مجله رهپویه هنر
سال ششم شماره 3 (پیاپی 20، پاییز 1402)

This paper deals with one of the most influential theoretical works in the field of philosophy and the ontology of the arts in the twentieth century. The term Aura was used by the German author Walter Benjamin in his important 1936 essay "The work of art in the age of mechanical reproduction". Benjamin argued that ‘even the most perfect reproduction of a work of art is lacking in one element: Its presence in time and space, its unique existence at the place where it happens to be.’ He referred to this unique cultural context i.e. ‘its presence in time and space’ as its ‘aura’. Despite being widely accepted, the ideas of Benjamin in his well-known essay "The work of art…" are controversial. The most significant issue raised by Benjamin is the conceptualization of the Aura of an artwork and its decline with the help of mechanical reproduction of the works. However, the critical question is, are Benjamin’s arguments about the Aura and its decline acceptable in our day? What are the reasons for and against Benjamin’s thesis? Our purpose in this study is to critically examine the theory of Benjamin’s declining Aura, a theory that has been more widely documented in Persian sources than criticized. Given that the present paper is solely responsible for Benjamin’s views in his aforementioned essay, the research method is based on critical reading and analysis of the text, scrutiny of his logical arguments, and support from previous research by foreign scholars about the subject. Thus, library materials and resources, especially those written in English about Benjamin, form the basis of our qualitative data. In the final analysis, for several reasons, it can be concluded that the theorist of the declining Aura, although well aware of the importance of the advent of mechanical reproduction, has made serious mistakes in assessing its consequences. In our opinion, the Aura of contemporary art has not only disappeared but its dimensions and scope have become increasingly potent. Today’s Aura is not just a matter of great artistic masterpieces, but of the concept of Art itself, and of the creeds and rituals that have been shaped by late Capitalism and the economics of contemporary art. Who can deny that the Mona Lisa painting is still, and perhaps more than before, a powerful attraction that draws everyone to the Louvre Museum? Particularly today, signposts are erected throughout the museum to show the way to the curious audience, who line up to watch a small artwork for a few moments from a distance, behind a bulletproof glass case. The aura has not faded and will probably never diminish. Art is inseparable from its sacred origins. The aura, which always holds the qualities of ritual sanctity, takes on a real form in the distinction between the original and its reproductions. Therefore, there is still an aura at work today. The aesthetic judgments of the upper classes of society, which establish the cultural institution of art in the form of museums and art galleries, by framing and placing the work of art in the museum, throw a veil around it. While separating artworks from ritual origins, museums create a new ‘aura’ for art by classifying works in a specific place and time in an environment separated from the outside world. Thus, in this era, art is transferred from its original setting with religious authorities to the political-economic authorities of capitalism, with a more or less similar structure: from the church to the museum. Now the politics of the upper classes manage the affairs of the art world and shape the understanding of society. Today, the abundance of images promoted by digital mass media recreates the aura in a strange way for individuals in distant places. Mass reproduction has actually enhanced the aura in an unexpected way and multiplied the monetary value of the work up to a distant and priceless status. Last but not least is that aura would be accurately analyzed when it is considered a declaration regarding the subject of perception and not its object. If we pay attention to the fact that the aura is formed in the eyes of the beholder and does not belong to the work itself, and if we pay attention to the fact that the perception mechanisms of the beholder, even in the post-modern times, has not undergone a dramatic transformation (that is, the cult of art has replaced the former magical or religious rituals), then we will speak more cautiously about the declining of the aura.

Sign Qurans of Sheikh Ahmad Jami Museum, 8th to 13th AHThe reciters used the science of safety in order to pause or finish the daily recitation and decorated the religious ones in order to beautify the Quranic verses. The purpose is to study the visual design of the design and decoration in showing their Quran. Sheikh Ahmad Jami Museum is available from the 8th to the 13th century AH. Using visual features decorated with Quranic markers in the Sheikh Ahmad Jami Museum, what is it from the eighteenth to the thirteenth century AH? The approach, quality and method of research have been descriptive and analytical and sixteen examples of the Qur'an that show are selected. The findings show that the manuscript of the Sheikh Ahmad Jami Museum The beauty and delicacy of gilding reached its peak in the tenth and eleventh centuries, and this excellence and evolution continued until the end of the thirteenth century.The writers of the Qur'ans of Sheikh Ahmad Jami's Mazar have decorated and beautified the manuscripts with eye-pleasing images and gilding to increase the impact of their writings and attract more readers. In addition to the mentioned reasons, the common goal of painting and religious masters is to achieve that sublime beauty that not only pleases the eyes but also illuminates the hearts, and the result of the sincere efforts of the artists is the presence of external and spiritual beauty in all the Qurans of this collection, especially the opening pages. and their ends. In this research, a study and examination of the evolution and development of the page layout of the opening and closing pages during different periods and the analysis of their visual aesthetics in order to familiarize with the masterpieces of Islamic art in Iran and find out its functions in today's art have been done. In this regard, the number of 16 examples of manuscript Qurans Available in Sheikh Ahmad Jami Museum, 3 pieces from the 8th century AH, 2 pieces from the 9th century AH, 2 pieces from the 9th and 10th century AH, 2 pieces from the 10th century AH, 5 pieces from the 12th century AH have been selected. and includes 2 numbers of the 13th century A.H. At the beginning of the information, data, plant elements, the role of Islamic and contemporary elements in the pages of the opening and completion of these 16 manuscript Qurans from the Seljuk era to the Qajar era using historical books, analysis and sources related to They have been compiled and analyzed. The reciters used the science of safety in order to pause or finish the daily recitation and decorated the religious ones in order to beautify the Quranic verses. The purpose is to study the visual design of the design and decoration in showing their Quran. Sheikh Ahmad Jami Museum is available from the 8th to the 13th century AH. Using visual features decorated with Quranic markers in the Sheikh Ahmad Jami Museum, what is it from the eighteenth to the thirteenth century AH? The approach, quality and method of research have been descriptive and analytical and sixteen examples of the Qur'an that show are selected. The findings show that the manuscript of the Sheikh Ahmad Jami Museum shows the Surah Surah, Jazu, Hezb, Sajdah, Khamseh, Ashra, the end of verses and a combination. Garlic design and coloring in different types of Quran Sheikh Museum lines have been integrated from a simple form without decoration. These arrays in Badi Amr are destroyed with limited colors, especially gold, and are painted from the sixth century AH onwards, and while preserving the gold background, rich and effective colors such as azure, sandstone, white water, arsenic (yellow light), Syringe, rusty green found in the arena. The beauty and delicacy of gilding reached its peak in the tenth and eleventh centuries, and this excellence and evolution continued until the end of the thirteenth century.Sheikh Ahmad Jami collection has exquisite calligraphic Qurans that have several symbols in their memory. In this regard, 16 samples of manuscript Qurans from the Seljuk era to the Qajar era in the Sheikh Jam Quran Museum have been selected, including 3 from the eighth century AH, 2 from the ninth century AH, 2 from the ninth century and The tenth century AH, 2 numbers from the tenth century AH, 5 numbers from the twelfth century AH and 2 numbers from the thirteenth century AH are included. There are many Qajars that have 8 types of signs: Sarsura, Jazoo, Hezb, Sajdah, Khamseh, Ashareh, the end of verses and a readable combination. So far, the mentioned Qurans have not been in the scope of research of scholars and the available resources in this field are very few and few. Therefore, the purpose of this study is to identify the decorative arrays used in the Qur'an and the symbols of the 8th to 13th centuries AH in the Sheikh Jam collection. So what are the arrays and structure of the decorative elements in the signs of the Qur'an of the Sheikh Jam Museum?Comprehensive introduction of various signs of manuscript Qurans from the 8th to the 13th century AH in the Seljuk, Ilkhanid, Timurid, Safavid and Qajar periods in the Sheikh Ahmad Jaji Quran Museum is one of the achievements of the present study. The statistical population, which is 16 manuscripts of the Quran, has been selected and examined based on priority and non-repetition of 16 samples of manuscripts of the Sheikh Ahmad Jami Museum in order to provide the maximum amount of information based on the research questions. The research method is descriptive and analytical and the data collection tool is documentary, library and especially field studies.The results of the findings of this research showed that the page layout in the manuscript Qurans of the Sheikh Ahmad Jami Museum from the Seljuq era to the Qajar era has evolved and the aspects of page layout, page divisions, tabulation and writing have evolved from a simple and unadorned form to coherence and decorations. In the Seljuq period, Simple geometric forms and limited colors are used in the layout and decoration of Qurans, but after this period until the Qajar era, the composition, layout and decoration become more coherent and regular, and a variety of colors such as gold, lapis lazuli, and saffron are seen in it.Comprehensive introduction of various signs of manuscript Qurans from the 8th to the 13th century AH in the Seljuk, Ilkhanid, Timurid, Safavid and Qajar periods in the Sheikh Ahmad Jaji Quran Museum is one of the achievements of the present study. The statistical population, which is 16 manuscripts of the Quran, has been selected and examined based on priority and non-repetition of 16 samples of manuscripts of the Sheikh Ahmad Jami Museum in order to provide the maximum amount of information based on the research questions. The research method is descriptive and analytical and the data collection tool is documentary, library and especially field studies.Sheikh Ahmad Jami collection has exquisite calligraphic Qurans that have several symbols in their memory. In this regard, 16 samples of manuscript Qurans from the Seljuk era to the Qajar era in the Sheikh Jam Quran Museum have been selected, including 3 from the eighth century AH, 2 from the ninth century AH, 2 from the ninth century and The tenth century AH, 2 numbers from the tenth century AH, 5 numbers from the twelfth century AH and 2 numbers from the thirteenth century AH are included. There are many Qajars that have 8 types of signs: Sarsura, Jazoo, Hezb, Sajdah, Khamseh, Ashareh, the end of verses and a readable combination. So far, the mentioned Qurans have not been in the scope of research of scholars and the available resources in this field are very few and few. Therefore, the purpose of this study is to identify the decorative arrays used in the Qur'an and the symbols of the 8th to 13th centuries AH in the Sheikh Jam collection. So what are the arrays and structure of the decorative elements in the signs of the Qur'an of the Sheikh Jam Museum?Comprehensive introduction of various signs of manuscript Qurans from the 8th to the 13th century AH in the Seljuk, Ilkhanid, Timurid, Safavid and Qajar periods in the Sheikh Ahmad Jaji Quran Museum is one of the achievements of the present study. The statistical population, which is 16 manuscripts of the Quran, has been selected and examined based on priority and non-repetition of 16 samples of manuscripts of the Sheikh Ahmad Jami Museum in order to provide the maximum amount of information based on the research questions. The research method is descriptive and analytical and the data collection tool is documentary, library and especially field studies.The research method is descriptive and analytical and the data collection tool is documentary, library and especially field studies.

The transition from structuralism to post-structuralism and the transformation of the paradigm governs  society changes in the field of criticism. . In this period, the text is placed against the work, and the text becomes an open realm in abundance and diversity of meanings. Today, mythological approaches are considered as important methods of literary and artistic criticism. Myth is rooted in the history, culture and collective unconscious of nations and societies and benefits from thought, fantasy, symbol and internal imagery. The essence of literature and art seems the same, and there is a close connection between these two and myth, so myth can be considered as a literary or an artistic genre. To put it better, myth is considered an interdisciplinary genre that covers a wide range of epic, tragedy, dramatic literature, poetry, painting, and sculpture from the past and has a strong presence in cinema today. In the second half of the 20th century, the one who built Mythological criticism and organised the fundamental philosophy of imagination was Gilbert Durand. His theories and methods of criticism show this movement from Mythocriticism (Mythocritique) to Mythanalysis (Mythanalyse). He continued the new method of literary criticism that Gaston Bachelard had started but did not manage to finish, that is, a methodology based on myths. The present research aims to understand the stages of the formation of a meta-definition of myth in a chain of words and his methodology in a constructive combination of the intersection of old and new literary and artistic criticisms and their convergence in a trihedron of critical knowledge. It is taken into consideration and it moves in search of an answer to this question: The evolution of Gilbert Durand's theories in the continuation of the history of criticism until the formation of the theory-method of mythanalysis, what hierarchy did he go through and how did he use methodical mythology in the analysis of literary and artistic works and influence their criticism? The research method was done by translating and referring to the main sources including the works of Gilbert Durand and other related books, and using a descriptive and analytical method, the basics of the discussed theories were developed as practical approaches in art and literature criticism. According to the result, Gilbert Durand's definition of myth, among many definitions, is introduced and specified as a meta-definition, in that it ends the confusion governing the terms related to imagination and it provides a clear definition of the words that are necessary for his analysis; it also keeps only those expressions. Meta-definition defines this system in a chain including: reflex, schema, archetype, symbol, and myth. Gilbert Durand believes that the basis of understanding the structure of the text is the discovery of hidden myths, which are more effective than exposed myths, and knowing the cultural context of the society and metatextual issues can influence the choice of mythological patterns. According to him, myth and imagination are the center of gravity of historical, social and philosophical issues with psychological motives. It has also been indicated that from the Mythical figures and faces of the literary and artistic work to its hidden myth, what background and how many stages they have gone through to be analyzed and Mythanalysed. By identifying the mythical atom, that is, the smallest discursive unit of myth that has a structural nature, a limited atlas of micro-myths (Mythèmes) is formed at the moment of reading the work and at the moment of creating the work, and in the theory-method of mythanalysis, by searching and studying, the codes of the work are revealed. Its method can be defined in three stages: 1. Finding nuclear myths, 2. Chronology of culture and society, 3. Discovering the compensated myths. Such a process can be used to establish a proper structure in art criticism and art history through the adaptation and application of Gilbert Durand’s method in the literature. During the discussions of the article, concepts such as literary theory, literary criticism and literary history are not considered separately from each other, but it is believed that they imply each other and can be used in accordance theory of art, and art criticism. Therefore, it can be placed in the history of art. Many criticisms have been raised first in literature and dramatic literature; however, they can also be extended to art, and by referring to them, the art critic can focus on his perspective and how to create a new meaning. Gilbert Durand's theories and methodologies are usually used in a complementary way.

Mircea Eliade (1907-1986) connects ancient events with ancient civilization beliefs and gives religious essence to them. This articles trying to deal Tahmasebi Shahnameh with mythical character of Fereydoun by Eliadeh religious phenomenology approach and analyzes its reflection in the painting entitled Fereydoun for examining boys traits, turn into a dragon canfigueation. Eliadeh believes activities that confront ancestor’s works are related to ancient ritual societies and in ancient world behavior and action are not accomplished unless they follow special reason and have religious ritual purpose. So any activity that takes place in ancient world and pursues a specific outcome is considered ritual. Eliade is one of the intellectuals who try to know religions by religious phenomenology and hermeneutics. He uses a different method that is common in history and he based his research on the religious and symbol maker human. He thought ancient systems regarding models and myths that don’t depend on time and place with repeatability have spread sacred beliefs during time. Therfore most of our ancestors works are in religious phenomenology field.Iran with ancient background has an exemplary role of transferring human and behavior values to the world by cearting exquisite and great works. Among Iran classic artistic and literary works that have presented myths and symbols are, Ferdowsi’s Shahnameh and Tahmasebi illustrated poetry. Ferdowsi versified the myths and history of ancient Iran in an exquisite way and with a genealogical structure of the lives of heroes and Kings, he included many beliefs and rituals of Iran in his poems, Shahname. Ferdowsi`s creative imagery and scenery encouraged some rulers to illustrate the Shahnameh. For example, we can refer to Tahmasebi Shahnameh with 258 painting from exquisite illustrated poetical works of Safavid era. Faith in God, pure nature and honesty are fundamental features of shahnameh that man’s inner motivations based on religion and rituals cause his choices and decisions in the course of his life. There is religious ritual approach in mythical story of examining Fereydun’s boys` traits because he is able to change into dragon by his magic power. That’s how he can make decision by evaluating their behavior for division of his territory and government.The main purpose of the article is to pay attention to the Fereydoun’s character and other characters that is, the Dragon, the other faces of Fereydoun with extraterrestrial magic force; and his sons named Salm, Tour and Iraj of story. Since in Shahnameh all of the events related to princes, heroes, animals, plants and mythical creatures that are somehow related to the forces of good and evil – Ahuraian; demonic – undoubtedly, its paintings are also influenced by such as attitude, so it can be analyzed in terms of religious phenomenology. In this regard the attitude of the ancient mythologist and theologian Mircea Eliade is logical solution. Considering visualization especially Tahmasebi Shahnameh and Mircia Eliade’s theories, many books and articles have been published. These books have been analyzed from different aspect , but simultaneously regarding this painting and the related subject, no study has been done. So lackof study in terms of religious phenomenology from Iranian paintings that are full of symbolic and mysterious requires to be studied. Therefore this study has considered theoretical ideas of Eliade, Shahnameh’s story related to the painthing, nature and mythical personality of Fereydoun, then it analyses religious phenomenology by describing elements and motifs of this painting. About this context, questions are asked to know how Fereydoun transformation to dragon for examining boys is related to religious and mythical culture. How is the connection of religious phenomenology with human and inhuman elements of painting described? This article is theoretical – fundamental from purpose aspect and is analytical – descriptive from methodology. It studies according to religious phenomenology approach of Mircia Eliade. Compiling tools from library includes books, articles, Tahmasebi Shahnameh album and scientific sites. Also this research explain, respectively, Mircia Eliadeh theories, Shahname narration related to selected painting and the description motifs of this painting , in the end, it provides phenomenology analysis. The results of writing show that generally Fereydun’s character examining boys` traits and his power of transformation are all related to transcendental forces and the painter has tried with visualizing mythical space of story by symbolic elements. Skillful painter represents inner intention of Fereydoun with a black dragon symbol and his awareness of ancient thinking with a special intelligence. Big mouse reminds destructive deception, it can be a symbol of ruinous destiny for Fereydoun’s family. Ghorm or the ewe is symbol of divine glory refers to Fereydoun’s glory getting away as it climbs the top of the mountain. The presentation of horses colors especially blue color of Iraj’s horse can be a symbol of inner purity, knowledge and even his future desting namely joining eternity. Examining and being examined are fundamental principals of ancient life. Finally, it seems most of element and motifs of this painting have been elevated symbolically in order to express and transfer concepts of ancient Iran.

Iranian painting, as an art dependent on Persian literature in terms of themes, narratives and characterization, and context, contains dramatic situations that have been overlooked in academic studies. The analyses of such situations and their structural elements help us better understand the illustrations’ covert narratives and methods of expression. The analyses of such situations and their structural elements help us better understand the covert narratives and methods of expression in the illustrations. This paper utilizes a descriptive-analytical method to analyze two miniature paintings from the Khamsa of Shah Tahmasp, an adaptation of the Persian literature masterpiece Khamsa, written by the Persian poet Nizami Ganjavi. Nizami is one the most significant romantic epic poets in Persian literature whose works have been adapted by many poets, writers, playwrights, and artists. His Khamsa is considered one of the canonical works of literature in the Persian world. Among the five parts of Kahmasa, Layla and Majnun is arguably the most famous one, which tells of a young man, Majnun, who falls in love with a girl, Layla. Despite the mutual feelings they share, they are not able to begin a relationship. By analyzing two paintings based on this story, used in Khamsa of Shah Tahmasp, the study attempts to answer this question: what are the dramatic situations of Layla and Majnun, and how are they reflected in the miniature paintings? Barriers to loving (situation 28th), regret (situation 34th), and losing a loved one (situation 36th). None of the above situations play pivotal roles in the paintings existing in the Khamsa of Shah Tahmasp and are replaced by insanity (situation 16th). The first painting of the Khamsa of Shah Tahmasp is derived from a point in which Majnun is disappointed with reaching the hands of Layla due to the higher status of Ibn Salam. Seeking to produce excuses for – even – short meetings with Layla, he comes across an old woman and asks her to place chains around his head and take him to Layla’s tent. The incident expresses an insane state that has turned into the core of the painting. The painter, making a conscious selection, selects the dramatic state of insanity in the poem and, then, displays it in the painting. Using the element of chains and hands placed on one another, without being closed, the playful dance of three adolescents, the allocation of little pictorial space to Majnun and the old woman, shocked looks, the bird on a dry tree, birds on a blooming tree, and the playing of a flute all instances of his artistic strategies to display such a dramatic state in the Layla and Majnun painting.
The second painting also displays the life of an insanity-stricken person; someone who has preferred the company of animals and beasts to that of humans. Nevertheless, it should be noted that the state of insanity exists in Layla and Majnun, as well. However, unlike such paintings, it plays a peripheral role in the collection. Some artistic strategies adopted by the painter in this painting to display the dramatic state of insanity, other than the painter’s conscious choices, include the selection of pairs of animals, disorderly rocks in a plan, the companionship of the hunter and the prey, and the significant vegetation of the desert. The painters’ approaches in implying the inner feeling of the story and their creative additions to it have enriched the paintings visually; in this way, the painters both narrate Nizami’sLayla and Majnun and, at the same time, have an independent and creative existence that display the implicit aspects of Nizami’s work to the audience. Another strength of the paintings is their focus on the protagonist or the main character of the work. The painters of the Khamsa of Shah Tahmasp have been successful in implementing the capacities of the character Majnun to display the climax of theLayla and Majnun collection. This can turn into a convenient model for artists who create their works by taking adaptations from various branches of literature. The Thirty-Six Dramatic Situations theory of the French playwright-theorist Georges Polti has been adopted to discover the pivotal dramatic situations in Nizami’s story and the adapted paintings. The results show that there are three major situations in Nizami’s version: obstacles to love (situation number twenty-eight), remorse (number thirty-four), and loss of loved ones (number thirty-six); none of which has been dominant in the adapted paintings. The miniatures do not replicate the source text but recreate it while remaining deeply engaged with the original material. This approach brings a new aspect to the miniatures and turns them into unique works; they represent Layla and Majnun but stay independent and creative, enabling the audience to witness the hidden parts of Nizami’s work. The miniatures do not replicate the source text but recreate it while remaining deeply engaged with the original material. This approach brings a new aspect to the miniatures and turns them into unique works; In order to obtain the results, the article begins with a summary of Polti’s theory, an introduction to Layla and Majnunn as well as the Khamsa of Shah Tahmasp, and it continues with the analyses of the selected miniature paintings following Polti’s theory.

In the field of painting, artists have penetrated the conventional boundaries of painting and set new standards, including Mohammad Siah Qalam. The problem of this research is how to use pictorial and visual elements as well as design in Mohammad Siah Qalam's divination. The difference between this research and the previous researches is in dealing with the pictorial, visual and design elements in Mohammad Siah Qalam's divination to show the two concepts of ugliness and beauty at the same time. One of the goals of this research is to deal with the neglected aspects of Siah Qalam's madhouses, as well as to analyze how ugly manifestations are reflected in it, with an emphasis on Mohammad Siah Qalam's demon paintings.Beauty in Iranian painting is the result of visual harmony and proportion; The beauty of harmony and proportion is a relative matter that is influenced by factors such as living environment, practice, experience, and education, and the repetition of concepts based on certain forms with similar structures causes the soul to get used to it, and this habit of the soul causes beauty. Be these concepts. But beauty, if it is relative to the truth, will always be beautiful and is not relative; Mohammad Siah Qalam painted the daily life of ordinary people during his lifetime and ignored the rules of the royal workshop-library, he is considered a realist artist, and at the same time, the way he dealt with the subjects he chose was with a formal method. Mohammad Siah Qalam, in his second period of painting, created a transformation in his work style; And for social criticism, he chose satire along with Grotesquera. The necessity and importance of the upcoming research is to investigate and research about the concepts and causes of this style of painting (which is neglected compared to the conventional style of the time of the painter under study); The new and original aspect of this research is the neglect of the concept of ugliness and specifically ugliness and madness in Iranian painting. The difference between this research and the previous researches is in dealing with the pictorial and visual elements and design in Mohammad Siah Qalam's divination to show the two concepts of ugliness and beauty at the same time. The aspect of innovation in the analysis is the reflection of the opposition of these two concepts in the demonizations of Professor Mohammad Siah Qalam. The concept called "beautiful" is one of the constant elements in the discussions of the philosophy of art, and different views have been presented about it. In parallel with beauty, another concept is formed called "ugliness". Unlike beauty, it is not the focus of art and philosophy researchers. In fact, the definition of ugliness is using the concept of beauty. The concept of evil is related to ugliness. To define these two concepts, their opposite concepts (goodness and beauty) can be used. These concepts can be traced in the history of Iranian art and painting. Ugliness plays an important role in this, it has been neglected. This role is remarkable and thoughtful in the works of painting and especially in the madness of Mohammad Sieh Qalam. An artist whose tendency to break the foundation and remove familiarity can be seen in his works. Regarding the way of coloring the works of Mohammad Siah Qalam, it should be said that in most of the works related to the second period of his work, we see the use of partial and spiritual colors. But in the later style, the colors are not uniform and dark colors are used. In such a way that he first removed the motifs with dark colors and then using dark colors, he painted them raw brown grays. The color in the works of black pen is very heavy and harsh and sometimes very bright; Garlic to light pea grades. Different tones of bright colors were used in his painting, the colors were dull and dark. The works of the second period of his paintings are different works compared to the first period, which have symbolic concepts in all areas such as the type of frame, the type of lines, the coloring method.This research has collected the materials using a descriptive-analytical method and using vouchers, library sources and documents. The method of qualitative information analysis has been investigated through information analysis using books, articles, researches and researches related to the subject of Mohammad Siah Qalam's paintings (here focusing on visual and visual elements and design). The findings of the research indicate that there are elements of humor, play, entertainment and vitality in the black ink drawings. In order to draw beauty and ugliness, he has used the lens of focusing on visual elements and design in murals, which categorization and separation are among the achievements of this research.

Vank cathedral or Surb Amenaprkich is one of the valuable historical monuments in Iran, which was built during the time of Shah Abbas Safavi by the Armenians who lived in Jolfa region of Isfahan during nine years (1655-1664); This cathedral, which is a Combination of Islamic architecture and Christian art, was built by order of Shah Abbas and in a different way from Armenian architecture, i.e. by using Iranian architecture and Islamic, but it was built optionally in interior decorations; Therefore, inside the cathedral, paintings of biblical stories (Old Testament and New Testament) were created by master painters such as Master Minas Zahra Bayan, Hovhaness Murkozes and their students. Now, according to the principle that the Christian religion is formed based on symbols and its primary art is iconography, the author aims to find the signs in the painting of the Last Judgment in Vank cathedral by using the semiotic model of Pierce. Analyze that image. Therefore, according to the classification of Peirce, the American semiologist and pragmatist, of signs which are divided into the three categories of symbol, profile and image, the present research seeks to answer the question that in Christianity, life after human death (heaven and hell) what is it like? According to the texts of the New Testament, resurrection is the day when the world will end and this is the time when Jesus Christ will appear for the Last Judgment. On this day, the souls of all people are resurrected together with their bodies and with all their characteristics and appear before God for evaluation and judgment, based on their belief in Christ, so that their eternal place, i.e. heaven and hell, is determined. In fact, the belief system of the majority of religions in the world is based on the fact that the dead pass through the gates before being sent to heaven or hell, which is the place of their eternal life. This theme, which has gained special importance in Christian art since the 7th century AD, was first painted by Michelangelo on the altar of the Sistine Chapel in the Vatican, which later became a model for others such as the artists of the Vank cathedral. One of the reasons for choosing this theory is that it is possible to use the descriptive-analytical method to understand the concept and function of signs in the painting, as well as the available information about the way of life after the death of humans, which is based on the sayings of the Christian religion in the painting. It is depicted in the cathedral of Vank achieved. The information in this research has been collected and analyzed in a qualitative way through the library method, field method, direct observation of the work, and the traditional polling method, as well as the use of the Internet; The results of this information have proven the hypothesis of using semiotics to answer the research question. Therefore, the findings indicate that: in the painting of the final judgment, the symbols are divided into two separate categories, that is, with positive and negative meanings to express the events of the Day of Resurrection, as well as heaven and hell, of course, some of them are placed in different sections. And next to various elements, they may have different meanings. But next to symbols, other signs such as profiles are signs whose subjects can be observed and deduced, in fact, a profile such as the sound produced through trumpets and trumpets implies "hearing". And it should be said about icons that they are signs that are similar to their signifiers; Therefore, according to the principle that Christ is the incarnation of God, therefore God has a human image in the painting of the final judgment. As a result, in general, it should be said that the final judgment painting expresses part of the teachings of the Christian religion and the theme of human life after death by using signs that, by distinguishing and recognizing them, we can understand that the religion of Christ promises humans to heaven and hell. And it refers to Jesus Christ as the manifestation of God among humans. In fact, this religion believes that Christ sacrificed himself for the salvation of humanity and the forgiveness of human sins; So on the final day, those who believed in him (God) will be accepted in paradise; And the people who did not believe in the Trinity (Father, Son, Holy Spirit) are tortured by the demons of the underworld that Lucifer, the exiled archangel, taught them because of their disobedience to God's commands. In the end, it is necessary to emphasize that each of the three aspects of signs played a role and was influential in the creation of the desired work.

Design is defined as the human capacity to build society, on the one hand, to satisfy needs and give meaning to life, and on the other hand, to create a product through empirical and analytical methods. In the process of creating a work, designers respond and shape the world in which they live and form themselves based on their perception of the culture of that world. Today, as the issue of the impact of culture on design is an undeniable debate. Therefore, addressing it can to some extent bridge the gap in this direction. The purpose of this article is an analytical-comparative study of cultural design from the point of view of Stuart Hall and his theory of representation. In this research, we try to select some Iranian handmade packaging as a case study of the effect of culture on product design and how to identify them. Therefore, the questions of the present study are: Design, in which group of definitions of culture? What is the relationship between designer, culture, identity and environment? Could Stuart Hall's theory of representation be a comparative study of culture-based design from the perspective of Christopher and Levy? What is the method and quantity of the identity of Iranian artisan packaging? The present study is an analytical-comparative method with a qualitative approach, which explores the relationships between the designer, culture, identity and the environment from a fundamental point of view. And it was done through the collection of documentary information (library texts) and context. After studying the text of the most important research and works in the field of the effects of culture on design, this research expresses the effect of each society's culture on designer and design, examining the position of design among the practical definitions of culture, comparing the views of Christopher Alexander and Raymond Levy with Stuart Hall's theory of representation. Finally, selecting the target population, which is 233 packaging samples available in the Iranian market, and selecting 79 samples of the target population by stratified and probabilistic sampling with a quantitative approach to investigate the extent and identity of Iranian artisanal packaging. In this perspective, it is therefore a sort of theoretical study and analysis of the visual content, which, according to Hall's theory of representation, deals with the discovery of fundamental meanings in the message and is based on arguments deduced from the data. The result of the research indicates that, based on the definitions of culture and identity that were formulated at the beginning of the research, it can be said that the design and production of the product fall into all four categories of historical, psychological, structural definitions. and descriptive of the culture. In discussing identity, it should be borne in mind that the identity of each product reflects the identity of the designer and the audience community. Therefore, in design, by designing and creating the product, a systematic media and symbolic communication is established. Hall defines the cycle of culture as production, consumption, norms, identity and representation. Finally, a place for design in Hall's theory can be placed in the reference designer-centered approach and in the public-centered structural approach; That his design-oriented approach may be consistent with Alexandria's point of view; These two points should be considered that first, designers subconsciously incorporate culture into their design, then when designing they consciously use cultural symbols in their design to adapt the product as much as possible to the culture of the company. Product. In the public-oriented approach, which can be considered in line with Levy's vision, in designing and producing the product, the public, its culture and society should be considered in order to maintain the meaning and identity that revolve. in the cultural cycle. it should be passed on to the next generation, education should be provided and the culture of that society preserved. Designers in this field, representing the cultural symbols of society in packaging, introduced the identity of Iranian craftsmanship. However, due to the lack of sufficient attention to the field of culture-oriented design and the lack of comprehensive content in this regard, the designers were unable to consciously encode cultural phenomena into a strong structure and use various Iranian cultural symbols in the design .Whereas 57% of the packages available on the market have Iranian identity, but the identification method in 83% of these packages is limited to plant symbols (arabesque, paisley, gilding) and geometric symbols. While the Iranian culture is rich and has many symbols that can be used symbolically in packaging design.

Research Expression: The origin of innovation in creating of an artwork is the use of unknown factors and utilization of a novel concept that has not been observed or thought out until the artwork appears in the traditional context. With the advent of modernity in the eighteenth century, the exotic elements in Western art, as well as the strange-like elements (strangeness) in non-Western art, due to the initial acquaintance of easterners and local natives with modern art, the artwork appeared very effectively as the origin for the emergence of innovation and creativity. In the process of the occurrence of understanding of the artwork by beholder, according to the principles of the ontological philosophy of understanding in modern hermeneutics, the presence of two elements of familiarity and alienation, and according to hermeneutic expression, “the familiarity and the strangeness” in the context of tradition is the occurrence of conception process. In creating the artwork, the artist may not follow the traditional authority to which he/she belongs. It also happens that the beholder reacts differently to the artwork due to different linguistic and intellectual traditions, and therefore the horizon of understanding, predicting and expecting when obtaining the meaning is different from what the artwork opens up to it, and as a result, the beholder has treated the artwork as a “strange” element. Here, in simple terms, the intellectual horizon of the artwork, which naturally arises from its reference tradition, is different from the intellectual horizon of  the beholder, which has a different history, tradition and understanding, and as a result, the process of understanding the work is somewhat formed differently. Hans-Georg Gadamer considers any occurrence of understanding or conception in a work (as a historical context) as the result of the presence of “familiarity” or “strangeness” in the process of understanding. Tradition is the subject of familiarity, and historical distance and differences in the hermeneutic horizon are the causes of strangeness in the process of any understanding or conception. In a general conclusion, the relationship between beholder and the work (and also the artist) and tradition, and the way of opening the understanding to the artwork can be explained as follows: A) beholder and the work are both in a “linguistic and historical tradition”: familiarity with the work; B) The unfamiliar beholder with the tradition in which the work was created: the alienation and strangeness of the work; C) Disobedience of the artist to the common understanding in his historical tradition in creating the artwork: unfamiliarity, innovation and alienation In the opinion of beholder (either in the context of the historical tradition of the work, or in a different tradition). In connection with the lexical definitions of the exotic and strange-like elements, the emergence of “alienation and exoticism” in art and culture can be considered before modernity and the eighteenth century. When the religion divided world's people into two categories, “Christian” and “pagan” (in the 16th and 17th centuries AD): the world of Christians and the world of pagans. Christians who viewed the art and culture of pagans as “other”. Later, around 1900 AD, modern art was a major source of inspiration for revising the tradition of representation in Western art: primitive non-Western art. Gradually, art language developed into a concept, close to non-Western art that was less imitative. But, here, the West had its own narrative about primitive art and the element in which it was alien. Indigenous people, however, in the non-Western world, in the face of Western art as a strange and wonderful art, sought its useful aspects in their lives; or about the market for the sale of indigenous works and products that were decorated with Western paint and glaze or its usefulness and effectiveness it is in the way of life, thought and work through their native atmosphere. However, any element that is from a different tradition of the work or a context that, in the way of performance and creation, follows a tradition other than the reference tradition of the artist who created the work, represents the artist's relation and familiarity with the component entered into his tradition. The relationship between the artist and the strangeness is an active one, and if exploited, it leads to the interaction of the component of understanding by the artist and its exploitation as an innovative approach to the creation of the work. Purpose The familiarity with the strangeness in the context of the artwork seems necessary. The element of strangeness, which in the beholder's prior acquaintance with the elements in the context of tradition, and the element of strangeness, which due to lack of initial familiarity and the temporal and historical distance of the artist with the elements when this strangeness is itself, in the context of tradition, digested and manifested as a strange element in the context of the work. A question arises here: how can the process of innovation be related to the emergence of artwork and the use of exotic elements in the artwork? In the present article, we will use the method of hermeneutic analysis of Hans-Georg Gadamer in the analysis and interpretation of the artwork in order to clarify the position of the element of “strangeness” in the process of understanding. A research example is the early photographs of the Qajar period, in which many examples of the application of new and strange elements, gestures and concepts of this period can be studied and observed. In the application of the emerging media of photography among the Qajar people, the appearance of blind imitation and, at the same time, Westernized imitation can be observed in the photographic works of that period. The Qajar Shah and the court photographers imitated and existed in the form of the original photographs of the courtiers as the main element that makes the composition in the European frame in order to increase the similarities in appearance to the West and Europe nations (which they had seen and admired so much in their European travels), seemed strange in the pictorial tradition of Iran. In the research sample of the present article, the Western element of the “chair” has always been imitated and existed in most of the early photographs of the courtiers as the main element of the composition in the European frame.  The result is that in the process of confronting the beholder with the work, the artist, using his historical tradition, has placed the concept of strangeness in the context of an alien and unfamiliar element in the tradition, alongside traditional concepts causing amazement, innovation and strangeness in his work.

Up to the past decades, the knowledge of “industrial design” was considered the fundamental component of every manufacturing process seeking the goal of manufacturing for meeting the users’ basic needs. Nowadays, it is not enough to only meet the needs. Rather, it is so important to consider the way of meeting the needs, its quality, and expectations of all the relevant agents. “Technical design” and “scientific research” can both lead to knowledge generation. However, they are different. Designers can simultaneously generate knowledge as they use that, and they cannot make the scientific knowledge merely applied. Technological knowledge results from an almost artifact-oriented, profitability-centered, and implicit designing process. Meanwhile, it should be noted that technology cannot be considered as only a set of technological products. Technology is an indicator of the human agents’ efforts for making these products usable for their intentions which lead to their surrounding world’s transformation. Therefore, “technological action” can be considered as a kind of purposeful human behavior that is mainly aimed to resolve the practical problems, and “technical artifacts” can be also called the most tangible results of this effort. The mentioned artifacts can play a mediating role, and designers can predict or arrange the relationships that can be created between the products and users. In this way, they can try to persuade users to pay attention to products. However, the function of artifacts has been paid less attention than the biological function, so that there is no philosophy of the “material culture”. Although philosophical studies have paid attention to some special aspects of artifacts, their functions have not been investigated as a significant subject. So, as a technological activity, the basis of industrial design has moved to the three functional values of technical, aesthetic, and symbolic functions that aim to create a sustainable relationship between the products and users. Each of the three values of industrial design can be assessed in terms of determining factors, and it is worth mentioning that a single object can have several function each of which can be studied in the area of the designer and user agents. This goal will be achieved in technical function regarding the material aspects of the artifact. On the other hand, industrial design includes different processes such as “designing” and “usage-related” processes (Use, maintenance and repair, maintenance and rehabilitation) that respectively belong to the capability and/or intention of the “designer agents” and the “user agents”. The “user action” plays a more important role than the “designer action” in determining the product’s technical type, and the “users” (rather than the designers) attribute special functions to an object to make that a proper artifact. Therefore, industrial design processes prioritize the preparation and arrangement of the relationships between the designed technical artifacts and the users. In this regard, this conceptual research aims to investigate the industrial function of industrial design artifacts in manufacturing processes, and it includes two sections. The first part explains the concepts and the research works studying the issues of “function”, and the second part describes the technical function of industrial design products focusing on industrial design processes based on the analysis of the findings of the first part. So, three types of function have been identified including the “design-derived function”, “situation-oriented function”, and “usage-oriented function”. In each of the mentioned types, this study has investigated the agents’ capability, their intention, the function, industrial design-related processes, the function status, and the relevant phenomena. Accordingly, it is inferred that the “action” performed in “industrial design” which depends on human agents’ efforts is “technological”, and it aims to resolve the practical problems. “Technical artifacts” are considered the main result of this effort, and their major components include the function, the use plan, and the physical structure. On the other hand, functional values in industrial design can be classified into technical, aesthetic, and symbolic functions. However, the contribution of the agents of the technical artifacts and especially the “users” to realization of the technical functions determines their type and creates a sustainable relationship with the artifact in terms of the material aspects (rather than the efficiency or concept). The mentioned contribution can be realized in different processes of industrial design including the design-related (the designers’ capability) processes and the use-related (the users’ capability) processes. This research has also explained how to create a sustainable relationship between the agents of these functions and technical artifacts. These findings will be effective in preparation and arrangement of participatory relationships. However, as the agents of technical artifacts, users can play different roles such as a justifier, a passive user, a supervisor, a technical analyzer, etc. each of which can be studied in future research works. Meanwhile, the issue of “technical function” is only one of the three values involved in industrial design. So, the future studies can investigate the aspects, dimensions, and the components of the other functions i.e., the aesthetic function and the symbolic function in terms of the different areas of the agents’ capability.