention has been paid to this aim issue in Iran. People with disabilities include disabilities, the elderly, children, and pregnant women. In this regard, the purpose of this study is to provide the proposed design and criteria for the adaptation of urban furniture for the use of disabled people. For this purpose, after studying library resources and upstream projects, people with disabilities and their needs have been identified. In this study, to prioritize important urban furniture, a questionnaire was distributed among experts on the distribution and design of urban furniture based on the results of priorities. This furniture includes a bench, telephone booth, standing information boards, bus station, and drinking fountain. Then, according to the principles of the user-centered design method, the design of urban furniture is discussed. In the first stage of this method, users are identified, the environment of use and the problems of existing furniture are extracted. The axis studied in this research is Enghelab Street, between Ferdowsi Square and the location of the Welfare Organization of Tehran, with a length of 1.1 km. Problems in this axis include lack of adaptation for people with disabilities, inappropriate materials, improper location, lack of ramps and elevators in transportation stations, lack of smartphones, lack of audible alarms, lack of drinking fountain in the street.  In the second stage, the design needs and requirements are explained. In this stage, first, the axis of knowledge and its problems for the use of people with disabilities are discussed. Then the needs and requirements in the design of urban furniture are examined. To use and easily accessible urban furniture for people with disabilities, including people with disabilities, children, pregnant women, and the elderly, these elements must be adapted. In the third stage, the proposed design and criteria for urban furniture for the use of people with disabilities are discussed. To adjustment urban furniture with disabled, due to their weakness and disability, the following points should be considered in designing urban furniture: Bench: backrest and canopy, providing handles and handles in the maximum possible places to facilitate the sitting of the disabled and easy to get up from the bench, providing a place for the disabled and wheelchair users, providing support for the elderly and disabled who can sit Do not have but need temporary rest, proper location, Telephone booths: general standards that make the device available to the public, special considerations for the use of specific users, including the disabled, the elderly and the like, appropriate height and width, proper location and distribution, use of the line Braille and audible alarms, Information boards: Enough light for night vision, use of appropriate and legible colors, use of braille, clock display, signposts for access to public places and access to public transportation, audiotape and motion sensor to guide people with disabilities, Bus stations: There are mosaics for the blind, wheelchairs, benches for children and adults, signboards for the use of wheelchairs, Braille signs for the blind, appropriate colors and materials, trash cans for the disabled Handrails for the disabled; Drinking: use of durable and durable materials, considering the types of people with disabilities, access using mosaics for the blind, appropriate height, allocating space for wheelchairs; In the fourth stage, the proposed designs are evaluated. In this regard, a questionnaire was designed and provided to 50 experts and thinkers. The results of appraising the proposed designs show that the designs made in the three sections of design and fit, location and readability, and safety, according to experts, are very suitable for use by people with disabilities. As a result, relevant indicators and guidelines should be used to make efficient adjustments. in designing urban furniture, all kinds of disabilities should be considered, including physical disabilities, sensory disabilities, children with disabilities, pregnant women, and the elderly. In this research, an attempt has been made to design furniture that is important from the point of view of specialists and experts, benches, telephone booths, bus stations, drinking fountains and information boards, and their proper location in the study axis. Tehran is essential for people with disabilities.

Haft Tanan Tekyeh in Shiraz, Iran is one of the public buildings built during the Zand period. Its architecture and decorations invite different studies as certain ornaments appeared in different historical periods. Accordingly, murals were among the prominent decorations of the building in the Zand period. This is confirmed by the five miniatures in the Haft Tanan mansion hall. The paintings have ritualistic-mystical themes, which correspond with the mystical function of a tekyeh, since they amplify the spiritual atmosphere. The subjects of the miniatures in the hall are, from right to left, the old dervish, Moses while shepherding, Sheikh San’an and daughter of Teresa, Abraham (Ibrahim) sacrificing Ishmael (Ismail), and the young dervish. Given that the mystical beliefs were rooted in Ishraq (Illuminationism) and no predetermined framework seemed to be applied, finding a specific theory and method as the theoretical background was the most difficult part of this study. Nevertheless, a treatise from the eighth century AH / fourteenth century AD was found in the literature review. The main purpose of the study was mystical analysis of color in the weavings of five miniatures in Haft Tanan mansion hall based on Abu al-Mafakhir Yahya Bakharzi’s views in the Fusus al-Adab. The weavings were categorized in two ways: first, “dari” (loom-made) and “dastgahi” (machine-made), and second, “clothing” and “not clothing”. Next, color was analyzed in clothes, curtains, and sacks based on Bakharzi’s theory. The main research question was: How could the colors used in the miniatures be explained from a mystical view? It seems that the colors used in the five “majlis” of Haft Tanan are influential in conveying a mystical feeling since they are among the most frequent Islamic colors. This basic qualitative study had a descriptive-analytical design, and the data were collected from direct observation, photographing, and video recording of the five paintings and indexing of library sources. The five miniatures were studied using non-probability sampling. It seems likely that the painter had chosen the colors according to the function and mystical atmosphere of the building purposefully. To prove this assumption, first, the weavings of each miniature were categorized. Then, the colors were determined and analyzed in the context of Bakharzi’s mystical notions in his Fusus al-Adab. The significance of the study was fulfilling the lacuna in research based on the views of Iranian Islamic scholars, particularly with regard to scarce resources from the Zand period. Non-courtly art and architecture in different historical periods in Iran have not been sufficiently studied. Moreover, the review of literature showed the scarcity of research on mystical meaning of colors based on the views of Iranian Islamic mystics and scholars. Several studies were found on the paintings in Haft Tanan mansion in Shiraz, Iran, but none had covered the topic and aims of this study. The results indicated that all of the colors were meaningful in Iranian Islamic mysticism according to the Fusus al-Adab. Going against the grain, Karim Khan Zand turned to non-courtly arts, which led to new approaches in art during the second half of the twelfth century AH / eighteenth century AD. When popular art that included popular and common themes were highlighted, artworks were created that were different from their predecessors. The paintings in the Haft Tanan mansion hall are among the non-courtly works that portray mystical themes from the Zand period in Iran. The colors in the weavings were analyzed in the five miniatures in Haft Tanan Tekyeh based on Iranian Islamic mystical principles, particularly Bakharzi’s views in his Fusus al-Adab. The weavings were categorized in two ways: first, “dari” (loom-made) and “dastgahi” (machine-made) and second, “clothing” and “not clothing”. The instances of traditional weavings were studied in three groups of clothes, curtains, and sacks. Centering on Bakharzi’s ideas in the Fusus al-Adab, the views of other mystics such as Najm ad-Din Kubra and ‘Ala’ al-Dawla Simnani were integrated in the discussion. Although there is a four-century break between Bakharzi’s treatise in the eighth century AH and the creation of the miniatures in Haft Tanan in the twelfth century AH, the perennial memory and dominance of the spirit of Iranian culture could explain the relative congruence of the contents of the book and the miniatures. Each one of the miniatures describe a certain level of the mystical “seyr-o soluk” (journey). According to Bakharzi, the color of clothes was among the crucial factors of identifying the state of mystics in the past. In this respect, each miniature was analyzed based on the Fusus al-Adab and the results revealed that the the old and young (Shah Abbas) dervishes, Sheikh San’an and daughter of Teresa, and Abraham and Moses were colored purposefully. The white cloak of Moses, the green robe of Abraham, the white shirt of Ishmael, the red shirt of daughter of Teresa, the blue dress of the young handmaid to daughter of Teresa, and the green and gray shades in the garments of Sheikh San’an, the old and the young dervishes. and the old servant all had mystical meanings and were according to the levels of “soluk” based on Bakharzi’s Fusus al-Adab. Future studies are recommended to use the views and works of Iranian scholars in addition to international chromotology sources in analyzing artworks as it appears that both include a common origin, memory, and historical influence.